Intro to Digital Illustration in Adobe CC: Lighting, Texture & Flavour | Paul Oxborrow | Skillshare

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Intro to Digital Illustration in Adobe CC: Lighting, Texture & Flavour

teacher avatar Paul Oxborrow, Graphic Designer & Illustrator

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Class Intro


    • 2.

      Class Project


    • 3.

      Using The Vector Base


    • 4.

      Porting To Adobe Photoshop


    • 5.

      Colour For Flavour


    • 6.

      Illustrating Wood Texture


    • 7.

      Lets Light It Up!


    • 8.

      Illustrating An Icy Texture


    • 9.

      Stick in Ice


    • 10.

      Saving & Exporting


    • 11.

      Final Thoughts


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About This Class

As a beginner, a career in digital illustration can seem daunting. Finally, a soft entry to digital illustration that makes it easy to understand the basic concepts of digital illustration, with detailed demonstration, guided keyboard shortcuts, and a free professional and fully editable template included.

Learn the basic principles of 3D modelling in Adobe Illustrator, and final colouring in Adobe Photoshop, with a simple project that seems to come alive in 3D!

As a seasoned illustrator on global ice cream brands, I'll teach you all the tricks of digital painting, and a valuable skill of being able to “see” the final product before illustrating it.

Other skills students can earn and apply those outside of this class:

  • Spacial planning for 3D-looking objects in a 2D program.
  • Useful techniques for illustrating complex effects like smoke, steam or vapours. 
  • The basics of light on 3D, semi-opaque objects.

By the end of the class, you’ll have learned all these and other valuable approaches in a simple way, that you can apply to the many forms of digital illustration, and even in other software packages.

Meet Your Teacher

Teacher Profile Image

Paul Oxborrow

Graphic Designer & Illustrator


Serial filler of sketchbooks, design geek and incidental Lego Typographer, I've taught over 6,800 students the pro tips, cool tricks and interesting methods developed over two decades working as a Graphic Designer and Illustrator for advertising agencies and creative studios, on brands like Cadbury, Unilever, Ola, and Diageo.

I make friendly, detailed classes about real things that have accelerated my creative career.
You'll feel like you're right next to me when you take one of my classes. From mockups to Photoshop, chalk and brush pen, we've only begun to dig into digital illustration and creative exploration!

See full profile

Level: All Levels

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1. Class Intro: When it's the realist, Rene Magritte painted the treachery of images is famous. This is not a pipe was meant to assert that it's just a picture and not a real pipe. Digital illustration is meant to do the opposite and have you believe in what you're looking at, A phone, a character, a world, even a nice pop, and sell that to you. Hey, I'm Paul, a creator from South Africa. I worked for 20 years, much of it as a digital illustrator on global brands. Digital illustration is a wide field, an exciting career where you can specialize in a single style or work in a new one every day. No, two days are the same. I got my starts in digital illustration about three years into my career, when I was hired to boost an in house illustration team at an ad agency. Our team worked on everything from pre visualization to professional high end commercial design. What I really cut my teeth on though, it was ice creams. Working mostly in Photoshop, from a blank canvas meant I had to learn how to see the final product before I started the angle, the lighting and think about how to achieve that. That's what I'm going to teach you today. Today's project is to dream up and create your first digitally illustrated ice pop. To do this, we'll be using a combination of industry standards, Adobe Illustrator and Adobe Photoshop. A basic understanding of both apps is helpful. But if you are an ambitious beginner, this is for you to. This class is designed to teach you a number of valuable skills used by digital illustrators like spatial planning for three D looking objects in a two D program. Useful techniques for illustrating complex effects like smoke, steam or vapors, and the basics of light, three D semi opaque objects. By the end of the class, you'll have learned all these and other valuable approaches in a simple way that you can apply to the many forms of digital illustration. I'm passionate about teaching digital illustration. I believe that learning the skill is critical because the demand for unique, original, and authentic work will only increase as it becomes more and more automated. Are you ready to start your digital illustration journey? Let's go. 2. Class Project: Sweet urine. Let's take a look at the class project video together. Your project today is to illustrate an ice pop of your own design. Using the provided template. I've built it ready to use for beginners or fully customizable. For the more ambitious you pick, the colors, the flavor, the angle, and how frozen it looks. The key skill I want to teach you today is to see your final product before you illustrate it. This ability is the mark of a successful digital illustrator. You should think about a real ice pop you've eaten and how it made you feel when you pulled it out the wrapper. How did the color influence your purchase? Could you taste it before you started eating it? What about the amount of frozen ice on it? Too little. It's going to melt too much. It's probably been refrozen after, that's the quality you perceived. I've chosen the ice pop as a way to practice these skills because it has smooth textures, simple color gradations, and basic light transmission, making it perfect for a beginner to grasp. I'll be with you all the way as we look at how to achieve these principles step by step over the next hour. But this class is not a watch me work. We're making a real project today, and I know you've got this. Some things to look forward to. You will need access to Adobe Photoshop and Adobe Illustrator to get the full functionality I'm teaching in this class. You can get a seven day free trial from to help you know when and how to launch tools. Keyboard shortcuts will pop up all throughout the class. I'll also announce the shortcuts for both Mac and Windows. You can interact with me in the discussion tab of the class, and I'll be available to support you on any questions you may have. Go ahead download your free Ice Pop, open it an Illustrator, and let's go. 3. Using The Vector Base: The first step in any kind of digital illustration is the base. Call it a wire frame, call it a sketch. This is the foundation on which a successful illustration is built. Every time we put the file open in Adobe Illustrator, used to working in Illustrator, you will see that my workspace looks a little bit different than usual if you are not familiar with the illustrator. I have done this for the purposes of teaching this class. I'm only using the properties, panel, appearance, and layers. Artboards does come as part of a set of this, which is basically just this big white square in the illustrator, you're looking at all your tools on the left hand side here. These are for drawing, cutting, joining, punching. Think of this as stationary. This is your pen, your eraser, your scissors at the top. Like any software, you've got your dropdown menus. These are for modifying, saving over opening, changing the angle of something, adding in effect your panels on the right hand side here are for inspecting your work and launching final edits on the models that you made from the top will look a little bit different than yours. I do have a special workspace that I've made just for Skillshare recording. You can have a fiddle with any of these. It's usually probably going to land on essentials. You can add any windows that you'd like from this menu here. You can also tear them out if you need them somewhere else. If you change your mind, you can put them right back like that. We'll be using this vector base as the model that will be coloring and lighting in Adobe Photoshop today. Ever hit control or command wire on my keyboard? I can see what the L really looks like, it's actually just this little bullet shape and this little cylinder over here. I'll hit command or control wire to get out of that. Again, you can see I've added some three D and materials effects to both the ice and the stick. The way I did that is I selected these ones, went up to effects three D and materials, and I chose extrude and bevel originally. This tool was extremely limited in what it can do. You would essentially just make cylinders out of little shapes that you drawn or more basic extrusions with not many lighting options wasn't sully fledged as it is now. But in recent years there's been some fantastic updates. This is a nice thing to play with. We're not going to do it at this stage, but when we get to the stick lesson, we will do a deep dive into that. If I click that Three D Materials option there, I get my panel for implementing all the effects that I want to do on something. Select. Over one of these, I can see what I've actually done of the options there. I did choose extrude, chose a certain depth of 170. I didn't use any of the things like twist or taper. I did put a cap on it. I did add a bevel. Let me switch that off to show you. If you look there, it's now this really rock hard right angle. The bevel with the round chosen gives me just a little bit more of a tangent on there. I don't want this to actually be a block of what it is. After all, an ice cream also have put a repeat on, which means it happens on the other side in case I wanted to rotate it or anything. For materials, I had a fiddle with all the default ones and you can too. But wax paints actually look the best for this outside the box. On this one, I do recommend that you use this texture because it has the right appearance for ice that looks a little bit furrowed and scraped, that real deep frozen look. I did make some minor edits to it. I did fiddle with the color variation, the intensity, and the roughness because I don't want to look. Creates a light like this. I just want that right texture. Most importantly, obviously, by default it is this teal color. You'll see that there. And you can double click there and make it any color that you like. When you click the lighting in three D, you do get this basic or and you have to start adding light. You can do standard which is like a hard spotlight on it, diffused which is Ally how something like this would receive the light would be absorbed somewhat into it. Then top left and top right is just very specific things. If he had like a studio thing in mind for this, a select it, you can see with the original light, I actually moved it down because that's what's affecting the side here. If I move it here, you can see how it changes around the. I did click this plus here to add a second light. That second light is my main light. It's got more of a purpose, shall I say? It's really, really lighting up that side. This is just a full light. I did want to keep the bottom dark there because the angle of chosen to move the stick over more or less in line, you're starting to get that ice cream. Look again. We will texture the stick in a later lesson, but for now it's about seeing the product that we're going to do. We're going to try to imagine what it's going to look like. Once we get into Photoshop, we will be running this through the ice cream. We're going to find a creative way to cut it there. This piece will look like wood, and this piece will look like it's embedded in the ice. If you do want to change the angle here, all you have to do is click that three D and Material. So you get this panel here. You're going to select over both of them. You can change it on any of the axes, but look how at some angles it actually defaults to the separation of stick and ice. When you do choose your angle, it's worth repositioning your stick somewhere sensible at the middle of the ice there. You can also just hit control command Z. Like any program to undo it, you might have to go through a few cycles of rendering the effects and materials. Sweet. That's the first step of the project. Before you move on to the next lesson, make sure you've got the angle that you like for your ice cream. This is important in seeing the final products before finalizing it. 4. Porting To Adobe Photoshop: In this lesson, we're going to learn how to port the artwork from Adobe Illustrator into Adobe Photoshop. And there are two ways to do this, depending on what you did in the previous lesson. Let's check it out. First, let's consider that you're opening the file directly in Adobe Photoshop. The advantage of opening in Photoshop is obviously using only one app and it is quicker. But we get much less editability. We won't have the same opportunity as someone it from Illustrator, let's try that instead. To port it from Illustrator to Photoshop, we will have to create a new documents any size will do. I'm going to choose this nice big one so we can see what we're doing in the class. I can go back to Illustrator, select both of those, copy them, and then paste them. I see these options here. It is, set to default pixels. And that's going to give us the same issue we had when just opening it directly in Photoshop. We can't edit anything, we could do layers. That's got a little, because it's telling you it's going to be a little bit complicated. We want to aim for a smart objects creams in. Now the stick and ice are still joined. But if we go over to the layers panel and double click the vector smart object, we're back in Adobe Illustrator where everything is separated. The advantage here is we can edit the angle if we like. Let's just do something wacky like that. And if we hit Save to Commit, when we go back in Photoshop, it's going to reflect those changes. If we hit Undo here, it will undo what happened in Photoshop, but it won't undo what happens to the Vector smart object. We will have to go back and it controls there as well. Interestingly enough, when you've pasted in Illustrator artwork into Photoshop Vector smart objects, every time you double click to take it back to Illustrator, you're not actually going back to your original file and overwriting it. That is quite cool because if we make quite severe edits to this, that template file, that vector base still says the same as it was. We are going to open that up. Just select the stick, copy that, clear it, save that file. And it's going to reflect to be just the ice because we remove the stick. But remember we copied the stick, we paste it back. It comes, it is trying to fit the overall heights of, of the canvas. Just play with it a bit there. We can also select both of those and scale them down so we've got a better fit in our canvas. The nice thing about these vex smart objects is they're infinitely scalable. So if you wanted to bump this up to a massive file, say you just felt inspired to make a billboard of this, you totally could. Now our ice pop is in Adobe Photoshop. In the next lesson, we're going to start adding color. I will teach you to add it in a non destructive way so that you can still change the angle. If you need to, I'll see you there. 5. Colour For Flavour: In this lesson, we'll learn how to add color to our ice cream in such a way that it's non. Destructive. This term and illustration refers to doing stuff in a procedural way. That means we can still have all the editability that we had when we first started back in Photoshop now and we're going to start adding color. Now there's a number of ways to do this. We could select inverse and add a fill layer on top of this ice. I think the major benefit of working between Illustrate and Photoshop is the edibility. If we add a color on top of this and then have it effect just that ice cream, we can actually change the angle of the ice cream and we don't have to redo that color. Let me show you how. First of all, I'll make a new layer above the ice, incidentally. Let's rename these things. We know that's the ice, that's the stick, it just helps us know what we're working with. I'll go to the gradient tool and choose a classic gradient, but I don't want to black and white ice cream. How do I edit that? Well, I go over here to my foreground color and background color. I'm feeling like I'm going to make a real like wasa melon colored ice cream. That foreground color, I'm going to mix a nice pinky red color, go super saturated as well. For that background color, I want it real bluish green. Now this is fairly in human, I don't think I've ever seen an ice cream quite like this. But that's the fun I've illustrated with my classic gradient selected. I'm going to go here and it now appears my color selection that my four grounds of background color. And with this layer selected, I'm going to drag it at roughly the same angle as the ice cream. I can edit this later. This is just a huge fill layer essentially. I can modify this in a number of ways, but basically now I'm building up my ice cream. I do want to just add my color. If I hold option and click, it's going to have that color effects. Only the ice pop. Of course, the color is essentially obliterating all the texture that we added before an illustrator. That's because we haven't put a blend modes. We haven't told the color how to interact with the layer below. Over here are blend modes. It'll preview as we cycle through each one. Your first set tends to burn the color on, the second set tends to add it as light. Then these ones will start applying it to the lightest or darkest areas of the ice cream. I'm going to actually use a combo of both. The first one is a linear burn because that's getting the most of the color and letting the most texture through. I can make a copy of this layer by hitting command of control J. I do still need to just make it effect only that this one I'll put on soft light. It's something I've used in a number of classes now. We've got two layers that we can adjust. If we change the fill of that, how much it's affecting it, basically it does get a bit washed out. We need that linear burn on the bottom to give it that depth, but I might back it off a bit to something like 80% Then in my soft light, if I had to back that off, we get less saturation, right? We're going to have that right up there. I'd like to change the saturation of this directly. I'm going to hit command control on my keyboard. Just boost that up a bit and I can drag the hue around a little bit. I think something funny is just happening with the green there. Another thing we can do, we can actually modify that background color. Say I actually wanted more of a lime green. I'm going to bring it up there higher so it's a little bit more boosted. And I'm going to go over to my classic gradient here with the same effects applied and drag it again and get my new lime color. Doesn't that look cool? All right. I'm pretty happy with that. I hope you're comfortable with that. We've got two different layers giving that action to it, and if we zoom up, we can see we're still getting most of the texture through. It's got a lovely feel to it now, especially here. It's really looking like an ice pop. You have seen how we can edit those colors after the effect. I'm pretty happy with mine. I'm going with like a watermelon flavor. I'm going to give it some cool part name like Dragon Berry or something like that. I do want to sell this ice pop here. Have fun, play around with color. Let's see what you come up with. Cool. By this stage you've got your color in and it's starting to look like a real ice pop. The next step is to make the wooden stick in Adobe Illustrator. Join me in the next lesson. 6. Illustrating Wood Texture: In this lesson, we're back in Adobe Illustrator. And we're going to use the Three D and Materials tool, the same one that we made this ice cream basin, to produce an authentic looking wooden stick. Let me show you how it's time to add a wooden texture to that stick. There is a cool way of doing that in Illustrator Access that. We're just going to double click that smart object that we made. It's open again. In Illustrator, we'll be using the three D and Materials panel. If you don't have it there, just look in your appearance panel and double click that and then you'll get it there on the left. The moment it's just set for the default rotation that we had to match the ice cream. I wouldn't mess with that individually like it needs to match the way the ice is. Otherwise you have to do the Reice again, you have to redo the ice again. At least we go to materials and graphics. There's a lot of wood options here, rest assured we're not just going to slap it on. But let's think about that stick. That natural Powwood for me is the best one I can find. When you think of that cheap basic stick that you just throw away when you finish the ice cream, when we pop it on it, that's not a great start. But to do that by hand would have taken a long time. If we scroll down, we see many, many more options here we can deeply customize the wood. The first thing we're going to do is adjust the rotation, because we want the grain of the wood to run vertically. Takes a little bit of fiddling. If you do this after you've already chosen your angle. Because we can't just go to 90 degrees up, that's actually 284 degrees. It's like halfway to a skateboard trick or something, but fiddle a bit until it looks natural. Looks right. If you can get hold of an ice pop and look at the stick while you're doing that, that's even better. But this is a fantasy ice cream. It doesn't really exist. You can have a bit of fun with this. I believe I have a fairly fast machine, and the more I dig into the three D properties, the materials, it does take a little time to render each step. Don't feel bad if you're experiencing that too. That is pretty natural. It's a more recent introductions illustrator. It does take time, but that's looking pretty good. I'm happy with that now. Now we're going to look at the lighting a little bit. That's still picking up its default lighting that we had when we made it, or at least when I made the template for the ice cream. We've got that first main fill in the little edge, one along the side here. But there's not much contrast here. It looks like one big blow. It's a little bit dark down there as well. I don't think we need anything as agro as that. If we go on light one, you can click that and actually move it and you'll see as you move it around the stick, either the front face or the side will start to take that light. You may not even need to. Let's just see, as a renders, we want something bright somewhere around there because it is a very brightly lit product. We've got a lot of light shining on it and a lot of light coming through. Then that edge, that dark edge, we just don't want to high contrast, we would fiddle with that a bit as well. You can just literally click these and move them around as much as you like. It's a game of patience as a renders. But again, this is a quick and efficient way of doing it compared to generating this texture by handle mapping on a texture as we would have done in the past. Down in the panel, you can fiddle with the intensity of the light, how bright the light is shining, but I'm happy with that. There's a lot of other options you can do to give your wood a custom look. If you wanted to take this further for your illustration work, you might want a bit more grain or a bit more contrast gnarled wood if it's been outside for a while. Playing with the repeats is interesting. You can get different grains of wood if you look at wood, often a looser or a tighter grain can mean cheaper or more expensive wood. In this case, it's good to see the final products you've eaten a pot before, you know that it is a cheap probably pine wood used for the sticks. That's where we want to get here. Not too rough. They usually sand these nice and smooth so the nice to hold. So we're going to dial that roughness down then. Scale is always important when you're doing a texture on something, a digital illustration, that's what helps it look realistic, the size of it in relation to the object that you're illustrating. The relief is going to mean how bumpy the wood is like. If you run your hand along a piece of wood that's been very sand. It's smooth, almost like plastic. Whereas if it had a great relief, that's wood that's maybe lived outdoors and you can feel those bumps as the softer pieces of wood have changed with moisture and heat. You also adjust the variation of anything that you're doing here. That means the number of unique instances. It doesn't look like one big texture plopped on there. Play around a bit, you don't have to follow me exactly. You can see I'm experimenting and playing with this. I do want to feel out the options. I want to feel what I'm seeing in my mind's eye. When you're ready, you're just going to hit Save and close that. That can be control command or control command to close the whole program. But W will just close the file. It will render everything we've done and updates in Photoshop. And that looks fantastic. It is a smart object. Anytime we want to make an edit, if we weren't happy with it, maybe the lighting was a bit off, we can double click that smart object and play with it again. In Illustrator, remembering of it is just a plain vector with a bunch of effects added on top of it. That back and forth is the real advantage of working in the cross flow that Adobe offers you between Photoshop and Illustrator pumps on the lighting. I think that matches the ice cream fairly well. It's seated nicely in the center. It's well placed vertically. I like the slight offset there. I like the way the light's hitting from the right inside. That's a rap on illustrating a wooden stick. Now our stick is done, much like the vector base. We will be able to go back and edit it. It's up to you if you're ready to move on, that's great park the stick. If you feel like you're almost there and you want to edit it later, we will be able to get back to that in a later lesson. But for now, the next step is to start lighting our ice cream. I'll see in the next lesson. 7. Lets Light It Up!: We want to create a new layer above all this. I think at this point we can start grouping everything. So we'll just select them all and put them in a group and call that ice pop. Or actually drag berry pop, because that's what I'm going to call mine. Everything above, that's going to be our lighting layer. Our colors are still the ones we chose for the ice itself. If we hit D on the keyboard, we're going to get our default colors X to flip them because we lights white, right? So that's what we're going to start painting with. B will give you a brush tool. I'm using 100 pixel size, one at only 10% hardness, it's quite soft like that. I do want to also make sure the capacity is full. While it will look like I'm painting white stripes on my ice cream, obviously can change the capacity in this panel over here. The first place I want to add a highlight is on this corner here. Even with that round bevel on, it still does look a little bit like a piece of wood. I am thinking about the lighting that the texture is inheriting where there's a major light on here and a little fill light over here. Let's start with that fill light. I'm going to use the bracket keys on my keyboard to make my brush a little bit bigger or smaller depending on using open or closed brackets. Bracket is going to make bigger. In this case, I'm going to paint just a bit of light coming down there again. If I hit Option on my keyboard and click there, it should affect just that dragon berry pop. If we invert this to have a look, you can see it is just on the dragon berry pop. You see what inverting that does for our image. We can actually see the edges, see the contrast of it. Let's leave that there and we'll set the blend mode to overlay. That's like shining a bright light on it. That's going to give us the idea that light shining through this and into this. Just drop the fill down a little bit. We don't want it quite as intense there, pretty much where it's starting to bloom there. I'm just going to get my eraser tool, nice soft eraser there. Just brush away a little bit and I can lift that fill level again as it starts to come over the edge. There also will use my brackets to change the brush size down and just try and remove that edge there. I only want it to be hitting the side. If I generate a new layer, I can do the next highlights. And I'm going to do these all separate. We'll group them in the end as highlights, but we want to have a lot of control and digital illustration over the lighting of everything. If we paint all on one layer, you're going to get yourself into a fix where everything is going to appear at the same levels that you'd set for that layer. Whereas on my new layer, I'm back to full capacity. Again, let's brack it down. Does help to have a digital tablet when you join this stuff, but as a beginner, you may not be ready to invest in that level of gear yet. Something you can do on a tablet is go to your brush settings. You can choose a brush that has the pressure added to it, and they go to brush settings and start setting the dynamics of that. The gentler I press, the smaller it's going to be in. The harder I press, the bigger and more blown out it's going to be. I'm going to try to do this in one smooth movements and follow this curve over here. That's cool. Generally, when you draw, you are going to run out of a little bit of space. We're going to just click that point there by holding shift down. Click it here again, and it's going to complete that arrow. You can also use my razor just to clean up the uniformity of that a little bit, but that generally that little wobble is not too bad. That's giving us something quite nice and random as it starts to fall off. I do want to get my razor and as big brush as well, just gently brush away at that. I'll probably dust drop the saturation. The pass here at least there that I'm not deleting it quite so much. I can move it into position roughly there on the edge of my ice. You see if you compare it to the hard edge there, it's softening it really nicely there. Now, the same is illustrated all your mods up here. There's a filter I'd like to apply to this because it is looking like a very neat smear. It's looking very smooth and plasticky compared to the texture here. If I go to filter distort ripple, it's difficult to preview here, but we can basically choose the size of it and the amounts of it, K, how intense the ripples are. And add that on, it's starting to look like it's answering to some of the texture there. Let's do that and try a different setting. Again, we'll go back to distort and ripple smaller amounts. That gives you a faker look, we do want to keep at least the amount up. Maybe we can try a smaller size of ripple. That's not bad. But I do think on this particular ice cream, that medium size and a roundabout there, look the best cool. Start with that as well. Let's try to drop the fill a little bit. We don't want it so much that hard edge shows again, but we will get it up something fierce. Just brush away as it starts to fall off. Keep your brush in a low setting, so can get that. This is a great tool here, smudge tool. You can just wiggle and wobble the end around a bit and make it fade out a bit. There, another new layer. Let's make sure we've got whites and we're going to hit B for our brush. We want to get that main edge light with my tablets. You can do this with a mouse as well. I'm just going to try and follow that curve there. Keep it going a few times till you get something that you really like. Then once more there to get it thicker. And I'm going to use my Or on a smaller setting to just shape it a bit with our smudge tool. We can also pull that out a little bit there just so it starts to really like bloom out at the head of the ice cream. Really get in there as well. We want to just mix that fall off that it's getting, we are going to actually do a little Gaussian blur on it because we want it to be, it's on a broader surface. It doesn't have as much edge to catch there. Nothing too much, probably about there also puts on our ripple. That's great. Let's drop the fill a little bit cool. That looks good now because it's on a separate layer, this is our advantage we already have. We can move these individually anyway that we like. I did want this to be a little bit closer to the edge here. Can also hit command or control to rotate it a bit. We want that finite control of the ice cream. Let's do one for the bottom as well. We still brush tool and we're still painting edge manic. Want to get nice and close there? Just trace out a good edge there using that pressure sensitivity as well and using the eraser to just paint out that shape. Another cool trick is under Noise. There's a setting called median, which aggregates everything it globulizesIguessee how it automatically fades out that edge. For me, I do like to use that on a sharp boom like this that we're going to drop right down. It's just a hint of what's going on down there at the bottom of that ice cream. See how it's starting to take a bit of shape and form. Now let's go back to that side highlights and turn the layer mode off and see what we're looking at there. On that same layer with our brush, we would actually, let's put the fill back up and we would actually like to paint, get in again. I think we got rid of a little too much of it there. You can do this nice little curve around here. Curves there, snakes there. Let's put it back on overlay and we'll get our razor on a really soft setting. Use our hard bracket keys to just just the size and brush away that. But we do like that little tangent there. Now let's just pull that fill, do carefully so that we can see it's light affecting the ice and not part of the color. Now the next thing is a major ambient light going on this ice. So we're going to make a new layer again. I'll put it below all the other ones. I'm going to use my selection tool to essentially drag a little bit of a shape roughly the size of the ice cream. It does take a while to get to do it as fast as this. I'm going to go to my gradient tool. Again, I'm still on the classic gradient, but I only want to have the whites the foreground. And I'm going to drag that down once more. That looks pretty cool. I'm going to drop it right down from a full point of view, I'm going to use median under noise to aggregate the wobbliness there. Can you see the effect it's starting to have? Just smoothing it out a bit there. That's a lot better. Come on tea again to rotate. But now we're starting to get a lot of complexity here. We're starting to get these harder halls and we're starting to get this extra refracted light. There will be one more trick I'll show you as well. These ice creams aren't really as transparent as I'm going to do it, but it does look super cool. A mark up like that. Let's bring the fill up a little bit more and then I'm not going to use ripple this time, I'm going to do a Gaussian blur again just to make it less specific. Cool pop is really starting to come together. Now at this point, if you haven't yet, which I haven't, it's a great idea to save your works. I'm going to call the dragon berry pop and save it somewhere in particular on my computer that I can find it Again, we do have these all editable now, so we can change the intensity of any of them. It doesn't hurt to name your files. Right highlight for example was left. This is just a bit easier to track if you can't see what's going on. Right edge. That was the side light that we had. I call this mean ambience. You might want more or less than I've got here. But the fact that they're all separate, I can continue to edit the position and the intensity of each. Let's use shift click to select them all and put them in a group and call that lighting. 8. Illustrating An Icy Texture: We've got our base, we've got our colors, we've lit it up. And now it's time to illustrate an icy texture. That's that frosting that you see when you pull it right out of the pack. We want to add some icy frost When you pull one of these out of a sample container, for example, or a fridge at a petrol station or something. It's going to be ice cold. It's going to have instances of frost all over it, and it's going to have icy vapor coming off it. To do that, we're going to make a new layer on which to work. We use a filter. Again, this is in render and it's called clouds. Oh dear Lord. Let's set this screen and see what we get. Let's look good. Let's also have it affects just the ice cream layer. That's not so bad. I would pull the scale down a bit. I only want it to affect the ice and not too much all around it. This is going to be the ice that's going all over, or at least the frost that's on our ice cream. Let's call it frost thing. Actually you can see that by default it's actually just black and white. We can hit Commando Control our levels panel and start playing with the contrast of that to make that general whiteness disappear. We've got shadows, highlights, and mid tones. With the mid tones, we're pulling those out. We can make the highlights more intense and use that to be the contrast That looks pretty good. We hit command or control to see the full edges of what we've got. Because we drag it off, you're going to get a hard line there. We don't want to do that. Let's drag it until it feels like something good. We want little bits catching all the edges, but we don't want it to interfere too much with a highlight. Something like that is pretty good. Let's also drop the fill of that. It's a bit more vague, just something subtle. We can set command or control J to make a copy of that and make it slightly more intense. Then we're just going to brush away the bits that we think would interfere with our main highlights, Just the parts we don't need. But I love this piece down here where it's coming near the stick. We're going to get great contrast there of the stick going through and the ice going onto it. Now we can drag the base one down further and we've just got these extra hardcore highlights down there. See where we're going with this. We want to build everything in layers. We want to have it super, super editable. Because this is a copy of this. I do want them to be linked together. I'm going to go down to the bottom here and hit this little chain link thing. If I have just one selected, they will move together. What about the icy vapors? For that, we're going to generate a new layer above there. We'll go to filter and render clouds again. This time we're going to move that right behind the whole dragon Berry pop. That's outside of this. What we're going to do here is use this to generate a layer mask because it's one big solid layer of white or black. There's not a lot we can do that. If we put it on a blend mode, we will get it. But it's going to depend on each and every way, which blend mode we use to make the black pots disappear. If we build a new layer here and fill it with whites by adding option backspace, we're going to select by adding commando control, a cop switch that off click over here to generate a layer mask to get in there. When we click it and paste it in, we can get rid of that original clouds layer. We're going to call this vapors spelling or with this layer mask selected. Let me just show you if I change the color of this background to something like blue. See how it's just the white. Now, wherever it's white here, it'll let this layer through. Wherever it's black, it'll block that layer that looks a lot more like the vapors we wanted. Also in this layer mask, we can non destructively paint out where we want this to be using our brush tool. And black if I drag through there, it's basically not going to do that. These vapors, this thing is not nitrous. It does need to be fairly close to ice cream. And I'm basically just going to gently paint all around there. We don't want to too much by the stick. Just get some soft vapors coming off there. You paint what feels good. And you're not going to go as fast as me, but I don't want to keep you here all day slowly, slowly trying to get some variants there. I'll click in here as well to make sure you haven't missed any spots like that. For example, is getting quite close to the top. You don't want to have any outliers here. Now we should almost be done, but can you see what we've missed? That's right, this stick needs to go into the ice. Just take a small break and then in the next lesson, we are going to look at how to get that embedded beautifully in there with all the right final shading and everything to make this complete illustration. In this lesson, we learned all about those atmospheric effects. We've put particles all over our ice cream, and we've got some icy vapors coming off it as well. And we learned how by setting those up properly and using the opacity, we can have final control over those depending on where they're going to be used. 9. Stick in Ice: All right, welcome back. Since we last saw each other, I decided to just clean up a little bit. I went over to the vapors and just dropped the filter about 35% because it was looking unnatural. I usually keep this super editable depending on what we're going to put on. At the beginning of the class, you saw this Dragon Berry products on top of a big drone footage of the beach. For that we had to pump up the capacity of the vapor so that you could still see them on a light background, on a dark background like this. We could probably even take them down further. You just want it really subtle, but let's stick with somewhere in the middle for now. Also took the liberty of bringing the frosting down into Dragon Berry pop group. I think just from a file organization point of view, it makes sense because while it is a separate layer is the ice cream. The frosting is part of that as well. It is actually the water of that product frosting together because of the cold of the fridge. So it makes sense to live together. That is our pop. The lighting is something that can move. It's an external force, essentially. Now we're going to look at adding the stick. We essentially need two sticks here. We need one wooden one that sticks out. We need another one that's going to be in. The reason we do that is if we use a layer mode, like overlaid or something, the overlay looks fantastic. It looks like it's inside the ice, but so does the outside. Let's start by deciding where that's going to insert. Roughly the halfway mark there and the halfway mark there. Grab the polygon, the polygonal lasso tool. You can also ill on your keyboard, I'll tell you why. If you look at the structure of the stick, we can't go straight across. We're actually going here. The ice, click, click, click, and then down. It has to join at that point, basically because that stick is a three D object. Then let's carry on with a path all around and take it back to the beginning. Then we're going to hit a layer mask on that. This is going to be our stick that's stuck in the ice. Now if we hit command of control J to make a copy of that layer and click on that layer mask and invert that. We've got our original stick that's outside. Let's call that outside stick. Let's call this one inside stick. It doesn't really matter which one on top of which one, but we know that overlay look pretty good for the inside one ready with one blend mode and a small little shifty on using the same layer object twice. It does look like it's inside the ice cream. Soft light takes it even further. I think that's reasonable. If it's overlay, it's as if there's a light shining through it from behind. Soft light as a layer mode looks a little better then also in that layer mask. We did learn in fact, let's go over it again. If we click to get into that layer mask to reduce that edge there, soften that edge so we get the fall off. This fades away as it gets deeper into the ice. We are going to just get our gradient tool again, our classic gradient. Go to the basics and make sure it's the one that's only a foreground color. If yours are like this, for some reason just hit X and it'll flip that default back to the front. Then we're just going to drag our gradient down, something like that. When we go back to it, see other sticks fading away. This is live. If we disable that effect, the whole stick is still there. In fact, if we double click that it will still go into illustrated. We can change the angle if we like, but if we enable the layer mask, it's inside the ice and it's disappearing. One trick here is you've got to consider that ice gets more opaque. The more frozen it is, It's not like we're looking through a pond here. This would start to blur out a little bit as the ice went around it. Keeping the vector smart object protected, we are still going to add a Gaussian blur and put it somewhere sensible can see what it looks like on and off. It's very subtle, but it does make a huge difference that's actually added that as a smart filter. It hasn't destroyed this. I'll prove it to you. If I double click that, it will land back an illustrator. That's pretty cool. For the inside stick, we can collapse that. It's nice and neat. We've got outside stick. All we really want to do on this is add a little bit of shadow here because we can see that ice is in shadow. It stands to reason that the stick would inherit some shadow as well. Strictly speaking, there's a large light hitting the ice cream over here. That light is not going to be able to wrap around that edge. Let's make a new layer just above there. Let's get our Eye Dropper tool, which will let us sample any color we want. In fact, you can even Photoshop's own background color will reflect there. Absolutely anything you can reach with this eye dropper tool, your sample, We're going to go for that darker texture there and see how it's picked up that dark texture that we had on the stick there. We're going to hit for our gradient tool again and most likely will just be that four ground to nothing color but just double check and make sure you've got that one. It's fairly monstrous option click so it affects only the stick. Let's set that to multiplier. Now we're starting to get a real feeling from the exact same stick that we have in Adobe Illustrator using these live smart filters on Photoshop and certain overlays. So we have color, that would be the whole canvas actually land only on that piece. We are getting that feeling of a stick going through. I think what I'd like to do here is brush in the same color. Again, I'm going to set the gradients also to multiply, It's going to put another instance of the same color over the one we already did. And I'm just going to do a short little pull there longer. Now we're talking, I dragged it out to roughly the same position that this would be out from the thickness of that ice cream. And it's really looking good. That looks fantastic. Now that that's so dark, we need to drop this one off a bit. Let's take that fill down a little bit. We really want it to be barely there, but it is nice that it's going in. I do think this layer mask, I think we can brush that in a bit. When we go on the layer mask, you'll notice the changes to default colors. It's already on our classic radiance. We'll just pull that down a bit. That's looking a lot better. If we come in real close, we can see it's going into the ice cream here, but that it is tailing off there. And we do have that gazan blue applied. Put it a little more severe. I think that's great. It's just a hint that that stick is going into the ice. I think that's looking pretty good. This is very decent for an intermediate level. If you're a beginner and you've done this, consider a gold star from me because it's not easy. I have done a lot of these and it still requires quite a bit of thinking each time you do it. At this stage of the class, you should be wrapping up the design of your awesome illustration. In the next lesson, we'll learn how to save that thing professionally and exports it for different resolutions. 10. Saving & Exporting: Professional saving and exporting. Yes, we all know control or command S depending on which platform you're working on. But I'm going to show you the professional digital illustrators way of cleaning up your file, saving up different versions, and a neat trick for halving the file size of this massive PSD that you've got, right? Let's look at saving this. Obviously you can hit command control and it's going to save it wherever you first saved your file. I do hope you've put that somewhere safe that you can find it again, should that be the lesson. Well, no, not quite. Actually, we want to save a few versions of this. First of all, do yourself a favor and to anyone who might pick up this file in the future, let's clean up our layers so that when someone opens this and sees all this and might not work in the same way as you do, there's a little bit of a trail of breadcrumbs to show them what you did and how they might edit it or use it. The first step is to collapse all your layers. Anything that's sticking out like smart objects and edits. We want to name these, let's put color fill and then the layer style that we use, linear burn, I'll select all of that and paste that name there. And we're just going to change Linear Burn to soft light while we click on this and we can see what it does, it just helps someone when they first open the file, see what's going on, they can see that's a vector. Smart objects, they know that's the ice. I think that's totally acceptable. That's the stick. We can see it's the same. Whichever one they click, it will take them to the same exact illustrate a file at least. But we know that's inside stick and outside stick. And we can see from that underline as well that that's got something special happening to it there. This one here, we just want to put stick shadow, that lovely stick shadow. We should have everything named there. Frosting copy. I think that's acceptable because we do want to be crystal clear that it's the same exact thing, vapors we had as well. Background. Let's look at a cool trick. A cool trick to get a perfect background color for whatever ice flavor you've tried is go ahead and select one of your colors. Fill the background with that color by hitting option backspace. Now go command or control which will invert it. Now on mine, that's the perfect opposite on the color wheel to that pink. But because I've got a similar green here, it doesn't actually work so well. Let's see what happens if I select maybe that green there, fill the background color and invert it and it goes to a pink, which is that one too. If you've got a plain colored ice cream, you're already done with your perfect background color. Me, I am going to go back to that blue color because I think it's a near complementary to either of those colors. They're both stand off. If it went a little bit more to a purple, we would be getting somewhere next to secondary color scheme. We file nicely organized. Now let's collapse all the layers. We've got vapors there, background there, the dragon berry pop itself and the lighting. We do want to link these together like we did before because when we move it, it all goes together. If we didn't link them and we move just the dragon berry pop, the highlights are left behind and it's hard to line them up Again, the vapors I don't think is essential to link to it because if we move that somewhere there, it's easy enough to move. The vapors are a general thing. But also remember we do have the option to go into Illustrator by double clicking this and changing the angle to whatever we want, see how it moved, but that still retain all its same color. That was the value in doing these as overlays. I can undo that there. But remember I do have to do the same to the smart objects. I'll save that. Close that. Let's collapse everything. We're going to make sure we've saved it with a proper file name. That's our master file size. Nice composition and breathing space around it. We can save another one for social media. Maybe we want to make the background a little more exciting. For that, I've come on you on my keyboard to get to saturation and I might like to go more purply, play with the saturation a little bit. We can do a quick export as a PNG and save it in the same space and call it dragon berry pop. That will give us a P and G that's the same size as this. It's going to be a fairly massive file. Another way to have more control over that is to hit command option shift and we get to export. As we have a great degree of control over everything, we can change the scale to maybe 50% get a smaller, more manageable file. We can switch all transparency, we don't need that. Check all our settings and then export the file again. We're going to put it into the same place as before and maybe call it social or small, and that's going to be a smaller version of our file. Now when anyone opens this project, again, they can see a small preview of the file. But they've also got a large export as well as the full editable file. Now there's one other trick that I always love to show in my classes. Bear with me, this is just over 30 megabytes, which is not terrible. But if you had to transfer this file to someone, you're going to wait quite a while. How can we reduce this file size? Well, one way is to compress it. We're going to go right click on our mouse and compress it, and we're down to 16.6 megabytes. Let's see if we can get it even smaller. Back in Photoshop, let's switch or fall the layers and hit command S to save. Now let's compress that again. That's 14.9 megabytes. We've actually saved almost 2 megabytes just by switching the layers off. If someone were to unzip that open, that transparent dragon berry pop, they only have to switch on the visibility of these layers and they're right back. We got this original file from more than 30 megabytes down to less than half its size just by using the simple tricks. So keep that in mind for all your Photoshop work. By this stage, you've learned everything you need to know to build the ice cream from the ground, from that base, adding all the color, the lighting, the texture, the vapors. And you even learn how to save your project up like a pro. We've just got one lesson left where we'll think about everything that we've done so far and talk a little bit about the career possibilities of digital illustration like this. 11. Final Thoughts: This was a jam. I had a lot of fun teaching this class. It was great to share a slightly modern twist on a classic technique I used for countless, countless, countless ice pop renders that made it out into the professional markers. As I said at the beginning, this is how I really cut my teeth. As a digital illustrator, I would suggest the same advice to you. It does take a while to find your lane, but if you can find a project, hopefully this is one of them where you can do it over and over again. You can grasp the principles and apply them over and over without needing to always go back and refer to where you learned it. So a person or a sheet or a tutorial, then you know you're on your way. And it goes from there, you end up getting a wide repertoire of styles. You get a wide repertoire of techniques. And you learn how to take those techniques and apply them proactively to different kinds of work. For example, the ice and vapors that we learned could be used for an awesome Halloween illustration, where you want to make a lot of atmospheric mist, for example. It's exactly the same process, and the way we added color and applied it just to that layer can be done for a number of different things. If you want to do an illustration of a sky or something and change it without having to cut around or put it in the background or layer it up too much. It's the same process. I thank you for taking this class. I really appreciate you sticking around, and I'd really love it if you could review this class. Reviews mean a lot to me because I do read every single one of them and I apply everything you put into that review into my future classes. Finally, if you enjoy this class, please consider following me on Skillshare, on my channel. It's the best place to see all my other classes and stay up to date with anything new that I've produced. Thanks again. I'll see you soon. Cheers.