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Digital Rendering for Designers

Lesson 16 of 17

Adding Shadows with Burn Tool and Lasso and Feather

Jorge Paricio

Digital Rendering for Designers

Jorge Paricio

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Lesson Info

16. Adding Shadows with Burn Tool and Lasso and Feather

Lesson Info

Adding Shadows with Burn Tool and Lasso and Feather

Let's go into the next example here and now you will be like, Ah, now I understand what he's done over here. All right, so we started with a line work. Still just simple line work, Just an interior. We have some main lines which I have redrawn thicker outlines for the main furniture pieces. Then I added some color with the mask you see here I have added in red everything. But everything is masked out. Accepting the floor, the table, two chairs on my lamp, right on these two elements in dark. So I added first a very broad color. And then I'm asked the rest. If you zoom in, this is in your package so you can experiment with this. And this is, let's say, halfway there, 1/3 of the way there. So you can add two days and really explore with this. You know, we're very how to work with textures, right? Familiar would go to filter filter gallery. And he was burlap, right? It was under texturizing. Her canvas or burlap. You can do some good things there. That's how I was able to do that on this ...

guy here. How did I get this shadows thes Very nice shadows. They worked really well. Remember, the sneaker high was adding all at the very end. I was adding to use the burn tool for that top part that had some dimples on it. But what? We had the laces. That's exactly how we have done that brush tool over here. Then I go to burn brush roughly this size, and I can just brush, literally brush out shadows. I can go, for example, to meet tones over here. Remember the same thing that we had done before. Shift from mid tones to shadows to get different results. Highlights. I appeared to be the most interesting one out of all the different options that you have. I am not. I am painting burning the color. All right, um, so you can get very good results this way. Just making it look more three dimensional. Very fun to do. Very fun. I can do it here too. And it'll be there. I can just go all over the place. These will get you very far. Remember, you can reduce the exposure and use a larger brush. If you want to do like amorphous soft shadow. Let's cover something that we haven't covered in previous exercises, and then we'll get into the final one. I'll just start the final one. But we have covered a lot over here. Let's go into lasso tool, feather. Let's pick five pixels. What I'm going to do over here would be to add what I would consider to be a soft shadow Shadows home. Were there very important. Keep your feather large for five pixels. All right, so once we have that, it would be your choice now, destructive or not destructive. You think you're not sure about the shadow? Make a new layer. If you're pretty sure you're going to do a good job, keep it on the same layer. Okay, Always your choice. And then I'll go to the brush to the burn tool Control H for hide. Remember that, and you can burn a shadow on the floor. Look how beautiful this looks. Now it's starting to look more realistic, and I can do the same thing over here. More shadows on these areas. All right, control H burn. And you can. You see if you work with little exposure, you can insist shadows tend to be darker at the base of the shadow. Let's see, this is a piece of furniture. This is my floor. Shadows are stronger, right? With the piece of furniture touches the floor and then shadows tend to be lighter on the edges. So that's why I'm insisting Mawr over here shadows hard, dark control the to de select and you say started to look quite good, right? And that is just one layer. Right? So that's how I did that. This pillows, different texture. But the same idea, right? I didn't, in this case, non destructively. I picked over here the area that I wanted with a lasso tool. A good shortcut. If you go control J, that selection would appear on in layin on a new layer, which is exactly what I did right here, layer to what I did then, yes, I went to control you for hue and saturation. And then I changed the saturation. And here All right, let's make it pink. I don't know if these two colors would match, but just for the sake of the exercise, right, do something like that. And then we go to burn, make a smaller brush and changed that color very fun, right? So that's how I got this pillow on this other pillar right there. We already know how I did this one, right? I had a great vacation in this case. I went with a polygonal lasso tool, picked this area here, and then I picked just these two colors roughly here. What? I need to be here. Two collars roughly here. And then I went. Remember how we did the Grady in tool poom like that, Right top to bottom or bottom to top you choose. You can also change the opacity of you want and try one more time. Once you do that, I am destroying the original layer. But you see, I just masked out the areas that I did not want by clicking here. We know how to do that already. I need to go over that one more time. I like this color better. It's less intense. This looks good. Carpet. What I did over here I am showing you in stages so that you can follow along. This is a carpet that I liked. All right, so I just placed it there. Go to file import, and you can just get your layer. Or you can working on a new layer in on a new file altogether in photo shop and hit control A for all and then control. See for copy Control the for paste. They would place it here. So this is my layer. The second step would be to scale it to fit. You already know how to do that? I went to file at it. Distort. You can also try perspective, but distort I think will work better. Because perspective, you have two corners that work this way, this way or this way. But they work together with distort. You have the four corners that work independently. So you have more chances of doing a better job. All right, don't apply. So again from here, I went to transform Distort. Okay. It's rubber. You can make it. You can place it exactly how you want it. All right. The next step was to you guessed it. I went and then made a mask to mask out this areas that I did not want to show into scene. The final phase would be remember the nice shatter that I did on the floor There was brown that was actually in on a different layer. This is a new layer rolled together. So I actually had to redo my shadow right on this corner and over here with the same burn tool that we had used before. All right, so those two would be there. And that's how I did this carpet for the wood. We have a similar scenario. We have Korver dating our previous example, so I don't need to go in such depth. So we have first the shape you dump the color. You add your filter with grain and you choose horizontal or vertical, depending on the direction of the wood planks that you want. The next thing I distorted it to fit into perspective. And then I added a mask to mask how the areas that I did not want and the next face we guessed it already. We added a shadow all the way on the back. You see how nice it looks? Looks fantastic. So this will give you a very good starting point to really have fun with this

Class Description

Life-like renderings are an essential part of the planning process for many design projects. In Digital Rendering for Designers, Jorge Paricio teaches you how to use Photoshop and Sketchbook Pro to create life-like representations of environments and objects.

Jorge’s academic and professional life has centered around artistic rendering and perspective sketching. In this class, he’ll show you the basics of architectural visualization and how software can help. 

You’ll learn:

  • The process – from the first sketch to the final rendering
  • The role of Sketchbook Pro in designing 
  • How working with Photoshop layers, filters, and masks can help
  • Techniques for adding people and lighting sources to scenes
You’ll learn about perspective drawing and depicting a variety of surfaces. Jorge will cover the basics of rendering interiors, exteriors, products and exhibit booths.

Lifelike renderings are used in corporate and public design processes – find out how to add this in-demand skill to your portfolio in Digital Rendering for Designers with Jorge Paricio.

Software Used: Adobe Photoshop CC 2015 , Autodesk Sketchbook Pro 2015



This is actually the course I was looking for. This is DIGITAL rendering, which in an odd way makes you appreciate hand drawn rendering. Great! Thanks!