The Tools of Digital Illustration | Adobe Photoshop | Paul Oxborrow | Skillshare
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The Tools of Digital Illustration | Adobe Photoshop

teacher avatar Paul Oxborrow, Graphic Designer & Illustrator

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Class Intro

      0:47

    • 2.

      Tablet Benefits (Optional)

      1:28

    • 3.

      Optimising your Workspace (Optional)

      3:52

    • 4.

      Deep Etching

      9:15

    • 5.

      Transform

      13:26

    • 6.

      Masking

      7:53

    • 7.

      Brushes

      13:00

    • 8.

      Dodge & Burn

      12:47

    • 9.

      Clone Tool vs Healing Brush

      15:50

    • 10.

      Blur

      9:47

    • 11.

      Noise & Median

      8:58

    • 12.

      Project Brief

      4:50

    • 13.

      Wrap Up

      0:24

    • 14.

      Bonus! Watch Me Work

      1:46

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About This Class

"I wish I could understand Photoshop. I wish I was better at Photoshop. I avoid Photoshop."

Trust me, I've been there.

Photoshop is the grand daddy of Creative apps, and you could spend a career unlocking all of its secrets.
This is a comprehensive guide to the 12 fundamental tools and effects you need to know if you’re going to build, edit, and create digital illustrations in Adobe Photoshop.

In this class we'll cover:

  • Best Practices: Which tools to use, when.
  • Smart Workarounds: What to do, when.
  • Examples: We'll open up and dissect my original illustration pro files

Each tool is defined, demonstrated then explored in it's own self-contained lesson, so you can get comfortable at your own pace. Why not learn them back-to-back, or try one per day?

When you get to the Project Brief lesson, we'll follow a brief together and work alongside each other to apply every tool you’ve learned to create your illustrated project in Photoshop.

If you’re curious about illustration, retouching and editing in Photoshop, this class is for you.

Adobe Photoshop Tutorials | Skillshare

___________________________________

Adobe Photoshop, and the Adobe Photoshop Icon are either registered trademarks or trademarks of Adobe in the United States and/or other countries.

Meet Your Teacher

Teacher Profile Image

Paul Oxborrow

Graphic Designer & Illustrator

Teacher

Serial filler of sketchbooks, design geek and incidental Lego Typographer, I've taught over 6 700 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: Beginner

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Transcripts

1. Class Intro: Hey! I'm Paul, a creative from Durban, South Africa, I've worked in the industry for about 15 years now, 6 of those specifically as a Digital Illustrator. I learned many tricks in that time, and those were used for pre-production and post production work, and everything we did included Photoshop as component of the production phase. We worked on some amazing stuff, and I can't wait to share those secrets with you! Welcome to the Tools of Digital Illustration: Adobe Photoshop. 2. Tablet Benefits (Optional): My No.1 tool for Digital Illustration isn't part of Photoshop at all, but it certainly helps drive it and that is a Wacom tablet. Now, you don't have to have one of these to take this class. You don't necessarily have to have one of these to be a good illustrator, certainly not the top dollar models. But they just offer you so much in terms of ease of use, not to mention the benefit of pen pressure, in a program like Photoshop. There are so many models to choose from, and some that really suit the budget. Wacom do new updates every year, and more and more, these tablets are made to drive certain functionality in the software. Now, for all of those six years, I used a Wacom Intuos 3, much the same in functionality as the entry-level Wacom Tablets that you get today. In later years, I would upgrade to a Wacom Intuos Pro, Wireless, touch controls. But more often than not, I use the one that you're gonna see me using in this class, which is a basic, super affordable Wacom Intuos Pen & Touch. I guess what I'm really trying to say though, is this has been such a contributor to speed, technique. and just general wrist comfort! I don't want this to become an advert for tablet sales. Just that I remember what it felt like to learn all this stuff starting out. A tablet just made things easier. In fact, within a few days I got the hang of it and I've never looked back since. 3. Optimising your Workspace (Optional): So let's dive into Photoshop. A clean, well considered workspace is going to give you the maximum real estate onscreen, and easy access to the right tools when you need them. When we talk about a workspace, we're talking about all the tools that go around the whole screen here. So generally the tools that we're going to be using live here (LEFT) and the effects and modifications live here (TOP) These are all alignment tools and suchlike, for general sort of design things and over here, your layers and basically just how you order things how you bring things in. We can see that if we go to window and workspace, These are some of the defaults available. You can also go over here and get see all the ones they've prepared for, and I'll show you the difference between all. So what's great for Beginners is, as of the last few years, Adobe have actually built in little help files as you as you navigate around. And we'll just close those. So Essentials is basically gonna be your Libraries. This is something that is great to use between the Adobe suite, where you can sync color swatches and images and suchlike Its also nice when you're doing illustration, to manage your images so you don't have to keep hiding Photoshop and going into your desktop, or have a second screen for your images. You basically got everything you're gonna be working with, right here and I mean anything. So thats Photos, thats Type, thats bits of effects - anything. Properties and Adjustments these are just things you might be doing to your image as you go along Colour - You can move around here, select what you want, You can add it to your swatches palette. If you go Graphic and Web its all going to change now, to things you might be familiar with from other bits of software, like InDesign or Illustrator we've got libraries there again, we've still got layers but we're starting to get more type tools, more layout, alternate ligatures, things like that and even Paragraph Styles and glyphs Photoshop is really not the go-to thing for Graphic Design, so I wouldn't really wouldn't really start a graphic, or piece of graphic design on this For Photography, it's much more about the information in a photo, so we're not really chopping them up, and collating and assembling them quite so much. But you know, we want we want to be able to inspect it and do predictable things to it. Retouching, this is a tool we're gonna look at a bit later For Digital Painting, you definitely want to look at color Navigator is a way of inspecting our image without having to zoom in here. You can basically just feel your way around it in this thing. You've got all your Brushes here, and then your Layers again at the bottom. For Motion, we suddenly get a timeline at the bottom here. And this is how we can do some rudimentary animation inside of Photoshop. We've also got 3D, and that's going to give us Ssme of Photoshop's 3D possibilities where we can extrude, and design on a plane, and suchlike You'll agree this is a lot to go through, and depending on our own personal styles and what we want to do here, none of these are essentially perfect. It's worth noting that you can create your own workspace. So what that means for us is we can get rid of some of these things that we might not need and we can also basically drag them into your workspace, and you can completely build something customizable that works for you. 4. Deep Etching: deep pitching is probably the cornerstone of working with images and Debbie Photoshopped. It's the process off selecting a portion of an image so that you can lift that portion and work with it independently, and they're a couple of ways of doing this. Let's take a look So all three of these images available in the projects and resource is folded. If you'd like to work along with me, de pitching obviously comes from retouching for the manipulation, But more often than not, some of the high end illustration that I was involved in would either use photography as a starting point. Why would be doing illustrations to augment some of this stuff, particularly things like the model shots in the studio shot in this answer there and the ones the right, which is like a lifestyle sheet, highly stylized ST Win look book kind of stuff. So let's get deep etching. Let's start with the architectural gonna heads F to full screen so we can do our thing. We've We're currently at Commander Control zero to fits the screen. We can go command or control one to get to the images actual size. Now I'm going Teoh, be using the pencil to do this, which is the most painstaking and deliberate way off of deep itching something. Not every designer, not every illustrated, lacks doing it this way. But I've come to love it over the years, and I think it can be quite relaxing. You know, certainly what it gives you is the appreciation for the lands of the architecture or the wonder of the human form One if you're deep etching that. So let's sit p to get our pinto and I'm gonna hold command and space bar that'll be controlled space bar for on a PC to get my magnifying glass. I'm just holding space by now to move around with my hand tool. I would go for the kind of the bottom corner with something like this and just worked my way around. So just gonna do that if I don't get what it wants and I'm using a few points as possible. I don't want something overly complex that I have to go in and edit later. I'm just getting the basic form of it. It was a really simple image. So you see, you can do it quite quickly. Take your time at first. I'll just tell you why I like to do it this way. All zoomed in is, you know, let's say I've been supplied this by clients. Or maybe it's one of my own photos that of art directed this. You don't always get this perfect. You know, sometimes you got a little nose of a plane sticking out. There are a couple of birds in the scene. They might have been annulled. Herbal building be like a gargoyle or some piece of architectural details. So I'm kind of inspecting it as ago. This is a very straightforward building, so I don't really need to make any any special arrangements on the way. I'm just gonna hold shift in a perfect straight line and connect there, and I have God's my building Dee pitched. If I go over to my party, I can see it's created a work path. I'll just right click and mix selection. We're seeing something here. Got a feather radius. Feathering is how blue we want to make the edge of it because this is a piece of architecture, you know, it's steel and concrete. It's gonna be perfectly straight. Lance, I'm leaving that a zero, which is not gonna add any sort of stalling or any any blood to the edges of this part of men ahead. I can't control and paste Jack of its layers, and that's my image perfectly. Devi edged. Put a layer below that and fill it with what's will black and I can see that's pretty good . So now why did I do this way and not another way? Well, I'm a fan of keeping a work path of what I've done because I can go in and edit it afterwards. If we look here on the building, that's pretty great. You know, there's no extra Latell anything to an towards there. But here there's something you know, more than likely, the lens of the camera is kind of just spent the building a little bit, and I'm getting a bit too much scar. Still, this I'll just turn off the letters that I don't know, put my original back home and I go to my work path again. I'm going to go back to my pen Tool hung on hold, option or cult so they get to this little on the add anchor point. Teoh two. Sorry, just a little plus in there. Next. I'll had A for my subsidies tool. Just move that in and we can see that's doing a lot better. I just made that anybody select copy paste or moving above the black player, and that's looking a lot better. That's really great. If we compare Teoh the previous one, I'll just set that in capacity. You can. You can see that that kind of edge, but that we've got rid of their nothing is if, uh, keep this photo. So I say this say this out is a PST or similar. As long as I don't move this building anywhere, I've still got this path, you know, Second, always come back to it later and grab the same thing at the original quality that I've got you. So yeah, let's keep let's delete the layers that we don't need. So I'll just switch my original day off, and I've got this great thing that I can just V for my normal points until I can just drag that straight off and put it on the administration. So imagine I've done that. Come back here. I've still got my image. I've still got my work path so I could make seduction a number of times. Someone wants a little little more radius on that. I can put, uh, maybe one or two pixels and d pitch it again. Okay, answer the next image. This is gonna be slightly more challenging for us because this different ones of workers, for example, the hits, cough and portions of their face are very sharply and focus. And there's much softer Ferguson on there. There's also some things we'll need to think about as we go around. Lack is here and on the back of the neck. It's not always up to us as the artist with things like this stay or whether they go as this models on a plain background. There's a number of opportunities we could take here such a way that on we can go out less . So it'll and you never get to hear what you said. Ellen, your keyboard. We can right click tickets. The magnetic less you tool show you very quickly. Why? I don't recommend this. This stool is going to try and find edges and typically works based on high contrast edges . That's why we're doing this because of the psyche. White background. But let's say someone bumps me on the shoulder. It's It's not ready, doing a great job of finding the edges, and it just keeps on going. You know, if I close that path and look at what I've got, it's just crazy. I mean, I wouldn't use that for much more than a very abstract to fix. There is another option the magnetic want, because this is a completely what hockey background weaken, generally expected to find the edges of a smuggle. But you see, here's where we come unstuck. It can only really look for the high contrast edges. And we're gonna still have what showing through these hairs. This is a problem for us as well. I'll show you when we go to the side. It's gonna grab pieces of your shit There. We can change the tolerance to something like 10 Teoh Negate that. We're still going to get funkier and I can hold shift while a select inside those other areas on the what, But it's just not great, you know, this is a long way around. So now I've bitched around this model and I'm also the inside there has been added to the path. So it's complete solution. There's one little piece I'd like to talk about. Here, your eyelash. I leave this out. There's two reasons for that one. I don't want to spend all my time being really per Nicosia and going around each and every little here would be far quicker for me to just paint that back in with my tablets. Two were on the clock here, and it's not really with my time or the client's time. Teoh. Spend so much time on just that eyelash. You know, this image could change. It might be the final one. They go with hick. I could change your mind once I get in the layout. 5. Transform: transform can refer to a number of different tools in Adobe Photo Shop. That could be a Wachtel perspective, just free distorts and then offer some amazing opportunities to were quite quickly and establish dimension and scale in your work. I assume, because you are watching this class and you made it this far that you know the or basic way around photo shop. I'm just I'm going to show you some of the things that I like best about transform with the simplest of shapes. A little Cuba little square. There are other. Let's go full screen. Okay, so, obviously, if it's a commander control T and I can scale this Aiken. Do free transform Teoh Change the shape or I can scale a proportionately. I can also held on ultra option shift and scale it up outwards from its anchor points. Which is this little guy in the sense here? That's worth noting that as a C C 2019 which is the current version of photo shopped at the time of this class shift, no longer makes things scale proportionately. In fact, it does the opposite in C C 2019. We don't hold shift and every skill proportionately if we hold shift. So we click shift. Now it's the opposite wear on. So that's with remembering her word of what version? And I'm actually working in C C 2018 today. And like every version of photo shop before it shift means keep proportion. We can also look at some different options, all of which you can generally access once you've you've hit control command T. So let's let's make this interesting. I'd like to just make a new top layer on their heading D for default colors and T for type . Let's just make a nice headline there. Transform confession time. I'm a two finger type ist I could never actually tap this fast. So do not be alarmed, All right, so it's not gonna win any awards. I'm just going. Teoh merged that down. So now this is a complete object with the selected I'm going to get to it, it transform, and I'm going Teoh show you first. What skew would do would skew, weaken, grab any points. We could grab any points from the center of one of these plans to start giving it some sense of perspective. Just think I'm do you hear If we are on skew and we grab one of these points, it's only gonna do that point. But can you see if you can really see this in the video? But it tends to luck lock back to that Nancy degree playing there, so there's a better way of doing that. It's going to transform perspective. That perspective is gonna allow me to grab the points, but it's gonna pull the opposite points in the opposite way, and I can just do it like that as well. I can also grab this since a piece just refined a little more and you know, I can keep on going, weaken, do some crazy stuff here. You can also go out there. So let's say we want to get you know this is on a huge billboard were looking up at it. That's not bad. Before I had entered to commit this, I'm going to hits control, command, see once more and just dragged it. And and what's interesting is if we commit that and just scale, can you see how it now goes back to the original square shape? So it's losing. It's kind of like turning the page away from me, which I don't really want. So let me just do that again real quick. It it's transformed perspective. We we went out like this. We hits come on t to just bring that in there. And thats is not turning the page. Can you see sliding along the same plane that have to find? That's very, very good to know that. All right, so it's going back to our plain Jane. We've looked at scale. We've looked at perspective, distorts is similar to respects, have accepted when I drag. It's only going to do that one point. So these days I had to do the same thing I would probably go to Distort is my go to rather than perspective because, you know, it's just one. So what I'm getting to do all of this and more or less got the hang off what needs to go where, Alternatively, we could have been doing perspective. We can just go, then choose distorts, and while we're in there, we can just modify that ever so slightly. Can you see how it's keeping this plane in this plane, as in the way that I defined them? We've also got rotate as an option here. This I've never really done as a dropped on selecting because let's say I'm transforming this again with perspective. If I had come on, see what I'm doing this and I go to an edge. It's gonna turn into the Reds a tool anyway, so you can see with Transformed. A lot of these tools are interlinked and accessible from within each other. And no more gray background. Let's take this into the next dimension. Come on. A controlled t it it transform warp. Now what by default will be on a custom sitting, which will allow you to select inside any of these little squares and start reshaping this . So now my ugly little piece of design is a newspaper blowing in the wind. I'm just gonna commit that an undue we can also grab any of these little points for more a fund, and it's and these were exactly the same as the points in deep etching where you know you're in control of the curvature we can had entered to commit that we can also just said , Come on, t while we're in here and bring it in. You know what I was finding is this was getting a bit of wide. I can see on my text that it's losing its original proportion. I like how this is kind of throwing its hands up now, like transform. Let's just undo that now, where the power of water really comes in. My mind is in some of these presets and how we can modify them. Let's go through them quickly. Och will generally do this wide rep around, you know, just, uh, Windows 95 would arts kind of thing. We can also go to our killer, and that's just spending at the bottom up will do the opposite and been that that's up bulge will be not. That's up and the bottom. It's kind of a combo of the previous two. Shell will do this so you can see instantly where you're halfway towards this being a newspaper on the table in front of us. We can also do the inverse there. We'll show up. Flag is an interesting one. You know, that newspaper been we're doing at the first quicker way repeats used flag as a starting point and then just edit this afterwards and I'll get into that in a moment wave will waive everything inside your original shape that you selected. I've never, ever used fish, but maybe you've always dreamed of any. One of your illustrations is the shape of a fish. You know, thinking of it now you might get a you might illustrated scale texture, and you could just bulge out this little fish shape and you've instantly got a little asset for one of your one of your pieces of work rises NASA's. Well, let's just move up on screen. Then you can see what it's doing. Fish are is the beginning off some of the more camera lenses that walk office us that's just gonna really bulge out and give you these like business edges. And each thing inflates is a little bit like bulge, but it's going to do it to every facet. So that's how you can start. You know, let's say you've illustrates at a football on. You want to put a lot of gone, said you would use inflates on your piece of branding. Teoh, make that kind of wrap around the bowl squeeze gives you this apple core shape and twist. Much like a wave is only gonna work with what's inside your what's inside your shape you've selected. So let's under the all of that and good to transform again. What now? The two that I have used all the time. You would think when you want to bend this around a shape. So let's say a product markup, and I want to put my branding on it. You know, Arc seems like the go to it's right at the top, and I know that's gonna wrap it around, but it's given me that false perspective that fools finish one. I really don't want that. Arch is so much better for that by default. It's kind of extremist, showing me a bend of 50. No, I congrats this points and modify that myself so I can bring it down. Teoh zero. And it's my usual square can go this way or that way. So let's say I make it something a bit more predictable like this. I can also come up to this value and fine tune it so I don't want 18 17 I 1 18 Exactly and commit that. Let's go, Teoh warp again and I'm going to show you my second goes use, which would just be Teoh Arklow arc upper. And I'll show you a great example of this in a minute. So let's say I'm putting this on a product markup. I'm matching this to the angle of the product markups. So let's say somewhere around there. But, you know, if I wanted to look for to realistic, it's not gonna be this perfect are symmetric thing with the bend of the top in the been in the bottom of the same. So you know, I'll use this arch and commit that, and I'll go again to transform what and depending if I need to just modify the top of the bottom, I'll get into this our KLA. I've still got my original watch that I've done here, but I can just flattened out the bottom as you would get on a real bit of photography. Or if you're wrapping around a wine bottle or something like that. So enough for the theory, let's have a look at some real world examples. So each and every one of these products administrations are not photographically based on any capacities are completely illustrated. For example, this metallic texture that I've got in this can uses a number of the effects were gonna learn in this class such as Dodge and burn What we're learning now. Noise definitely transform. Laia mosques once had illustrated this can to get all this branding to bend around it. I used warp and you can see I have used arch here and pulled it down. You can see they have used arched again. But I've used an ark load, so just pull that out as well. This takes layers. All is a notch. You know, I remember doing this in separate elements. I could really mold it. You know, this gives a lot more than this because off the way, the linds would seem to be in this little surfer toe, so approaches like a photo. But compared to this one, which is more theoretical, this is going quickly into a broad sheets and a newspaper ad. And the designers, Really, it's completes of designed of illustrates in my can to match the proportion of the design, and I basically pop the whole thing on. I would then ocular to pull that down to this an arc upper and just pull it there, and I'm essentially done the same again on this bag of force feed. This is where I would I use inflates because I needed to be in this way and I need It's have been top and bottom as well. And then there's other bits, the off branding which needs to go on this top seal, which I would use arc for and just pull it to the top there. Sometimes you get something like this where you have to warp on in pieces of artwork every which way. This I would have used a combination off transforming warp. So I put this branding on and instead straight on here. I'm going Teoh use walk to bend it to the rats and lift. So it's moving along with this frame and then I would also use perspective and distorts it just fine. Tune it around as this whole peck is leaning towards vanishing points. So you see transformers so much more than just enlarging and shrinking things in photo shop 6. Masking: mosque in and Photoshopped has to be the M V P. It's similar to deep pitching in that you are just keeping a piece of the image that you once and essentially you discarding the wrist. But what the benefit off masking isn't Photoshopped is that it's nondestructive. That means you're not losing any work when you do it. Mosques are easy to explain. It's just like a mosque yard where it's hiding something. You can take the Moscow off and boom your original faces back. This is exactly the same. So what's human Just here to demonstrates? I've got this piece by Jason Hartono, which you can grab from. The resource is folder if you want to try this with me and my project file that I've been using, which is a beautiful, fluid painting by my mother. So let's say I want to take away some of this environment around her and let this background of man sure through are basically come down to the bottom. Off this layers, pellets on a click lay a mosque, and that's added, and that's Little Wide Rectangle day. Now what the layer mask is gonna do is it's only gonna work in black and whites. Whatever is Watts, we'll show through whatever is black will be hidden will be mosque. So what you might have noticed if you eagle at us. When we started this video, we had different colors of here, adding the mosque of switched back to my defaults because it knows that it wants to. It wants to use those colors. If I click back on my image, it's gonna flip back to whatever colors I was lost using and photo shop back to the mosque and its got black and white there. So essentially, because we want to start masking out some of this image, we're gonna hit this little button here to you flip black to the foreground color. We're gonna pick a brush. Let's pick something sensible, like just a hard round brush with 100% capacity. And make sure I've got my mosque selected are to show you what happens if you don't do that . So let's say I did all of that, and I, you know, it's so interested in looking at the colors. I was stolen, right? Image here on a paint black that's on there for Olaf. That's on my image. They see. If we can just look at this preview bound a bit better, you can see that's on my image. It's actually baked on, then that's not what I wanted. Also, that's something you might find yourself doing if you knew some asking. Well, just under this, but I want to do is click on my mosque, start brushing and you can see wherever I paint black. That image disappears. If I make a mistake and go over, I just flip back to what's and I can paint it back in. We're doing quite a crude job here. Just for the sake of explaining the mosque. Of course, we could go in and really, really, really get down to the nitty gritty, much as we did for the D pitching class. Um, what this won't give us is the flexibility of the are using this for deep etching off the part where we couldn't go back again and again and again, This is always gonna be painting. So, you know, I get it perfect now and a bumper thin. So I have to go back and painted now. But essentially yeah, this is This would be the careful re touches method for bringing a creative background through for an image. Uh, what? I want to start showing you some fun stuff. You know, stop to something a bit more creative like, Let's take a really chunky charcoal brush here and that lay a mosque will take on the characteristic of that. So this is something you can't do but any other method, to my knowledge, so you can already see you could have some amazing possibilities here. From an illustration point of view, Regan also set the capacity, so it's not 100%. It's just, you know, doing this. What we are, like a 19% opacity. Let's take it up to about 47 you can see we re seeing a combination of the two images there . If I change my mind war for that man, I want to edit anything on the mosque. I can basically hold option on Merkel Haltom pc. Click the mosque and then I'm getting a look at the mosque as I've drawn us. If I fill it with what's its going? Teoh reveal everything. If I fill it with black, it's going to hide everything, so let's leave it on black and switch to white, says our foreground color and pick that same brush. I'm gonna put the oppressive see up to 100 again. How cool is that? Pretty? One of a shame. Three. It's not great. There is just V to get back to my normal point until something up until now. Just hear that. Also, you can have a better look at it is that these have always been linked by this little chain in here. And what that means is that generally, whatever I do with this, it'll move. Is a little family wonderful? But if I uncheck that and click on my image, I can actually move it within the shape that I've drawn. So that's super cool. You could imagine the possibilities for, you know, brushing in some amazing shape and then trying different images inside to see what fits they can get. Get creative. You have a crossing, as that's all. You can make it fit. Quite nasty. Little the the detail bits are filling into the clear pieces of your mosque. Now here's an example of a layer mask used an illustration. This was an illustrated piece for a window display for large retail clients, you know, in South Africa and Wind said it never really gets called. It just gets dry. And these are the plants that flourish in those conditions. The reason I'm showing this to you is I wasn't using mosques in any kind of traditional sense. What I was using it for was to put a texture into the mosque that would punch out some track bits of these flower illustrations to give it a country kind of earthy feel with the scratched one texture. And that is super easy to do. So I'm gonna show you how quickly I'm looking in the original Project folder. Believe the one I once is cold, pretty with texture. So let's let's open this one up. Yeah, this is the one. So first off, I'm just gonna group and hardly layers we don't need and just get it back down to basics or conceal. This is built. I'm just going to you just able the mosque that's on there and we can see this is a victim illustration done on Adobe Illustrator that I've pasted into further shop and added, A mosque on top of the mosque is a texture that's been pasted and a scratchy kind of starting points. It actually looks like I've used one large piece here and then repeated it, using the clone stamp tool to get variations in capacity and distribution of it. And it's very conscious about what it's showing and what it's hiding and where those pieces of texture go beneath that flat color. And you can see it shows through aware of the Damascus hunting and, on top, a canvas texture just to unify the whole thing. 7. Brushes: Wallace isn't necessarily a class about digital painting. Brushes are an incredibly valuable parts of Adobe photo shop from the built in brushes, some of the awesome Kulti ribs, the ones that were added a couple of years ago, and even the fact that you can make urine samples and ACLU those as part of your brush. Pac men a new art Bored I'm going to go select my brush till it be on your keyboard will go to the top corner here to see my options, and I'll just collapse all these so you can get a better look at some of the options. General brushes are an asset of go twos. There's some hard ones from soft ones, and they give a good idea of what they're gonna look like. I'll just pick one here. I think it's important to know how to modify your brush on the flower. Let's go up here. We can see with the slider. We can play with size all the way down from one pixel up to 5000 pixels, which is around about the hearts of a large written a screen. You know, some play with the hardness if we stick Teoh the rights. It's going to be rock hard with super tack, crisp edges all the way to the left. It's gonna get fuzzier there, a soft brush. And we can do this for just about any brush from the list here. If we ever look at thes legacy brushes at the bottom here, those are basically going to be the full pack of Russia's that have been in front for years and years and years before. Adobe acquired a huge, huge set from Kyle T. Webster. And these are some of the ones you can see. These essentially replace all the same folders with media, dry media, special effects, brushes and such. You can get just any any number of things. If you dig through these, you can also get ones that imitate real pins such as mechanical pencils, paint brushes. In this sort of thing, there are hundreds and hundreds of possibilities. So go explore. I'm gonna pick one that's ready for pressure, sensitivity and going, and it's about 50 pixels and just draw with full pressure. So we're getting a straight line there. It's clear that's and I'll do you one with pin precious oppression very softly and getting harder and harder, pushing down on the seven more and more and more you can see. It's, um, a little bit rough. Look up here. This thing called smoothing Very important for that. But that's a full blast. Let's do the same thing like a great that ISS. So photo shots basically throwing me a real boat in here and just smoothing out what I'm doing to be, you know, so much better for Littering and lan work everything. So I remember we talked in workspace, this top area. This is generally where we can form at the tools and, you know, customize them a little bit. This is very, very important to always look at this for your brushes. A lot of options here, which will really make a huge difference. Unassisted floats 100 for a smoother kind of effect. Let's go to window and brush sittings. I'll just pull this terror bats so we can get a good look at it and I'll expand it for you so you can see some of the options. This is where you really, really fun. Chain each brush. So we started with a hard one with pin pressure but right here inside of brush sittings We can change that. Suggest about what? Anything we want. We can still play with hardness. Take that down if we want. And you see how we getting a live preview here? So I've always found this really, really helpful. You're gonna really see where where that blue is gonna happen on the strike. So it's pretty tight. Still, when it's skinny, thicker, it gets, it's gonna basically spray out more and more. So let's try and see what that looks like. Just just up my brush size a little bit skinnies getting pushed hard now and you can see you've got this fuzzy effect. We can also play with the space things. This Yeah, each brush is made up. Also find you in the hardness there, get the process down and just draw a strike. So is that slats like Lauren in which I quite like, put the harness up a bit You can see compared Teoh, you can see like just a little bit of variation in this ladder. How different defectors. And it's this not quite spring, almost like an X ray kind of look on this sitting anyway. No shape dynamics is a must left unchecked, we basically just get a worm here, and that's not doing anybody any good. So I always keep this checked on and always make sure it's on before I pains now, for click on the name of each of these muds can begin to sit things like the minimum diameter, the variance and size. How much does it go up and down? And in this little window, we'll get a live preview of what we can expect when we put pen to art board playing with a minimum diamond So we can, you know, kind of set the roundness of the edge of the stroke. Press the lettering. You wouldn't want something. So, Sparky, you actually get thes nubby little ends. You can set the size of that in comparison to the the thick body, the angle Jet Sizemore. If you particularly wanna work with the angle, you hold your pen. It's You guys will know if you've ever drawn with, like a killer group, your marker or anything like that. Depending on the angle, you hold it. You'll get a slightly different shapes stroke when you're pains. Often, I said a bit of texture. For this, we're gonna have to choose the most suitable brush softer. One is gonna work better for this. You'll see how it changes that soft fade and says something but more crunchy, depending on the brightness and contrast you give it. Let's draw something with that. You know, this is a lot more that, like hard boiled spray, can kind of look and also just the scale, which will give us the final kind of tooth on the edge of that stroke. Let's put shape dynamics on after this. Notice how the scale adjusts with the size of the brush, so it's responding to pin pressure. Let's go up to Peasants E and take a dance. About 90% we're seeing in quite yet until we draw something else and start overlapping there, man, you see, you can get this really cool kind of spray can look where it's in the flow down as well, and now it's like a real spray can kind of effect. So the more coats you put on, the more opaque it becomes. Let's move the societal upper brush size and just Teoh one single click. I'll drop the brush size and press with full pressure shape dynamics and six job, both answering to the pressure of the pin, coupled with the capacity reload earlier. It's giving quite inauthentic. Drove you paint. Look, let's go back over to our brushes. I will close those and go to special effects. Brush is gonna pick one of Carl's bets of Russia's full of Pesenti and just a couple of clicks here to get that offensive over spray kind of look, ladies and gentlemen, brushes and photo shop. All right, I wanted to do a short overview off the different ways a brush can lend. Some possess, I guess, to your work. These three older pieces you would have seen in the class intro I'll tell you a little bit about each one first and foremost this concept piece for a promoter for an event. I would frequently use something like this to both sure that it's in fact, in the concept stage and also to give it kind of a hand rendered feel. This is simply a texter brush. We conceive from the edge there with a shape dynamic answer. I'm pressing very lot in getting thicker as a cease or done, the brush itself. Is it Teoh? Probably 50% of passivity and multiplies the mode so that every time the strict crosses overlaps and gets these darker pieces there to finish off, I've added some noise and median, which we'll get to in a laser lesson. This man, by comparison, was full and internal. Promote a piece for the agency awaited at the time. This is a simple as it gets the same shape dynamics going from really, really skinny, stroked, thicker in thick as a press harder and harder, then changed Teoh and a razor brush sits at about 25% capacity and just brush away until I get the feeling that that's, you know, vaporizing away. This by comparison, a little more complex. You can make your own brushes of it. You can also get many interesting pecs off the NUS. This was a free lack pack brush. Were you basically brush away and it would just randomly generate wisps and little bits of smoke. So this is a combination of about those brushes, and so just a manual work here. This is also a good example of, you know, the dozen to the first Listen we did where were D pitching photography, and I would imagine a lot of you thinking like, you know, this is just administration, but why are we doing photography? But this will be one of the cases where you might use a reference image, say, like the A woman in the street were kind of shot sitting on the steps. In this case, it was a woman dancing. The reference fighter went behind and painted painted over it. I didn't need to sort of keep the photo, but basically got the same look by basing it on the reality that comes with a reference for There's something else we had also used with brushes a lot. And I just use this important of the woman as a quick example. How do I take this to Morgan Illustrated? Looked a lovely little tool hidden over here. If you just right click on this little group, you and go to the smudge tool and it's quite clearly a you know, little finger kind of points. And that's gonna push all these pixels around for this, You know, with that, with that selected, I'm basically gonna pick something. No. Wanted to pick up my pen pressure and also wondered opacity and flow. I'm gonna check finger painting on here and get my brush us down and show you also just make sure I'm working on a separate layer than the original. So if I work with straight away, see how that pushes all that stuff? Are you getting this strange so very look, which is not very appealing? We put it on our person. You can see you can actually just do this really strange, creepy thing that can also be used to some sort of effect on illustration. Generally, I put the strings very, very low. I also wanted to show you for winding the edge that's gonna push that out, too, sir. It's always good practice to go every year, two layers and unlock transparent pixels and then lonely paints what's inside Malaya. So that's just a quick one here. Now this Israel time. You don't need to worry about working quite his friends, because this blame it on the job. It's just a technique I've used or 100 times maybe Quick Portrait's of people and birthday cards and mark oil paints things, things like that. It's it's good for a number of things and you can see as you smudge the surrounding quite aggressively. In fact, the more you go over each piece to get a great painterly look are setting the strength on a very low sitting. The more and more kind of stood these pixels around them, or they look like they're painted big, broad strikes to mix it together. You always want to pull in the direction of the skin normally travels in. So, you know, we don't want that to go like that's what you want. Just bring these little eyelashes at you just changed our softer When I think you gotta see we still kind of photographing on that side The side We're getting a little more painterly Just a nice thing you can do with you're smudge tool 8. Dodge & Burn: you dodge and burn two of my favorite tools in a W. Feder shop. The Dodge Tool is going. Teoh, lift the turn of the image. The burn tool is going to add to it another tool. We can ask it to look at the shudders, mid turns or Halutz and the exposure over here. What you really need to know about this image. This is it's completely destructive. So here's the raw image that we'd started with you remember? We d pitched it and we've got a copy here. So because I'm really going to go to Thomas, I'm just gonna make myself an extra copy, which I can discard. At the end of this class. I'll start with a Dodge. We'll ask it to aim for the mid turns and just sit the exposure to, say, 50 which is quite extreme for this. I'm going to choose a probably just a soft, round brush, and I'm gonna you know, the midterms would be something like this. It's not shadows, and it's not highlights, but can you see as a paint? I had left that to a mid turn. The six This, um, sitting is quite severe. I just want to show you what it does can also change my breast size. But maybe I want to add more focus on the nose there. If I go Teoh harlots. Can you see how it gets? Woman. It's actually, you know, really starting to dial on the turn around the skin. What it also does his throttle. This contrast CNN becomes quite a severe ramp from this color this color, so you didn't have to use it sparingly. But you can see already how she can start to get a you know, like an airbrush sort of look, and you just pop that on. It can almost look like stage makeup where you know you're a robot or something like that. If I go to shadows, well, said the explosion. But yet it's quite NASCAR's. It doesn't really do too much, and it's you really on a dark shadow. But what I wanted to show you is, where is that was really warm. There starts taking the colors out of it, so I generally avoid this one. You know that this doesn't really look good. It looks artificial, I think, to say the least. It's under a few steps. That's just option commands it. Old control. Sit. If you're on Windows now, the quick way is because we've got in front copies of this lady will just drag down. He had to make another copy. Um, let's compare that with the burn tool. So around mid turns again, I think, Let's put it at 2%. That's a nice halfway mark. See what we get. Can you see our pronounce that IHS So for this, we probably wanted good with a really, really soft brush, and I'll drop That's about 20 again. And let's see what we can get out of this picture. See, we're bringing you, but you know that that bit of shadow used in and, um, just bother Corner even has there, and we're taking it up here. I can also increase the the drama around the eyes, maybe left the channel. Little bits, lips, word, you know, in midterms is the area we have. Both of these tools really shine because they tend to complement it. And just at a little bit more into the photo that was already there to start with. When you go into pilots, this one does the opposite. You know where is Dodge would make you know on the shadow sitting would make it look a little dull. Earn on the on the highlight sitting does the same thing where it just takes the color out of. And it doesn't look, really. It doesn't really look very effective. Look, it depends on the image you've got us all. So let's do a quick we could what it does on the shadows. See, this is its strength. You're brushing and you're getting a lot of saturation when you're getting a lot of 60 as well. I think you can start to see how these can work. Intend. So that's just cycle three. Those will get to Dodge. We'll lift the mid turns. Russia good. But in the middle of a nose to the front, reburied lips. Well, blow out the highlights a little bit the watts of as up as well, so you can see him quite a quick space of time. Let's just compare Teoh. That's what. No dodge and burn, and that's the Dodge and burn. Now this is completely destructive, which means it's not a little afterward, so this is something to always be doing on a spill and always keep it. Least one back up, your files untouched. What we can also do then, is go, let's say more extreme on this layer. I can adjust capacity down over a normal layer below to adjust the exposure. This was a pitch that was done very quickly. Elect. One evening, when we talk about needing to do pre production, this would have basically gone ahead. Teoh, a three d artist, to model this this little creature. But as a proof of concepts, I was hired to just get a you know, do these little sketches and get a look at how they done. And this is completely done with the coloring, at least with dodge and burn. So this is the outlines or a pencil drawing that I'd scanned in and under that I filled a layer of yellow and they just started and burned my way around to give the dimension. So where it's warmer and more saturated, that's happened going for the midterms and then because this is underwater, you know, if you ever see a photography of fish is always the underbelly, that's kind of catching that reflection off the ocean floor. So both Dodge and burn. I used the and I was happy for. It's a sort of take the saturation out. Really, It really gave that authentic fuel over that. I've also just thrown some general course sticks to give the idea of the ocean bed reflecting. But you get the idea, especially when museum on how you can get quite a nasty three D. Look just for this simple dajun rentals and brushing them in. Let's close that this was a memorable job for Cadbury's India, where myself in another colleague had two days to come up with this many different ideas for chocolate bar concepts as we could. The time is to monitor quick and efficient way of working, especially its would be working in tandem on different machines. We needed all the colors and values to be the same, so dodge and burn with the weapons of choice. These are basic brown geometric shapes that lay down, and we agreed upon values for the Dodge and burn that reduce and just brushed it in. Sam speaking the brown. I'll just go for the General made sense not to documents a lot. Somewhere around there, I'm gonna choose a harder brush that's gonna listen to the pressure of the template that I'm using. Make sure the lemurs are normal. Capacity 100 one circle there. Hold shift. One circle day, and I'm basically more or less drawn that shape there. While I've still got this brush, I'm going Teoh Hold, uh, my lift brackets. So it goes down a size that you see, and then click this color here and just move it up to like it somewhere that looks like the inside of a chocolate. Line it up there. We basically got that there. Now, with this flat shape, years on, all stock starts this magic one tool that we used Teoh deep each the third image of the street we won. This is gonna come in handy here. I'll basically just select this. I'm going to go over Teoh Burn. First of all, said it on mid turns. Something like 20 give my brush a bit smaller, maybe. How that's actually in this case just to get that base in there the most back in with shutters. I'm going Teoh de select. That's and now I'm going to select this piece. And here's the thing. If I go to you, my Don't you think you get an idea that I'm gonna basically do that for a strap? Rats? I'm just gonna swept through on this one. You can see it needs basically this This kind of rim needs to continue around here. So let me show you what I do for that. You know, I select that again and because it's different values, it's not really grabbing. Also, Clarkin just hold shift. You filling that and get the similar information. Now, with that circle selected, I'm going to go to slicked I can go, it's And what if I can go? I can grow it which will do this sort off organic way of pushing it us. I like to go Teoh, modify, expand and said Teoh, let's try five pixels and see what that looks. OK, so you can see we actually need to go a lot higher than that. So let's go select smart if I expand. I think 20 is more reasonable amounts, and that's getting close to that room size. Let's do one more select. We've lost our selection, so we just go re select. We congratulate Oh, that further, sir, Let's expanded by another five pixels and that's getting plus. So let's say I brush that and already enough Forgot to do that. You can basically just sample that color again, getting a hard brush. I just paint that back in bedroom right back in. While this is still selected, I could inverse the selection and get my dodge tool again. Basically, start brushing a little bit of lasted in that room. I also want to lower the exposure, so I'm not over doing it so much, and then it kind of melts back into the silent Here, you can see we've got to get a lot from a few different points to get this to get this this kind of effect. All right, back to the front, I would just select here. I'm going. Teoh touch the shut his festival to get this nice bit of six year. Okay, so how not such will be the other extreme And give me that really warm, real warm section there. You can see we're getting there, and it's, you know, I'm going a little slow here just to just Teoh, you know, give you guys the full deal, but you can see it's actually quite quick to put together something like this. Let's get through to our burn tool. But Remittance for here, we would have pops it up a bit and just gone. And we're that good. Good burn there. Some of these other little pieces, like the little, uh, butts of candy and dots and that, you know, basically get in there and really just paints it up. I'm not gonna do that for you now. I just wanted to show you how you basically get from a basic blob of a shape. Really? It's having a bit of dimension just with dodge and burn. 9. Clone Tool vs Healing Brush: the clone tool and the healing brush. Teoh deceptively useful tours in both retouching, extending backgrounds and generally putting things in the image that went there to start with. So the clone stamp tool everyone and be absolutely correct in its naming in the healing brush are two of part of a family of retouching tools that live over here. Well, we've got the clone stamp tool, and the pattern stand tool is a group there. We've also got a number of healing brushes is spot healing brush tool, the healing brush tool itself. Patch tool contents are removed to one read article. You can see these old fixing things basically in photography. They do more or less the same thing. The plan toolbar not mistaken, was information before the healing brush and what we might have done with mental in the past. For you, no retouching faces and things would now do with a spot healing brush for sure. So I got a great example here of the number one thing that beginners always want to know. In photo shop, I have this on good faith. Blemish removal on mistake reveals say, without further ado here, us are subjects This is an absolutely smashing photo. Scott Webb. This is what I'm going to show you. These tools and I didn't think was fair to use it on a real person because we all have those days and I just want to make an example of anyone. So with my layers selected and that could be this layer or a full proof copy of that layer cloned stem to let's say, I want to get rid off some of this muck on this little toy model here Gonna hold on option on the Mac adults on the PC. What that's gonna let me do is basically click here and get a reading off this little sample. The same size is the brush I'm holding when I go over the, but I want a clone that's gonna give me a little preview. I can see. Look, if I drag, you can see it's a bit darker, so it keeps whatever it finds there. So it's about where your position it's about there will probably do generally keep it on a quantum low sitting. So about 30 capacity because, you know I'm sampling, but I don't want a exact for Senate facsimile of another piece of the graphic you might. You might have seen that Mihm about the client's 10 to 1 100% hardness. If you haven't here it is. Now. What can happen is I'm not sure. Well, you can see this, but you know, it's kind of obvious what I've done there. Sitting a softer brush can help with having less of an edge. But it does become a game of skill. Teoh choose, you know, to also options select the rap sample to use. You can end up. You're making quite a blotchy image. I'm not gonna sit. You know, this is not a retouching plus on skill shoes. I'm not gonna sit and go around the whole thing. I think you get the idea. A possible put full is perhaps I've been cleaning their to select their and I forget to redefine my next points. I think you know what's gonna happen. It's just going Teoh, start painting another eyebrow down there are my pick. So let's get a window and history and just go back a few steps until we see that disappear . You can also change our brush size and I worked with a very talented read such. You always recommended Teoh not much bigger than the thing you're trying to clones. I have to say it does yield a pretty good results. You know, if you're lucky here where you think you're doing, put quite all you could sample a much Portis section and just one time some people also like Teoh in a re option or world select there and kind of dragged rather than Schepens. That can also give you a pit full of you know, Is these kind of like freaky but bits of markings. You know, you you can have actually propagating them further over the image, which is not great. So let's compare that to the spot healing brush tool. Now watch this I'm going to do you have a nice soft brush only slightly bigger than the air and transplant. And just step it once and it's gone. So this is using some of the technology that was developed for the clan stem tool and doing it for me instead of me choosing a similar area based on my perception of it, it's going to just look around that piece that I'm tryingto clue, nods and take a median of information from there to do it, so you can see this is doing a fantastic job of this. So I like to use this little thing to remember he'll when you need to conceal clone when you need to reveal, and I'll show you what I mean by that. Now here's a good example of an image. We were definitely used the clone stamp tool rather than the healing brush to get it. This is an insane, for it's a beautiful photo that the clouds seen on a flats above Panama by photographer Tom Barrett. So this is a great example off an abstract image. So this is something of a Devon using illustration. But some portrait's and I needed in a layout like this. So let's say, you know, let's say I want to use this kind of crop. I haven't got enough of the clouds. And besides, here now the Chief Smith, it is just to scale the image to with. But I'm losing all the drama. It doesn't show me the scale he's got in this photo. And now that is this. I actually need I needed least as much of this, you know, just the way it kind of peels up. But I've only got about 1/3 of my canvas here. What am I gonna do? So let's try something here. I've saved this out as a PST because I'm gonna be using layers. Here is Well, um, we're definitely gonna use the clones dental here, so check it out. So I've got the photo on the first layer, and I'm just going to make that brand new lie. On top of that, you can just click down here a few once I'm using a little customer shortcuts to generate them quickly. So let's settle for minutes and see what happens if we just use the clone stamp tool. So, you know, also option and choose a bit of cloud. It's taking a big one, actually, and it's going to give me a little ghostly preview of what it could look like. They're. Problem is let me just do this. Problem is progress. Let me just do this. Any researcher with the assault is going to see that Repeat, any retouching worth their salt is going to see that repeat there. So it's a challenge to find bits of cloud that are not obvious. You know, this is hard contrast. It's got a lot of very obvious pieces. This wouldn't be too much of a generous that already looks like duplication and these little bits, you know, popping up all over the place. But for this guy to be quite careful, see how have also avoided that new layers. Something about basically baked around my marriage again, which is rather silly thing to do. So let's go winder and history good. The hick back to new there, you know, I can still do this. I just want I can still sample the day I want to dio and what I want to do is just go to this chick box and instead of saying current layer which, as we can see, is completely transparent say current and below all this dual there's it's also gonna take from this black here which is not great seven to go current and below. So I'm essentially filling this layer here but taking information from this one. So let's go again. You know, I want I want I want to basically persons out of it. So I'll go for the low hanging fruit, which is this? No easy, granny. Kind of out there That's gonna repeat fairly well. Make sure not soft brush there. Um, it's just go but smaller here and start planning in remembering Electra design School. Who would talk about working from the general to the specific? And that's Devon, your rule of thumb yet already seeing that this is kind of similar t this. I might still a bit of that for the top. Well, making us fill area here. Don't worry so much about these hard edges. We'll go in and find shoot them later. We basically want to get the big shapes. And first I think if my focus area is going to be, yeah, no one's gonna hold it against me if this little god because here again, let's get some more generic stuff up there, mix and match obits. You won't always keep moving, you know, compared to the freckles on that little dole we were just doing, I don't want to stay in one place for too long because it's going Teoh become just really super duper fake. You know that I'm pulling and basically putting the same stuff across. This one should be a bit easier. Well, just keep going around across there with this stuff. Let's just catch the in the That's the finished this one off. So, yeah, we're gonna speed up here, but and this is Howard Stern, and it's not perfect, but it's basically enough to get the general sense of this drama that he hadn't all that. What I would tend to do now is I don't want to overshadow the focus area here, but I might get some of these shoppers clouds and just have them peeping in there. For that. I would create a new layer because I don't want to keep mixing into all this stuff. And I want to be able Teoh Copy. That's and just keep on, keep on reusing bits of it. So let's get a little bit of this stuff. Yeah, the best seat a bit. See, these are really great, and we can combine them to make new clouds on the lane piece there for you. But now that that's on, its only I can come a choose Red live. So maybe maybe I like it rolling out your you know what? Some of their especially if I'm dropping it. It kind of blends in a little bit better. I can also drop the opacity, the if I once it becomes a more subtle effect, but also just grabbed my raise and brush away it a little bit. So blends in a little bit of. But we've got this idea. Let's say let's say I'm gonna have put a bit of an effect on this suddenly abstracted further. You know, you're not really looking for the repeat quite as much. We looked at photography, and that's fine. Even even this clouds, you know, that could go a long way towards it. Mass illustrated comp. I might even use this in my project, to be honest, but specifically illustration, I'm just gonna truck over to marble Hans here. This is a job we did for a famous local coffee company that was going into the retail sector. Part of the concept we had was taking guys on a voyage, Teoh the different regions where these these blends come from. And that's Kenya market Java, Colombia and Brazil. And the concept was to take a coffee stand and essentially haven't come to laugh. Andi have these beautiful things bursting out of it for Kenya, you know, just that some of the animals and birds is very famous for elephants and just start queuing things like the history with the spears and coffee beans and trees and the sense I'm still look at first glance like a coffee stain for market java. You know, you want that escape to the east feel So we've got bamboo and butterflies and some of the architecture and just that the plants and everything Colombia from the outside looking in your eyes Want that? That symbol of power, I guess which is, You know, these giant eagle wings and this very tropical top of flora. And then what can que Brazil more than the across the redeemer statue. But the coffee beans again there again. And that's to can just these beautiful flowers and things. All of these were created using the clone stamp tool and a little dajun burn from four simple stock images of coffee stains 10. Blur: way is one of the most simple and not necessarily overlooked. But this one doesn't get a lot of press, but I think it's incredibly powerful. And it's something I would encourage you tell to master early on, because what it's gonna give you is the same opportunity as an expensive lens on a camera where you can use used blue to sort of push the background back and put the subjects in the foreground. Also, what you can do is if you're doing painting and brushing and that kind of thing, it's just gonna allow you Teoh kind of feather off the edges in that and it's super cool. Let's take a look. Let's look at this more like look, book one for an example. So earlier on a deep itch to I've got my path or make a selection, I'm gonna put her on a new layer, and I'm also gonna copy my background because I'm gonna play with the Blur on this. It's just called a slayer. Blue eso She's the model. I'm gonna lucky so she can't move. See, let's go to filter blur, cause Sembler we can start putting some dip the field into this further wasn't there now Barren man. If we're doing a proper job of this weird carefully mosque at the stairs as well, because East is on the same plane, it's years, so it shouldn't really be happening. One way around, that is, we can quickly do a layer mask, drag black twat. Search that back on. We're basically we've used the master hard to beat the copy that we've blurred. So you've still got focus. You have the original there underneath, that's one above starts to blow, and then we've got our model on top. So another good cause for keeping this path like it sort in the D bitching listen just allows you to do some fun stuff with it afterwards. Let's take a look at another example. Just make sure we know that's our blue filter blur. Martian Blair, now motionless, typically used Teoh make a hot wheels look like it's going fast on. Some packaging will basically described whatever you're doing and the more distance you put , the longer the images stretched and abstracted. So imagine we did to this one. Suddenly, it's fashion and a fast world or something like that. Led lights now become, is interesting beams of lattes. And once again I would spend a bit more time making sure hands written getting blood as well. You know, we just want to step into the background. We could also do it in a Nancy degree angle, and you're starting to get a lot of vertical focus on her. We could do the same thing again with a layer mask and rubble that away. So it's just these beams of latter tend to disappear that way. If we take a look at these products, other stresses again, let's focus on this red one the way to get thes hot nuts on either side of the can. Basically, George Shape and Pullig radiance across. But I need a softer inch here and a harder edge on the other side, and the way I do that is to select around. That's with a feather on the selection and at a blur. A kind of quick and snappy way of turning a photo into illustration is with surface blue. So let's take this one, I think, is a good example, because the original because Ghana richer, actually, you know, in his styling, and it's got a lot of noise, and it's in a natural grain, so that's going to give the best example what I mean. Yes, select that part three made earlier. Put on a layer I'm going. Teoh, unlike transparent pixels. So when I blew the ages of her face turned blue and let's go to filter, blur and surface blow, you can see an instant results, and we can play with the radius and threshold. Let's turn by the first down and see what each of them do. The radius on its own doesn't do much at all. It's just looking at how much of the detail to add the blue, too. The three shoulders, the amount of blue so you can see here on the in a broader areas of lattes on face it's doing it, but on the edges, it's not really doing it quite so much more. We turn off the threshold soft red gets, but you know it's still not going for the shop of things that need to stay sharp, like your eyes and your clothes. So that's kind of one of the you know, when you do it like this, it looks a bit like an ultra Snapchat filter this fake ones. You know that you always complain about online, but you could get the idea off and making a new layer on top of that and getting yourself a let's see what your use a pencil. Maybe in suddenly it's and I can do some little stylists. Statistic illustration. Once over here, that's pretty rudimentary, but you've got the idea. Let's let's see if we can find Chin that a little bit more so we'll go against you. Blue and Surface Blue. Let's take both of these. Donna Betts. It's put radius down and put threshold up, See what we get, so have a go the opposite way. It's actually becoming more like a blue heeler is image than anything. So I think what we can see. Yes, it's about being fairly frugal with your inputs levels that you do have pixels for the best results. Now she's She's looking like a really, really good airbrushed or painted administration, especially in the face compared to the floater. So that surface player for you, one of the things that's administration seem Goss got us again and again. To do is to generate steam of all things Lord knows what layers. We have looking here from these days. Let's just make a brand You on on top, I will. Here's this little smudge car to extend that into little bits. You get the idea. We can also just squish that a little bit more like that. Well, good filter, Blair out. Also, it goes on for this. I don't want as much as all that's pretty something more like this but five and then selects for the radius of about 10. And from about halfway up, I'm going. Teoh give it goes M Blur again. Select a little higher, goes M. Blair again. So that's a little higher because the number again now you can see as it gets higher and higher, it starts to dissipate into the atmosphere. And so it should. I might go over all of that again and just give it another go assembler. It's because off the feather that we've done on the selection, that's it's not kind of having this abrupt thing. Let me show you what would happen if you don't put the further on. We got are shaped like that's. We'll give it our cozy and blue that we had No let's remove that for the selects halfway down, as we didn't put Go Sembler again. You get this very abstract join the same principle applied here. You know, we had service a sort of a larger design team, and it's kind of humorous to see now, but this steam option one steam motion to taken the liberty of just putting a black layer. And yes, we can see what's going on. This it's getting bigger here. Steam Option one steam Option two. We are gonna gets this Russian just to all these random things like this, As much as you can deal just ground like that and use probably a box player on there. So it starts going all over the show and getting quite abstracts. Do you see a new layer more little slinky ones there and we want them all kind of developing from each other can also get the brush says down tiny just to get these little wisps a beautiful pen pressure coming through. And then with those, um, probably Gaziano blur. To be honest, something like that. A little bit of Martian blue. It's a Nancy decree angle. Just take down the severity of that drop the a passivity of it. That was a little bit more. And you can see you can quite easily gets steam. Option three. See how you would have looked back in the day. Just stop. Make a duplicate of that. Sets a bit processor. Yeah, I think that's a contender. 11. Noise & Median: you noise is about adding grains win image. So in one instance, you could be doing an illustration where it includes portions of real photography, with bits of victor graphics and things you painted. There's obviously going to be a bit of a shift in the believability that those were in the same room together. So you get what I mean. If noises at in grain think of median as reducing it medium looks at the contrast between pixels and adjust that. So they're about kind of softening the grand, and it'll give you a gentle kind of noise in your image. Let's take a look. We're back on this rather wonderful studio portrait of this woman. She's being deep it, she's on her own layer, and we expect the background color. Now I'll show you what the typical use off noises, and that's as a finishing you can retouching. You can see on this background because this is a digital flat color, and this is photography, which is taking on a lot of information in such as, you know, the texture of his skin, as well as the sharpening and processing that the photographers put on here. She's just not really living in that oven rock environments and noise is one way of dealing with that. So we're gonna go to filter noise and add noise. It starts with a more default setting off uniform or the low value and the check box ticked off. Zoom in a bit. You can start to see it here. Weaken. Just previewed like that. It's not very close to what's going on you, and we can try and get around that by maybe upping its you three or four. Can you see what's happening there? You know when you got on this sitting, it's essentially building out of Audrey colors, so let me push it right up so you can see what's going on. It's just basically at throwing. And random RGB values, too, disrupts the flat color for your goes in even more so it's like a Sprinkle nightmare. If you let a preschool a decorator, the cake we're going monochromatic. That becomes something else entirely. You know, you dial that back a bit, and now you've illustrated sandpaper. Oh, it's a really grungy texture you can use in the background of something. I really would go over 10. I preferred cosy and uniform. I just think uniform, You know, this is such an aggressive If it's I don't really want to do about half measures, so goes in and then I just prefer monochromatic. I just think it looks better. So that's what I typically go with. I think in this image, what should agree is that it's not so much the amount of noise that's not matching, but its the scale. So we don't have a control over the scale of this. This noise, you know, these little bits, but it just looks bigger on her face. So one heck around this to basically grab your back on land, scale up before you commit just Ladn to see him in a bit and see if that's matching. I think we got a little more. It's commits, and it's a bit better in scale here. Now. This is where median comes in. Secret weapon filter, noise, median. Let's just put in a radius of one this look. This probably looks like it's just blurring the image, but it's actually reducing the contrast off the noise. This isn't a shop as we'd think. Unfortunately, we can't go lower than we can't go lower than one of just one allow us to. So one is pretty much what you're dealing with in this case, because it's reduced the contrast. It is looking a little big for the skin, sir. I'll just get scaled down again. But, sir, and that's getting somewhere. Can you see? She just looks a bit more comfortable. So that's your typical use off noise as a finishing technique in retouching. I think it's a effect within its own right for administration. This greasy says, gas making retro See, uh, was meant to look like a municipal vintage board game artwork. And you know, I did the band in the sinister ation. Other admit, but I think it was really getting somewhere with the noise that you can see in a suit and especially in the cigar. I would like to you demonstrate three other uses of noise and illustration, so create a new layer off chosen in US charcoal pencil A brush. I'll do something similar, Teoh what you've seen, in my example, things where I'm basically painting and overlapping these strikes, getting bigger and bigger as we get down to the bottom. So from the brush itself the edge. Textures really, really grates, but the middle is very flat, so it looks fake. It looks digital. Here comes the noise had noise and in this case, I would push it a bit. I really want to see it crunched up. Can you see what that adds to that? Also, Go ahead and lucky this layer. Here, let me show you why. So take a look at the edges here. If I do meet in, let's put it on five. It's actually gonna find everything that it considers noise in contrast. And do it to that. If I look that layer, it's only gonna do what's inside that layer. So let's get a filter and noise and median definitely one ridges that come trust. I think one is different enough for this purpose. For the second example, I'll show you how I use noise to create a realistic texture, say a metallic one like brushed aluminium. So first I'll add some noise. Not as much as this. I probably go for about seven, certainly goes in and definitely monochromatic in a locked badly again. Then go to filter blue and motion blur with that a bit while we here, let me show you that on a low setting. This could also be used for something like first in a concept piece with a jagga or some of the But the more we pushed that motion blur, the longer the streets get. And the more it looks like the brush medal I'm aiming for might also just alter the angle slightly so it doesn't look Teoh fake. For the third example, I'll head of it to my top two. Draw myself a little Marquis. We'll make that. Maybe 200 points. Perhaps a little more. I will just restaurants. That's we're gonna know solidly, let's lock it so we can fill it with the color Something. Yeah. Let's try on our screen. Okay? I just feel that back to noise again. So let me put it about 40 thereabouts. I've still got my lay a lot, so I know if I do median, it's not gonna blow this. Absolutely. No. These crisp edges I go to median here. Doesn't that look a little bit like grass? Not bad. Hey, we could have spent a lot of time with a stock image of some grass and used a layer mask here, but for just a few small steps, we basically are three totally different techniques using just noise and media. 12. Project Brief: For the Class Project, We're going to follow a project brief and create a piece of key art. Key art is the lead image from which an entire marketing campaign can roll out from. You ready? Let's dive back into Photoshop Alright, so I've downloaded the project brief. Just gonna open that up. Let's just fit to one full page Ok, so we've all got the same brief here There's a fictional client called ACME The brief is that they want to launch a new brand and they need a piece of key art a poster in this case for a proof of concept (POC) pitch to the board members. This is something that happens all the time in the industry. someone's got an idea and they need investment or buy-in, And they need a rough example of what the final product could look like just to help the bean counters and financiers visualise it. It goes on to say this is a visual that will be used across posters, web banners, social media posts. We should keep this in mind that it needs to be an iconic, powerful, memorable image. It says "think of your key art as a creative graphic that promotes an event, film or product. What this means to us is that, you know, this is a little looser than a real industry brief. They were generally give you an idea of they're launching a product, or pair of shoes or something like that. I want to leave that up to you guys. You know, I'm about to start this myself. I don't even know which way it's gonna go. But I'm hoping to be inspired by what I illustrate. I'll decide at the end if thats a film or its an event Some considerations we should follow The poster must include a striking brand ambassador. This could be shown by the face, a head and shoulders shot, or full length. This means find a person, deep etch them, and put them in the poster. A compelling background, So I really like those clouds I found from Tom Barrett earlier I'm probably gonna use those. I might use something else. Evidence of visual editing, such as texture, blur and brushes. So they don't want us to just plop a face on a background. They want us to look like a nice piece of illustration, You know, they're paying us as as a Digital Illustrator to make this come alive. We can use illustration We could draw, you know, with our brushes to give the feeling of motion and energy. They've given us a format. The size is 210mm x 297mm, which is A4 the equivalent pixel dimensions there, and a resolution of 72dpi This is not gonna get used for print. This is a proof of concept, a mock-up. So it's just got to work for screen and for delivery, we're going to post this in the project section of Skillshare For the class, "The Tools of Digital Illustration: Adobe Photoshop". So I've got the brief, you've got the brief. Let's go! So let's set that up and quick tip, you know on top we've got a bunch of different options here in Photoshop and because we know in this class that its an A4 size, but let's go over to Print. That's South African and British and European standard size sheets. It fits somewhere nicely, proportionate, wise between us. Letter and a one sheets click on a four. We've got it. We're just gonna drop that to 72. And that's exactly what we had on the brief. Also, go make sure it's in portrait portrait mode. Background fans of us. I think it's changed a bit. 16 bits se creates, and there we have it just a matter of finding the consent. For now, it's the first thing I'm gonna do is go over Teoh on splash dot com. Fantastic sat for user submitted photos, and one thing that's good to know is that the lessons is one that enables you to use the images for free. You can use them for commercial and non commercial purposes. So in terms of this last, since we're allowed to use these for our projects in this skill shake horse so we can start searching for any of these things. We've got more papers, Texas patterns. We are probably going to avoid categories that already look like digital illustration. We'll just use some things that we might expect to find in this carrier, which is photography of people, perhaps some textures and patterns, naturally occurring elements that uses our backgrounds. So I've already found a few that I'd like to work with 13. Wrap Up: So now you know the 12 Tools of Digital Illustration in Adobe Photoshop. Thank you guys so much for taking the class. If you could review this class or recommended for certain levels, that's really, really helpful to me. If you've enjoyed this class, feel free to jump over to my channel and follow me and dive into some of the other illustration classes And I look forward to sharing more skills with you in the future. Thank you. 14. Bonus! Watch Me Work: Watch me create the project MOON, using the 12 Tools