Advanced Photoshop: Compositing and Photo Editing for Alice in Wonderland Artwork | Dan LeFebvre | Skillshare

Advanced Photoshop: Compositing and Photo Editing for Alice in Wonderland Artwork

Dan LeFebvre

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
22 Lessons (2h 26m)
    • 1. Course introduction

      1:15
    • 2. Installing brushes and actions

      2:34
    • 3. Rough placement of elements

      7:33
    • 4. Preparing our document for masking

      3:42
    • 5. Masking workflows for the body

      9:18
    • 6. Speed edit: Masking the body

      5:11
    • 7. Masking out the hair

      7:44
    • 8. Masking workflows for the dress and leg

      5:38
    • 9. Speed edit: Masking the dress and leg

      5:22
    • 10. Painting workflows for the hair

      7:31
    • 11. Speed edit: Painting the hair

      5:11
    • 12. Building the background elements

      12:23
    • 13. Positioning our model in the background

      3:27
    • 14. Adjustments to the legs and dress

      11:35
    • 15. Starting to blend our model into the background

      11:50
    • 16. Continuing to blend our model into the background

      10:03
    • 17. Adding some light to the top

      7:21
    • 18. Bringing leaves into our image

      10:21
    • 19. Tweaking our leaves

    • 20. Adding motion to our model

      4:54
    • 21. Color corrections

      7:43
    • 22. Bonus speed edit: Additional creative tweaks

      5:05

About This Class

In this course, we'll create some Alice in Wonderland-inspired fantasy artwork. We'll start by masking out multiple photographs we'll use as the basis of our image. From there, we'll learn how to paint back some detail in the hair to give a sense of motion. By the end of this course, you'll have a solid understanding of the techniques used to create this fantasy piece of artwork. More importantly, you'll get a peek at a production-proven workflow that you can start using in your own creative projects.

Transcripts

1. Course introduction: hello and welcome to this course. Where will create some Alison Wonderland inspired artwork? My name is Dan Lefebvre, and for almost two decades now I've used photo shop as the backbone of my work in computer graphics, visual effects and photography. So the other day I went and shot some photos with Evelyn, who was kind enough to be the model for our project. Today we'll start by cleaning up our photos to create a version of her without any background. Then we'll build a dark rabbit hole inspired background for her to fall into. From there, we'll start blending colors and adding some natural elements to the image to make it all work together. Now the techniques will be using in this course are pretty advanced, so you'll need to be very comfortable in photo shop before following along. If you're new to photo shop, I would recommend checking out my Photoshopped basics. Siri's before trying this course. We've got a ton to cover, so when you're ready, I'll see you in the next video, where we'll get started by installing the custom brushes and actions will be using in this course 2. Installing brushes and actions: in this video, we'll kick things off by installing the brushes and actions that will be using throughout this course. Now you can download the project files for this course that includes the photos will be using, but it also includes the brushes and actions that will be installing in this video. So go ahead and download those. Once you have those downloaded, it'll look something like this. Once you extract that file and these are what we're going to focus on in this video, we have the brushes that we're going to be using as well as the actions. So to install these in photo shop. Now, if you just launch photo shop, there's really no way to do that from this home screen here. We need to create a new document in order to open up all of the tools so you can see all the tools over here. So with the brush tool selected, if we come down here, open this up and then we can import brushes. So let's import thes, and I'm gonna take this path here and thats copy this path. It's wherever you downloaded that file to when a paste that in and then you'll see. We have the brushes here. Load that file and one fest loaded. You should see all of the brushes that will be using here in this course loaded under this folder name. And of course, you can rename that if you want to. So now that we have, the brush is loaded in, let's load in our action. So if you don't have the actions panel already open, come out the window actions and then similar process, we just come over here and load actions. So this path here again is going to be wherever you download the project files, too, and load in the actions. There we go. So in this course we really only have one action that we're going to do, and we could walk through this manually. But I prefer to use an action, and I'll explain what it's doing. Ah, once we actually get to that point. All right, so with that, we've got our brushes installed. We got our actions installed. Let's move on to the next video where we'll start our project by positioning the three different photos that will be using for our main character 3. Rough placement of elements: in this video will start positioning the main elements of our image. All right, so if he followed along with the last video we installed are brushes and actions and we have this file open, we don't really need this file. It's just needed to create a file so we could access our brushes in order to install those . So we can close out of this file here and let's hop over to the project files. And there's three main files that were going to use of our model that we're going to use to turn into the Alice in Wonderland photo of the image. So let's start with the body. That's gonna be kind of the background and the main portion of that. So it's gonna drag this into photo shop here and then once we have that, let's take the other two. And let's drag those in on top on what photo shop is going to do is it's going to place them as smart objects like you can see here. So we have those placed. So we have this here, this one and the body image here, which we can hold on all double click and let's rename this to body just so we know. So we're going to use the body from this image. We're going to use the dress from this image, which is very, very similar. I just wanted it to be slightly different just to add some variation there. And then from this image, we're going to use the leg as well as the hair here where she's got the hair falling down is going to give the illusion of actually falling in that way. So let's start by placing these. I'm gonna take the hair and leg first, since there's two there so that this is going to be the hair and this one is going to be leg. Let's start with the hair and I'm just gonna take a selection pull this year and Adam ask, There we go. So once we have that mask basically, now what we have is this image right here, and what we want to do is to position this. I'm gonna hit control T command, see if you're on a Mac and let's position this around actually looks like that is not quite going to work here. So what we need to do is we actually need to with control t let it. Let's flip this horizontally. And now we can start to rotate this to give that effect so you can see we're basically going to be replacing her hair in the original image. With this here, we can do control. Plus, in order to zoom in, it's always a good idea to zoom in and make sure you're seeing things. All right, so I want to change the opacity here. Just weaken. Line this up a little bit with the back of her head. So something like this. So that is very rough placement. And of course, we're gonna add in, Ah, mask later on, in order to really, really pull out those fine details. But for rough placement, that's kind of what we have there. All right, so now let's do something similar with the dress next kind of working down the body. So we have this dress image, and what I like to do is to just get the dress here. So I'm gonna switch to my lasso tool with my pen, and this is something so I'm using ah, welcome tablet, which is extremely helpful for working on images like this I would highly recommend. In fact, once we start to get into some of the masking and some of the painting, it's really going to be difficult to do with the mouse eso with this here we can again at a mask. So we get just the dress, and now let's position this. So I'm gonna take this again, control T, and let's flip it vertically. Flip it. That's not the way I wanted. Let's rotate this around. Yeah, I wanted to flip it this way. Here we go. So, like this. So we want kind of the fluffy part at the top with the idea that, you know, her legs were kind of flying out. And then, um, this here, the belt here kind of lines up, or at least as far as the skirt is concerned, is gonna kind line up with the original image to give that illusion, and then we'll get rid of this part down here later on. So we have that rough roughed in now, The next part here. We're not gonna deal with this quite yet, But one thing that I want to do with this image here is to really sell the illusion that she's actually falling her legs would not be exactly even like they are on the bench here. So what we're going to need to do is to actually take this leg. We turn off this here. So we're gonna take this leg and actually rotate it down so that it's going down. It's kind of down around here is where it ends. But then once we do that, we're going to need to replace this boot right here. Okay, so that would make more sense. Country actually start to do that. But for now, that's what this leg is. Four is to take this boot here, which is her left boot here. Or her. Uh, I guess that would be her right boot. But we have, ah, full image of the boot that we can take and we can manipulate in order to give us that image of the boots. I'm gonna take this and again, we'll refine this mask later on. But we're getting a rough placement here. So this control t let's flip it, flip it vertically. We actually want this to be Ah, let's see. We want this to be flipped around, so sometimes I kind of lose the direction of where I'm at. There we go. So that's what we want. So come coming on the leg here. So this leg here is this leg here, and we're going to match that up, so rotated a little bit. So this is going to come in here. We're gonna have the boots start roughly around the same place which is hidden behind in this image right here. But we can kind of guess it's somewhere around here. We can tweak this later on if we need to, but something like that And then, of course, later on will use this leg here to cover up this Seymour This this area here. All right. So we have our images placed very roughly. And now we need to start masking them out. Before we do that, though there are a couple things that like to add to any image that I'm going to start masking. So let's move on to our next video. We'll we'll run through those. I'll see you there 4. Preparing our document for masking: In our last video, we positioned some of the different elements that we need to start masking out Before we do that, though there's a few things that over the years I found help me get better masks. And I always like to set that up before actually going through the masking process. So let's walk through that process here. The first thing I like to create is a layer at the very bottom. We create a new layer rename this red, so I'm gonna make this a very bright red color and then use all backspace in order to fill that. So what this is going to do if I turn off the body here? You can see, say, if we're working on masking the hair, it's gonna be super easy to see whether or not we're getting a good mask. As we start to go through this because we have this red area in the background, it just it's super bright now. Of course, if you're masking something, if you're working on an image that has a lot of red, then change the color, you know, change it to something like a bright blue or a bright green The purpose of this is not anything that you're going to use in the final image. It's just a utilitarian thing to help you get a better mask. So that's the first thing I like to set up. Is this bright red layer. Now there's two other things, and they're kind of opposites of each other, and I throw these on the top. So the the very top here, let's add in an adjustment layer and this is going to be levels. So I'm going to take this and let's make it dark. So what this is going to do and you can kind of see it right here along her back here, you can see if I turn this off, it starts to kind of blend into the background. And again, this is a utilitarian thing. So all I need to do is to turn on this adjustment layer and it's going to make things really dark. And then all of a sudden it gets a lot easier to see where those lines actually are, where those edges actually are to mask them out. So I'm gonna rename this. So this is our dark in again. It's you just utility for levels and then pretty much the next one is just the exact opposite. So this is going to be a lighten, and then I'll turn this one off and let's take this and go the other way. So again there might be some areas that are a little bit darker, especially in shadowy areas, will probably come across that in the the legs we turn off. This here will probably come across that around here. So as we're masking this here, being able to see, it's really, really hard without that turned on. But if we turn that on, it gets a lot easier to see where the leg ends, where the edge of that leg is and where the, um, the shadow begins. And that's really where we want to focus our mask. So again, these are just utilities. Just little things that I do that I've picked up over the years that found to be really, really helpful. We have the lighten for those dark, darker areas to see the edges we have darkened for the lighter areas to see edges. And then, of course, we have our red background to be able to see very easily as we're masking How good of a quality mask we have. All right, So with that, I think we're ready to start masking. So let's start that in our next video. 5. Masking workflows for the body: in this video will walk through the masking work flows that will use for the body. So let's turn on our body layer here and turn off the others. We will focus on those later on when initially, we're just going to mask out the body here because this is our main image now. As you can see, there's a lot of masking it we need to do in order to separate her from the background. Unfortunately, there's a lot of tools that we can use in photo shop to do this now, typically, what I'll try to do when I'm masking something in photo shop is I will try photo shops, automated tools first if they work great. But I have a feeling just from experience that they will not work too well on this image here. But let's try and select the body come in to select subject, and that is going to be as automatic as you can get. Photo shop is going toe automatically. Try and select the subject, and you can see did a pretty good job around the arms here for some area here that will need to fix need to fix this here up. Need to fix this here. Need to fix this here. Need to fix this here. I need to fix this here and need to fix this here. You can see there's gonna be a lot of fixing that we would need to do if we use this mask. So I'm not going to do that. This is, ah, personal preference. I prefer to just do it right the first time. Which means immediately painting it if I get a result like this rather than trying to fix it. The primary reason for that is because personally, I think it gives better quality if I create the entire thing. I know all the areas, um that I covered all the areas and there's not something in here that, you know, maybe if I If I was going through unmasking and I didn't notice this part right here, and it made it into the final image, well, it's gonna be pretty obvious to some people that there's, ah, mascot air. That's not quite right. So another tool that we can use if we de select this Another tool we can use is select and mask, and this usually does a better job than select subject just from my experience. The reason for that is because we can customize it so we can come in here and you can see I have a brush so I can change the size and we can start to paint this in. And photo shop is going to try to automatically figure out where she is, where the subject is and start to paint this in so you can see it's already starting to get a better result on sale right there. So it's still not perfect. It's still going to give you some some issues, and you can come in here and tweak all these different settings, you know, change the radius to determine how it how it finds edges and things like that. So you know, her arm being an edge here that it uses to determine where to select. You can come in here and you could remove from the selection so you can come in here and do that and remove it. And again, it's one of those things where you can go in there and you can start to tweak things quite a bit. And if it works great, you save some time. I don't think this is working for this image, so I'm going to go in here and paint this manually. I don't want to sacrifice time for quality. Now I'm gonna cancel out of this because with that said it will take a decent amount of time in order to paint these masks. And that's why if you look at the titles of the videos in this course, you'll see that there are some speed edit videos. That's where you can see what I'm doing without taking the time to actually have to wait through it all. You can see the techniques. It's just starts to get a little tedious when you're going through and painting some of these mass. Before we do that, though, let's walk through the process that I'm going to use in order to paint this mask so you can see how it's done. Now the first thing is I am going to use, as I mentioned earlier, Ah, welcome Tablet and I would highly recommend if you have a welcome tablet or some kind of a digital tablet that makes it so much easier whenever you're painting anything and that includes painting masks So I am going to use a Wacom tablet. One thing that that helps with if I select the brush tool here. And 01 thing I didn't mention before if you noticed in the selected mask, you have a very limited amount of brushes, so you can see we really don't. We really just have a a circle brush. But another benefit of painting this manually is we can use any of the paintbrushes that we want in order to do that. So OK, so the benefit of using ah graphics tablets, some sort is being able to turn on things like this. And I like to keep this on usually throughout the entire mask, and that is the pressure four size. So if I create a mask here and let me make my brush a little bit bigger so we can see it up here and I'm using black so it's going to show through, which is going to show the red that we created earlier. Watch what happens if I push really hard and then I start to push really like it would help . If I actually turn that on so you can see that's the before and here's pushing hard and then pushing light. So there you go, so you can see the before and after. So that is a benefit of using pen pressure. And this is really helpful if we zoom in here under a lot of these areas here that we need to get into these kind of little crevices and little, you know, uh, areas here, and it makes it a lot easier in order to paint this when you can just paint real lightly and know that you're going to essentially getting be getting a thin brush. You don't have to change the size of your brush at all. You just paint lightly. Now you will notice that I don't have it turn on for opacity. I prefer to keep it 100% capacity for painting masks unless there's a specific reason to. I might do some of that around the dress if there's some transparent areas, but realistically it doesn't look like I mean, you're not really gonna be able to know what's going on back there at the end of the day, so I probably won't bother to do that, Um, but that is beneficial if if you have areas that need to be semi transparent. You can turn this on. I also have the flow. It's not 100%. Um, that's kind of a preference thing will probably change it around as I'm painting. Same with the hardness. So this is something else that I like to do as I'm painting. Mask is I usually work between 60% and 80% hardness. So the reason for that is because if you have areas like this right here, this is going to be very hard because this is a hard surface, her boot right. Whereas over here it's not. It's not a hard surface, so it's not gonna need as much. There's gonna be a little bit of a softer flow to it. And really, I just let the whatever the images determine. And as I'm painting there, you can see I'm getting a nice kind of ah feathered effect because it's not 100%. Nothing in life is really 100% hard, you know, 100% hard edges, even a really hard surface that has a hard edge. There's a little bit of a bevel to it, Um, and some of that is gonna get picked up from the camera through the light. So so that is the basic process. There's one other thing I would like to mention, and that is just kind of the workflow. So I will. You'll probably notice hit F on the keyboard f is. And Frank, if you top it twice, it's gonna take you into full screen mode that really just let's you focus on the image. Ah yuk unjust. Listen to a podcast for some music and just crank through the masking there and just really focus on the image. Another thing that I like to do is, if you hold down, are or if you tap are rather that will change into rotate mode. So you probably noticed that I rotate the image. This is not actually doing anything but changing the display. Okay, so all I'm doing is changing the display, and the reason for that is because, and this is again a personal preference. Sometimes I find areas like this. It's easier for me to paint this up and down. Then, if I have to go back and reset my view, too the original. It's easier than if I paint left and right. And that is again just a personal preference. And how I have Ah, this set up again. I'm I'm right handed and so kind of that's gonna factor into it Where it, um where your pain is on the tablet and all that kind of stuff. So that again, it's a personal preference. But I would recommend taking advantage of that, rotating the image around. And then, of course, you can always come back and reset that view back to zero degrees in order to get back to the original. Okay, so that gives you an idea for what I'll be doing as I'm painting the mask for the body and the rest of this actually going through the process of painting all of that is a pretty tedious process. So in the next video, I will show you how I painted the rest of the masked by speeding it up, and you will see how it all works together. 6. Speed edit: Masking the body: In our last video, we walked through the work flows form, asking out the body using those techniques. This is a speed at it of the masking process for the body. So this is sped up about 10 X. Overall, it took about 53 minutes to get theme asking done for the body. And that was probably the biggest or most time consuming part of this entire image of the single part of this entire image. So as we're going through this, there's a lot of areas here that we may not really need to be realistic, like masking out the dress, some areas of that, since we have other, another image of the dress that we're going to be using. We may not really need it from this image, but I wanted to make sure I'm asked that out anyway, so that way it will be included in the project file. So if you are following along and you decide you want to use that, then you can go ahead and pull open that and you have the mask already done there for you. Now you'll notice. Just a moment ago, I, ah, saved the file. That's something you always want to make sure to do is save that file every so often. It's always a good idea to do that now as a masking here, If you'll look closely, you'll see that there's little dark areas on the edges on the other side. There's some bright areas there. Those are areas that if you mask those out, sometimes that can end in a better result. It doesn't look like there's ah, line there or something. Uh, bad. Ah, bad mask, I should say. So you'll notice in some of those areas there. Um, I'm actually cutting into the arm just a little bit in order to get rid of some of those highlighted areas, and then we can paint some of that highlight back in. So this is another area here with the bracelet. There might be areas where we may need it. We may not when I'm going through this, and if I'm doing this for the first time, you know, as I'm I'm not really sure what I'm going to use and what I'm not. I'll just take the time to mask it all out because I might need it. If I don't, then that I don't and I realized that that could be time saved, but I'd rather not need it or have it and not need it than need it and not have it and have to go back and start masking again. So my process for masking is really it's kind of relaxing. I'll just ah, threw on some music or listen to a podcast and then just start cranking on this and it's It's a tedious task, but it's it can be kind of I'm a not in this one. You just kind of get in the groove. You just you just work through it. And so that's why I would prefer to get all that done in one go, then get part of it done and then start working on the image and doing more creative things , and then realized that you know what actually need to do, go back and do some more masking, and that just interrupts my creative flow because then it's like while man I need to go back to masking and go back to this tedious task instead of you know, the creative parts. So I kind of work in, ah, Bunches like that where I'll do all the tedious work up front, the masking, all that kind of stuff. And then I can get down to the creative parts which will do later on in this course. So here's an example of what I was referring to earlier where I'm not sure if I'm gonna need this mask for the dress because we will be using a different image for the dress in this particular, uh course. But you never know. And I would prefer tohave that especially have that in the project files for you if you wanted to use that. So that's why I'm going through the process of masking all this out and just painting all that out right there. And he would go over wrapping towards coming towards the end here, kind of finishing off these little parts. So you'll notice I get a lot of, ah, the mask closer to the subject. So I'm getting a little portion there, and then I use a lasso tool in order to paint out the larger areas. So that's just l on your keyboard shortcut for lasso in order to paint that out. So you see the last so right there where I paint that out and then I'm going in there, all right. I feel that in rather with the last. So the selection. And then I go into the paint brush and actually get the little areas in the details and all that kind of stuff. All right, so with that, there's the final last. So get all that little tweaking, and that about wraps it up for masking out the body. Now in our next video will work on masking out the hair. 7. Masking out the hair: in the last video, we got the body masked out. Now let's focus on the hair. Now, hair is probably one of the most difficult things to deal with. And if you've ever tried dealing with it, you know why? Because if I turn on our hair layer here, you can see there's all these different little tiny strands. And the real challenge here is even if we were to get a perfect mask, If you look like right here, where more My paintbrushes, you'll notice their strands in there. But they're semi transparent because they're so thin. So even if you were to take the time to get a perfect mask, it would still not look right, because you're gonna have some of those semi transparent areas in the hair. Now, we can take advantage of the fact that no one is going to know what this originally look like. When you see the final image, you're not really going to know that it was made up of multiple images? Well, you know, because you're watching this course, But generally speaking, people won't know that we're using this image here. And so the benefit of that is that the hair and our final image does not have to match up perfectly with this original image. We can get the general gist of it and get it to be looking close, because that's what we would expect when you know gravity is if she's falling and the gravity is affecting the hair that way. But it doesn't have to be exactly perfect. What that means is that we can mask out the bulk of the hair and then paint back the details later. So here's how we're going to do this. I want to select the hair mask and a pull open my trusty pen here and really just start masking this out and just kind of blocking this out. Now we don't have to get into all those little tiny details because we're going to actually paint them back. And I love what her necklaces doing here. It would really help sell the illusion, but it's gonna be behind her arm because the way that we positioned it. So, um, and that's another thing, too. You can see even with the necklace here, it's gonna be semi transparent, so that's going to cause that same sort of issue that we had before, so let's just actually, I'm gonna do this. You probably saw me doing this in the speed of that video when hit L to select my lasso and just last so all the way around here and then all backs based in order to fill it with the foreground color, which is black, which since I have the mass selected that's going toe height, that so It's just a really quick way of building a really big mask for some of those areas . And then we can come in and start to paint this in and mask out the hair. Switch my hardness a little bit, a little bit softer here and actually so you can see it's we have the body image back here , someone to turn that off for now so we can just focus on the hair and let's paint this in here like this. And really, we're just kind of getting the gist of most of the hair. So some of this area right here you'll notice I'm cutting that off, and that's because there's a little spot, a transparent spot in there. And so, rather than trying to mass that and get that transparency. Perfect. What I can do is paint that back in later on, and we'll look at that in a different video. But, um, for now we're just masking out this Harry here. Just get the overall shape and again just to get the shape here. This is a big enough piece. I might be able to mask it without getting the transparent areas there on the edge. I want to make sure that it's it is, um, not showing that transparent here because so, like, we're not it's going to be on a completely different background. And so it's gonna be really obvious if we have these bright areas showing through the hair . And those are the little tiny details that really start to make a difference in the final quality of the image. Um, because everybody knows that hair is the most difficult. And so that's where people look. So in here, I'm not even gonna bother with all of these different strands. I'm just gonna get the overall shape here, and then we'll paint some of those strands back in. And the benefit of painting those strains back in is that it's going to be on a new layer. And that means even if it's semi transparent, it's going to be, ah, transparent with whatever background we put in there, not the one in the photo. So this that I don't think that's gonna work. So I'm just gonna get rid of that all the way. Same with that. That there we can paint some of that back. Get this shape. Here we go. And again here. So I'm just getting the overall shape here. So some of this is gonna look, it's road bulky, right? So we're kind of in a blocking stage right now. We're not doing the fine details rotate. Make it a little bit easier to paint here. So we're not doing the fine. Details were really just blocking in our mask, and then we'll come back and we'll paint some of those fine details back in. So some of this area here is kind of because the background is so light, it's causing your hair to be semi transparent and kind of pick up some of that light. And if we're gonna be putting it on a dark background, don't necessarily want that. So I'm gonna be, um I'm gonna air on the side of getting rid of Mawr. And that's usually the way I work with hair. Is Aaron Air on the side of getting rid of more than you really need to and then paint whatever you need back? Um, that way you don't have these little tiny areas like some of these little tiny areas here. Might be kind of obvious. Hopefully not, but some of them might be, and so we can start to paint and cover some of that up once we actually get into the painting phase. So almost done here, you can see that masking blocking out this mask for the hair is really not that that tough here coming here, even though that's a little bit of a hair, because it's it's a light highlight. Its reflecting the light because they're so shot was taken during the day. I'm gonna get rid of it, and then we can paint some of that back with a little bit darker in order to, um, blend in better with the overall image. So this here again, I'm gonna get rid of that little piece right there. And there we go. So we said our rotation and here is our blocking a mask so you can see it is very rough and it's it's very blocked. But as I mentioned earlier, we're gonna come back and paint in some of the fine details. But for now, let's finish our masking by moving on to the next video, where we'll look at the work flows for masking the dress as well as the leg. 8. Masking workflows for the dress and leg: in this video, we'll walk through the masking work flows that we're going to use for the dress and the lake. Or really, I should say the boot cause that's the part that we want. So let's pull open our image. Here we have the dress that we need to mask out as well as the leg and really the workflow that I'm going to use. If you followed along with masking out the body, it's going to be very, very similar. So these air really what we're focusing on here and all we want to do is to come in and mask these out Now again. Like I mentioned before, we can try photo shops, autumn automated tools. But again, I have a feeling they won't work too well. So let's come into select subject, see what Photoshopped does, and it doesn't do it. So it's not selecting our legs, so we can't really pick the layer there to do that. So let's do selected mask, see if that saved some time. Yeah, it might, but you can see there's gonna be quite a bit of clean up. We need to dio over here on the leg and then over here on the dress. It's probably gonna be pretty similar. So you can see all these little pieces right here, like this right here. So I'm gonna cancel out of that and say that that doesn't work for this project. So instead, what we're going to do is very similar to what we did before. Ah, pretty much exactly the same. We're just gonna come in here with our paintbrush, gonna hit F in order to go to full screen mode and start painting. So I'm gonna smack. Sure, I'm at a little bit, but probably more like 80 and start painting this. So some of these areas here something I want to point out here in case you didn't catch it before. What? We're working on the body. Some of these areas and you really notice it's probably around here are actually right here . So here's a good example. So right here on the tip of the boot, So see this area right here where it's darker. The reason for that has to do with the way that the camera is capturing the colors. So it's actually in the photo there, and it's because it's has a bright area behind it, so you'll notice when it's a little bit darker. That is not there, but it is when it's bright. Now, if we were to mass this, that would be a very acceptable mask for that area, because that is part of the boot. However, if you look at that and you look at it compared to this over here, you're going to start to pick up on that and you're gonna think that there was actually something dark back there and we just didn't do a very good job on the mask. So for a lot of these and again, this is a judgment call. But this is just my personal preference is to come in here and try to round that off a little bit, try to get rid of that just a little bit. So it blends in a little bit more in the background and is more consistent with the rest of the mask. So we have that. Then, of course, we can hit, are left, click and drag in order to rotate around and start to paint all of this out. Now the process for the dress is going to be exactly the same. Once we get the legs done, then we can focus on the dress, and that's going to be this layer here. And it's gonna be exactly the same where you can select that mask. Come in, start painting it out and really focus on some of these details in here are gonna help sell this some of these little tiny ruffles and all that kind of stuff that's really gonna help sell this as we start to mass this out in order to make it seem very realistic. Um, so we want to make sure that we capture all of that detail in the dress through the mask. That is so something like that. And again, you can see it's a little bit darker there, so I'm gonna kind of cut that off a little bit. Ah, lot of this. Even though you know there's, there's the techniques and stuff, a lot of this boils down to the creative side where you know, do what you think looks best and let your creativity flow and let it put it, drive the decisions that you make for what you keep on what you don't when you start masking a lot of this stuff out. Okay? Now you can see all of these other ruffles as well. Aziz, the leg. I'm actually gonna mask out the boot and this leg up here in case we need some of that, we can always get rid of it a little bit easier later on. Um and then I'm gonna mask out all of this Ah, dress here for us to use. And again, it's going to take it a little bit of time in order to do that. But if you curious about what it's like painting out the mask for the rest of the dress and the leg and boot, that's exactly what we're going to be doing in the next video. In another speed at it, where we paint out these masks. 9. Speed edit: Masking the dress and leg: In our last video, we walked through the work flows form asking out the dress and leg in this video will use those techniques to get theme asking done in US speed at it. So this is sped up about four times Overall. It took about 20 minutes to get the masking for the dress and the leg done is as as you can see, starting on the leg. And really, what I'm focusing on there, I say the leg, Really, it's it's it's the left leg, but really, when I'm focusing on there is the boot. That's the part of the image that I really need is a little bit of the leg to kind of give a little bit more reality that we're not just focusing on the boot there. But, um, really, we are focusing on the boot and we'll see where that comes into play later on, where we're manipulating the legs and moving the legs so that they're not resting on the same plane to add a little bit more reality to her falling down the rabbit hole and giving that illusion a little bit more believability. So when I'm painting areas like this, I'll usually use pretty hard, so closer to the 80% hardness or so not 100%. But I almost never go an actual 100%. But closer to 80. And then I'll shift. You know, usually between 60 to 80% hardness on the brush and just painting this out 100% opacity, I will have a little less flow. And, you know, usually 70 80% flow. Um, just so it's not. I can still have a little bit of leeway there for some of those areas, like, especially around this Lacey area here where there might be some kind of a little bit of transparency in there. But ah, yeah, so focusing on the detail around here, Really, it's just a matter of going in there and just paying attention of those details. Some of those areas you might be able to cut out you'll probably notice a little bit earlier. I actually cut out a few of the little bits of ruffles and things like that. You don't really need all of them, but you know the majority of them. Of course I'm rotating it around, so the keyboard shortcut for that is our in order to rotate your screen around and then, you know, being able to paint in. And that's just a matter of convenience. What's convenient for you? Based on however your painting this out, I would highly recommend you in this case, I'm using a Wacom tablet. I mentioned that earlier, but I would highly recommend using something like that or graphics tablet of some sort in order to paint out masks like this. Doing this with the mouse, I guess it's possible it's incredibly difficult to do. Ah, because there's so many, you know, so many intricacies and details there and actually have the pen pressure turned on here for the size. So some of these areas here you'll notice it's getting into, you know, little divots and little little pieces there in the ruffle. And I'm able to use the pen pressure to draw lighter in order to change the size. So it right there I'm changing the size just with the pen pressure and that health a much faster workflow while still getting a really good mask there. So here we're coming around this edge here. Really, there's nothing new about these techniques that, you know, as I mentioned before. It's pretty simple and straightforward. I'm just painting all this out. It's just ah for lack of a better term. This is just the tedious part of doing composites in photo shop. A lot of times it relies on a good mask and there are some great automated tools and Photoshopped so that you can see I'm actually painting out some parts of the dress. Um, there are some great automated tools and Photoshopped, but sometimes automated tools don't they just don't do it, they just don't cut it. And when you need a good mask, sometimes you just got to go in there and do it manually. That's so it goes. So your little intricacies, little details around here and, ah, finishing up the mask coming in here. And then at the very end, I'm gonna hold down Ault and click on the mask in order, turn into black and white and just do some clean up. You can see little areas around there when I'm cleaning up. Ah, some of that in order to just just clean up the mask itself. This is looking at just the mask, the black and white mask, and so cleaning up those little areas around there. You can see that, um, a lot less visible when it was over. All but that wraps it up for masking out the dress in the leg, knowing our next video will work on painting back some of the details in the hair. 10. Painting workflows for the hair: in this video will walk through the work flows for painting back some of the detail for the hair. All right, so let's turn on the hair layer. We can see what we're working with here. So what we need to do is to start painting some of the detail back. So I'm gonna duplicate this layer real quick so we can see some of that detail delete the mask. So here we can see some of this detail that we want to paint back in, and it's helpful to use the original photo as some ah guide here. So I'm gonna turn the opacity down just so we can use that as a guide to paint some of these bigger areas in and then will probably want to customize it a little bit. Because, of course, she is falling down the rabbit hole instead of, you know, hanging over the side of a bench, letting gravity mover hair there. So we want to add a little bit, too, that so let's create a new layer. And I'm gonna take this and take the layer in control G and then put that into a group. So this group here give it the same name, so there's gonna be multiple layers. One thing that you think you know with with hair itself, there's gonna be a lot of layers in the hair itself. You can see the the layers in the hair going on, and we're gonna want to recreate some of that by having multiple layers. So I like to put it into a group. That way we can organize all of it as we're working. So here's the process that will use them. Use my paintbrush and let's switch to one of these brushes that we downloaded. So there's a couple in here. There's the hair strands, and for coming here, there's actually a pencil. So I'm going to use a mixture of the pencil, and this is not one that you download. This is a default that comes with photo shop, so if you don't see this in here, you can restore the default brushes. So let's come in. I'm going to start with the hair strands, and this is really large. You can see it's it's 4000 pixels, so I'm gonna start to scale this down, Um, quite a bit so we can see it. There we go, we're gonna start to block in some of these areas here, but you'll notice that the brush is facing the wrong direction. Could paint and then do a free transform in order to do that. But ah, benefit here of rotating our canvas is that our brush does not rotate, so you can see now we are aligned with the flow of the hair. So that's what I want to do is come in here. Hold on all to in order to sample color of the hair and just start painting some of this in . It's a little harsh there. So let's turn on our pen pressure as well as bring the flow down really, really quite a bit here and start to paint some of this in. So what I want, you can see I have to do a lot of different strokes in order to build up that bit of hair. And that's actually what I want, because that's more realistic. There's a lot of strains of hair that go into that. Rotate this a little bit to come along this area here sample, and this is the basic process. It's just a lot of sampling colors painting these in and we can change the colors later on if we need to, of course, because they're on a new layer. But I still like to come in and start to sample some of the original colors there. And with that, So let's create a new layer, and you'll probably notice as we go through the process of painting and probably create a new layer quite a bit. Probably changed the pencil quite a bit. So let's come in here. Make the the pencil really, really small. Turn on our pen pressure and just start to paint some of this in so you can see individual strand in there in some of those areas that we would expect to see them. And then if I turn off the background layer, you can see kind of what we're getting, and we can even just start to paint and kind of fill some of this in. We don't have to use that reference. This is I would recommend, you know, being creative with this and really start toe. Try to blend a lot of this in. You can see that area there, try to blend some of that in give me some a little bit higher flow to create some of these areas here, and I might even come in here, try a different pencil brush, make it really small again. Individuals strand really small strands and start to paint some of this in in order to give us our effect. So this is basically what we're going to be doing. Um, and I'm gonna keep filling this in, but I did want to show another workflow here. So what we're going to do is we're going to create a new portion of the hair that doesn't coincide with this background at all. We're going to create a new portion that actually flows a lot more out. So, you know, just kind of way out. I'm just going to sketch this in real quick, and this is the idea. So she's falling, so she's gonna have her hair kind of going, and it might be helpful to turn on her body so we can kind of see okay if we rotate this. You know, Actually, I probably wanted to be a little bit less so mean. Delete that layer and this way, benefit of using layers so you'll find that I use Aton of different layers. And then once I'm done, I'll start to come in and name them and start toe ad. Whatever it is that I need to add, you know, merge them together or start, um, do that. So sample, so you can see underst painting in this hair here. That's really the workflow for it is, this is one of those areas that you could cheap out and do it really fast. Um, but I would recommend not doing that, you know, take your time. Be creative, Let the hair flow. Let it, you know, kind of flow with the what you would expect to see as the hair is Remember, she's she's falling. So this is gonna be the final position is gonna be like this. So she's kind of falling that way. And so you're gonna expect to see some hair kind of flowing up like this almost straight up . You would expect to see little strands of hair even, you know, strains of hair around here. So really, just start painting. Ah, lot of that in. But we really have a lot of hair left to paint, but those are the basic techniques and using the techniques that we've learned in this video. Let's end it here. And then in our next video, I will do another speed at it so you can see what I'm doing without having to sit through the entire thing in real time. See you there. 11. Speed edit: Painting the hair: In our last video, we walked through the work flows for painting in the details in the hair in this video will use those techniques to do all the painting in a speed of it. So this video is sped up about four times overall. It took about 20 minutes to get the painting done for the hair. And as you can see, I'm gonna go in there and start laying some base layers for the hair. And if you think about this, I know I mentioned this in the, um we were talking about the work flows as well. But I can't emphasize this enough when you're painting hair, really, you just need to focus on the layers. So there's layers of hair and especially, you know, for someone like our motto who has, you know, multiple layers of hair here that it's gonna go be flowing and the hair is gonna be, ah, primary driver. That's gonna help sell the fact that she's falling down this, you know, down the rabbit hole, you want to have multiple layers of hair, and that means multiple layers and photoshopped multiple different wits, different flow rates, different wits, thinking of strands versus clumps of hair. You're thinking of different flow rates for some of the hair is gonna be a little bit more transparent with the background. Some of it is not. Ah, you're gonna want a sample aton of colors. You'll notice as I'm going through here. Ah, you'll notice that the I'm sampling a lot of colors every time you see that little white box pop up. I know it's really fast. It's hard to see that, says Ault, which means I am holding down the all key and sampling a new color. So tons of sampling colors sampling and just painting that in and just painting a lot of little details in there. And I know it might seem monotonous and tedious, and in some ways it is. But in other ways, have fun with it and be creative. Start painting in, you know, some of the hair and what you might think looks really. Now, there, you notice I'm actually taking away some of that original mask, and sometimes when I'm going through this process Euro decide that You know what? I didn't get enough with that original rough mask that we blocked out, and I need to actually take away some more in order to paint back some of that detail and get some of that Ah, looking good on a transparent background. Yeah, So here, up towards the top of the head again, there's gonna be some strands of hair that you would naturally expect to be there. But in this case, we're gonna kind of want them to flow where the wind would be flowing. And so giving that that same sort of, um impression that she's falling in that hairs is flowing forward and trying to imply that with with a lot of these different strands and again, it just goes back to layers. That's really all it is. And that's one of the things that just helps sell. The realism of it is adding in aton of different layers and adding in what you would expect with something like hair. There's a there's a lot of strains of hair and adding that realism. So you'll see there. I actually am changing some of the layer blend modes. So the ad blend modes is a new, easy way to help add some highlights in the hairs to some of those lighter strains of hair , whether it be actual highlights in the model's hair or whether it be, ah, strands of hair, that air catching the light from the scene and you know kind of highlighting it that way. That could be a great way to add in. Some variation to those colors. As as you're working is using different blend modes. You'll see some of those layers up amusing multiplies some amusing ad. It kind of depends some of, um, if they don't have a name. Essentially, they're just normal layers, and I know that they're just normal layers, and I'm painting with whatever the normal color is. We're starting to near the end here of this, and here I'm coming in, turning different layers off to see which one eyes affecting it. And then I realized that it was actually the background hair. I had forgotten that that was there. The background being underneath are the main hair block there, and then here. I need to come in and get rid of the mask on the body with the hair so that it's just the hair is its own layer in its own thing and then coming in painting a few more uh, kind of blocked in areas here. Just adding a few more fine details before we wrap this up. Yeah, and that pretty much does it for painting the hair. Now in our next video will start building the background elements for our image. 12. Building the background elements: up until now, we've been focusing on getting our models photos edited and ready for use. Now that we've got that done, it's time to start focusing on building our final image around her. So let's start by building the background elements. So for now, we're done with her image. I can actually I'll turn off this layer and let's just close this out so I will save that as the end of the last video and then we'll create a new document. Now the size of the document is really up to you. Of course, the larger the document the Mauritz going to put a strain on your system. Resource is. And since I'm recording at the same time as I'm working here and wanted to eat up too many , so I'll do something like four by five. So that will be 23 14 wide and 2700 pixels tall. And let's do this at 72 and I also do this at eight bit. So again it's up to you. What resolution you want? I'm going to have this be a four by five, which is something that will work well for something like Instagram or things like that. All right, so with this document created, it's time to start bringing in some of our other elements here. So let's open up our referenced files and we want this. So this is a photo from unspool ash. Great resource, if you need. Ah, stock photography unspool. Ash is a great resource. And as soon as I saw this, I saw those roots, and I was like, Oh, man, that's gonna be That's gonna be great. So we'll pull that in, and we also want this texture here, pull that in as well. All right, So the way that we're going to organize these essentially is the roots are going to be at the top. So you think of like, this is a whole here, right? And she's falling down that hole, so that's at the top. And then we also want a little bit of mystery as faras going into kind of a fantasy world. Ah, at the bottom. And that's where this kind of texture is gonna come in and help give that there's some depth there. So let's hide that. Let's work on our roots first, So I'm gonna take this and scale this up quite a bit here because really all I want is to give the illusion we don't need to see the entire entire thing. We just want to give the illusion that there are these roots here and she's falling down that hole. So something like that, once we have that, let's do some work on this. So I'm gonna come in and let's blur this A little bits give it a little bit of a blur just because it will be in the background. So it's kind of out of focus. We can come in and let's make it black and whites. And when you use a clipping paso alta left click in order to use a clipping path and make a few minor adjustments, just a kind of bolster the contrast a little bit on some of these areas and then we don't want it to be 100% black and white, so we'll bring it down just a little bit so you can see the difference here. And that's gonna help the color that is in the scene be pop out a little bit more, and that color is going to be, ah, what we're working with, um, in the foreground with Alice falling in the foreground. All right, so with that, I'm gonna come in and really want to kind of hide a lot of these roots down here. So I'm gonna take this, crank it all the way down so that it's pretty much invisible. And then let's come in and let's paint this So I'm going to get rid of all that's and then we can paint this in, switch our brush here. There you go. And just paint this exposure in so that it's a little more, um, you know, black down there at the bottom, like falling into a hole there, a little more mysterious. Your mess doesn't have to be exactly like mine, but you can kind of see how home doing that. Now this area up here at the top is needs a little bit more contrast. So let's add in a little bit of brightness and contrast here. And let's add some contrast to that, so that kind of blends a little bit more with with that and actually, now that I see that, you know, I might actually take this and let's move it up a little bit sweeter. Seymour of the Roots. Here we go. Something kind of like that. We can always tweet things as we want to. And you're good years. Doesn't have to be exactly like mine. Feel free to, Ah, be creative and and let that go. All right, So with the roots in place, let's start adding kind of, ah, mystical fantasy style feel to it. So, um, what we're going to do for that is we're gonna pull in some smoke. So these are the brushes that are included in the project files. We installed them earlier. There are some smoke brushes, so I'm going to use one of these. You can see it's huge. So we want to bring the size down. Really? What I want is one of these up here at the top like that, and then we'll do another layer. We'll take this other one, and we use that at the bottom. So again size something like that, and then this will rotate around control T in order to rotate that around so that you kind of have the bigger part of the smoke down here at the bottom. Kind of hard to see with that they're So what kind of have the bigger part up at the bottom down here And then, um, the larger part there. Now we also want to add some color of this. We don't need it to be brown. And the colors that I really want to use for this that I like are kind of Ah, break Teal something like that we can use. So I have the wrong one selected. Use the top one there. So all shift in backspace. Since that's our foreground color, we have that there. And then this one. Let's make it kind of a deep purple again, Alice in Wonderland colors and kind of building that there. And once we have that, there's actually one more piece I want to throw in here just for the sake of, um, difference. Here, let's take another brush and let's add another one down here at the bottom. So this is modern purple. This is the top blue or more of a say in a guess. But then, um and then another bottom so something like that. So once we have that, now let's start to break it up. I'm gonna create a new layer and come in and render some clouds and that'll give us clouds except foreground background. I don't want it to be purple and pink. I wanted to black and white so hit D in order to get back to our default, render some more clouds. Once we have this, come in and do a motion blur, and this will help kind of give some variation to it. Once we have that set there, then we can come in and start. Add some variation so you can see before and after how that really effects that, Um and really I wanted to mostly affect the the smoke, which is a little bright, so let's bring that down a little bit. We just wanted to be a little kind of It's obvious it's there. It's obvious what color it is, but it's not so much in your face, right, And so with that, we can come in, we can create a mask, and a lot of this is just kind of, you know, you're feeling it around. And what do you like? What don't you like? Feel free to make changes and tweak things, however, what you like, what you don't like? Um if you don't like the direction I'm taking this bio me and start to do something different, Change it around. That's the benefit of being creative. Right? Um and actually, I'm gonna take this here and start hide even more of these roots. So they're kind of right around the middle, is when they they start to kind of show up something like that. We don't need to see all of the top, although we can't see just a little bit to kind of give that illusion that there's something there. Okay? And then I'll take this blue. Let's actually bring it down even more. And I might even take this and change that color. So it's not quite so great. There we go, something like that. So it's a little more of a muted color. So we still get the blue in there, but it's a little bit more of a muted color in that. Okay, so I think I'm happy with that. Let's try heading in a little bit more variation. So with this, I'm gonna get rid of that and add a little bit more into the smoke here. Just very had some variance Onley in that area there, and a lot of this other area is kind of black. So, um, you're not really going to see a lot of that anyway, But then once we have this, it's come in and create kind of a color map that goes from, um from the top to the bottom so we can have our actually, let's have the blue beyond this side. There we go and then add in another one. And this could be kind of our deep purple color. So you see, kind of how we have the purple of the bottom and kind of blue at the top. So we'll have some some warm hues at the top and some and some of that and then, um, kind of going into this purple fantasy kind of world and oops, this is transparent appear. So it's changed this so you can see how that Grady it looks. And then we'll put this into the variation into our clouds to really kind of colorize that some and again we could start to bring it down. We don't want to be too much, but we also don't want it to be. We wanted Teoh kind of give some variants and and start to play around with that. Okay? All right. So I'm pretty happy with the way that this is looking. We might continue to do some variation and start to play around with it a little bit more on bio means. Feel free to go in there and start to play around with it, mourn and and, uh, do some customization to it and play with it as you want. But now that we've got our background started, let's bring our model into this, and we will do that in the next video. 13. Positioning our model in the background: in this video of position, our models photo in the background that we built out in our last video. All right, so here is where we are with the background here. But before we actually bring in our models photo I forgot to do this in the last video we brought in this texture here, but we didn't do anything with it. So really, what we want to do here is with this texture, I wanted to kind of be on the bottom. So we want it to be, like, actually on the bottom here. May I add a, um, a mask and that's come into our ingredients and create our ingredient here, made it the wrong way. Something like that, Actually, kind of where, you know, the routes are starting to end something similar to this. So it looks kind of like that. And then what we'll do is we'll take this and we'll start to bring down the opacity quite a bit. So that way use concede that there's texture there. Um, but it's not really evident exactly what it is. Just kind of background in that area. Okay, so now that we have that, let's bring our model in. So we finished our masking at the end of 11. So this file here, we can just bring it in as a smart object and want to scale it up. And we want her to be essentially just falling straight down something like this and our position there. We still need to edit her her legs a little bit, So it's not going to quite like that, um, but want to get the position here, something like this, so that she's kind towards the bottom and there's a little bit more at the top, assuming that that's kind of where she fell from, and we have something like that. All right, so now that we have this in weaken start to blend things together a little bit better. But before we do that, I do want to edit her legs and make that fix. And let's actually do that in our next video. But before we wrap up this when I do want to do some clean up on this scene, so this is our smoke. Just It kind of organized things a little bit, and she'll be on that side of it, so we can actually, um control this some, but I want to be able to see her really well. And this is the background. And this is our model. So Evelyn is the name of our model. And so there we go. So with that, and you'll notice that the dress is not going the right way. We had edited that dress. We want to be able to make some of those changes to that. So we'll do that in our next video. 14. Adjustments to the legs and dress: in this video will make some changes to our models legs and get the dress in the right position. All right, so now that we have the model here in the image as a smart object, we can just open this up and actually, I'm gonna rename this. That's that's the source that we got it from. But just so that we know what we're working with here. So if we open this up, that will open up the photo shop document that we can come in and start to make some edits to. So let's start with a dress, because that should be pretty easy. All we need to do here is really just turned that layer on. And then I'm gonna duplicate this just so that we can keep these masks if we need them. And then this is gonna be without the hair. Remember, we head in the back of the hair or the dress, and then we're gonna mask this out. So if you need any of this as you're going through this, then by all means, feel free to do that. We took the time to mask that out. Um, but for my purposes, I'm not going to use them. But again, I encourage you to, you know, play around with it and do something different. See what sort of different results you can get. Okay, so the next thing we need to do is to reposition her legs and we don't want him to be exactly straight like that is essentially what we want. So to do that what will need to do is to break out this leg here. So let's duplicate are layer. And this is just gonna be our leg. And we can pretty much mask everything else out except for that leg. And we don't need it going up that far, But something like this go. We just I just So all this to get rid of it, and then this part here, I'm gonna mask this using my walking pen, make it a little bit easier so we can get in here and mask this leg out. Things like this go. Yes. This outs Let me turn off my opacity pen pressure. So it's always at 100% opacity. Try this on is to make sure that it's gonna be a clean mask. You go. And then again, this one here, we're gonna get rid of this, this boot, and we're going to use that other layer that we have as this. And that'll give us the ability to change our, um, the plane that these feet are on because if you're falling down Ah, hole, I would imagine I've never actually fallen down a rabbit hole myself. But I would imagine if you're doing so your feet are not going to be exactly straight like that. Um, a like, exactly. Level on the same plane, your left foot in your right foot. I imagine there's gonna be a little bit of variants there. And so that's what we're doing here is we're giving a little bit of various in. It's a little details like that, that really kind of help sell the image. Overall, I think, in my opinion, almost done with this Go. All right, so now that we have this mast out here, we can't continue to tweak it if you want to, but I think that will be good for our purposes. Let's reset our view. So now we just have the leg. And so what we can do is we have this with the dress and will probably want to start organizing this. So this is our model, and then these are the things that we're actually using, and all of these are kind of, ah, reference. So not going to get rid of them. But, you know, we don't really necessarily need them. Um, so with the dress here, we need this leg actually to be on top. And the reason for that is because we want the leg to be actually coming out kind of from the dress, So it looks a little more realistic there. But let's position this first. So I'm gonna take this and it control t rotate this a little bit. It doesn't have to be a lot just a little bit. Just add a little bit of variation, have it kind of coming from the same place and just add a little bit of variation there so that the feet aren't on the same level. Now, once we have that, like I mentioned before, we're gonna want to delay to come out of the dress here, so we're gonna kind of have it come out part way through part way, and that's gonna add a little bit of believability to it. As far as that's concerned, we can even kind of come in and start to add a little bit towards kind of the ruffle, almost like it's coming the other side there, something like that. So you kind of get the idea of what we're doing here in order to make it look believable like it's actually coming out off that part of the dress, even though it's even though it's not so something like that. Now, of course, we need to get rid of the leg on this side here, and that is where this other, um, leg is going to be helpful. Positioned. That's where that is. Is that in the reference, Yes. So that's gonna be helpful here, because that's going to essentially come in and be underneath this one. So that's her. Let's let's name this a little bit better. So that's her right leg, and then this is her left leg, something like that, and will continue to tweak this here. But the first thing I need to do is to get rid of the leg in this mask. So again I'm going to duplicate this and a big reason for duplicating. This, um, is so that if you open up the project files, then you can have all these different kind of iterations in case you want to see him or go through him or use him in your own project, you know, to kind of get a different look. Um, but, you know, for for my purposes, a lot of times, if I'm just working, I'm just gonna get rid of them, save incrementally for sure, But just get rid of them overall. So our next step here is essentially to mask out this leg. We can get kind of a base here, and then we can come in and start to fine tune this, and we're gonna have to kind of guess down here where that is. But again, same techniques that we used to paint stuff out before. I'm just gonna kind of guess where I think her leg continues and then into the boot. And there's probably a little bit of a top there, but I can't see it. So not sure what? What it would look like there. That's fine. Something like this. And then, you know this here. Actually, they probably stand to clean that up just a little bit, too. Make it a little. A little less hardness there since I noticed it again. And these are the kind of things that you can come in here, tweaked these things forever, Um, until until you're happy. Okay, so with that, hopefully you can kind of get an idea of what we're doing here. So this leg here, actually, we need to get rid of this one here is well, after this leg, so we'll get rid of all this. No, accidentally turn that down tips and there we go. Okay. So you can see that there and then this one is gonna come in, and it's We need to now position this a little bit better. Um, just a little bit. Probably something like this. So you can kind of see what I'm doing here with the the leg. So this is kind of continuing on Ah, roughly until maybe even a little bit more up something like that. There we go. Okay. Now, if you wanted to, you could come in and do a little bit of color correction on this. You'll notice that her legs were just a little bit that's a little bit different, because it's from a different image. Um, you could come in here and do some color correction on its change, The colors on it if you wanted to, um, I'm gonna keep that pretty simple because realistically, probably not gonna notice by the time we're done. Since we've got we're gonna have some leaves and a bunch of different things going on in the image. So, yeah, I'm just gonna leave that off. So if you wanted to, you could do some color correction on that in order to do that. But the last thing I want to do here is to reset my rotation. Let's turn that off. So we have our are finished image here, and let's save this. And then because we used a smart object, we pull that back in over here, and those changes are going to be reflected here in our image. But if you'll notice down here towards the bottom, we want this to be a lot darker than up here. So let's move on to our next video where we will start to blend our model into the background a little bit better 15. Starting to blend our model into the background: in this video will blend our model in TV background a little bit better. All right, So, as you can see, she's handing out pretty pretty well right now. But we can do some blending in here in order to help that out. So the first thing I want to do is to come in and create something that will let us kind of get this back area the backside area to be a lot darker. You've fallen down the hole here. You expected to be a lot darker here. So you come in and bring our exposure down quite a bit. And then we can start to paint this in meet control I in order to invert that start to paint this in along the back here and because we have it as a clipping path, it's on Lee going to be on her. So we're kind of getting this dark and look, there we go. There's one. And this is gonna be like a bunch of layers of layered process. So it's not gonna be a single ah, single thing Well, at ingredient map. Actually, this here, let's change the colors to be a lot darker, so something like that to something even darker. And there we go hips pull that in something like that, and then we can come in and change the ah, the blend mode to be multiply. And now, if I get rid of this or hide this rather with our, um, mask and then just start to paint in this back edge again, it's going to start to kind of it's, you know, dark in that quite a bit. And we might need change this maybe change rapacity here. So it's pen pressure. So that way I can just paint riel lightly change your hardness down. Nice soft edges certain to hide some of that. There we go. Here we go. You can see we're getting this really dark, which is what we want. Kind of like if it, you know, towards the bottom here, but still run here, painted a little bit more and again. This is going to be something that is based on your opinion. What do you think? Looks good for that. And what? What do you think we like about that? I'm gonna pull this greedy int here and bring this in. So a lot of this is it an expletive process of what we like and what we don't like. So this here, because we have kind of the blues up top and then kind of purple toward the bottom with the smoke. What we can do here is start to play with that on be coloring one, but as well just to blend in just a little bit more. So this before and after. Very subtle. But you can see down here towards the bottom. It's starting to get a little bit more kind of purplish look, a little bit of a purplish he what you would expect if you know there's this kind of purple down here that what you would have in that. Here we go. I like the way that's looking. It's pretty good. You might want to add in something in here. So right here you can see from the original photo. The sun was around here, but that's not going to be. I mean, this is his dark down here, right? So we actually wanted dark in that quite a bit. So let's fill that with black and then start to paint in just along this edge here just dark in this edge toe hide or at least dampen, I should say not really hide. But we're dampening some of that, um, son effects. So you know, before and after. So it's just not quite so in your face there. Here we go, something like that. So before and after you can see we're starting to blend this in quite a bit with the image already. The next thing I want to do is to adjust this smoke here. So I would like to have some of this kind of almost like if she's falling down, some of its almost coming off of her hand, like, you know, she's kind of she She's disturbing that smoke as it comes down. And so I might need to actually change this to be a little bit more visible, as as far as that smoke is concerned. So we can see it a little bit more and then control where it comes from. So I'm gonna get rid of this mask that we painted earlier. And let's paint this coming from Ah, hand here. It's kind of going up something like that and kind of from this hand as well. And, you know, from the boots as well. Kind of adding some of that layer effect to it. Go. It looks like, Yeah, it looks like we still have a little bit of that. We actually do it. Fix that. That wasn't quite right. So in here, it looks like we have a bit of one of her legs still there. So let's change this color to something darker to see if that shows it. Yep. Okay, so So that's where you know, sometimes the color itself is going to affect that, but we want to paint this out. Troops away. Pay this outs changed this. I want to be 100%. Paint all of this out. Fix that a mask there. And that is actually from this leg. So paint this. So Yeah, some cleanup we need to do on this on these Max, as you can see, but no big deal coming in here and clean these out. That's why sometimes you know the color that she used in the background, you might need to change it up part way through again. It's just for utilitarian purposes, so it's not a part of the final image, but it helps us create a better, better mask here. There we go. I think that's better. There still some parts here that we could clean up, but for a lot of these were probably not gonna even really see it. Ah, One thing I do want to do while I'm in here, we might do that real quick before we close out. Is this right here? I just noticed this. See up here. All this appear, So get rid of that. What is the? Is this one here cause And that we go fix it? Um, me right there, too. So one thing this here is what I was referring to this. I want to change this because we go back to this image here, you'll notice that it's just kind of right there. And if she was actually falling, you would expect it to kind of be flying up. So rather than making all that sort of manipulation or anything, I'm just going to come in here and remove the bracelet, at least the parts that are kind of coming apart or coming off of it. Rather So for that. Come in, use our stamp tool over helps steam toe s go and paint this end, make sure we're doing current and below and in Ganic doesn't have to be perfect because this party is going to be pretty small in our final image. But we still want to do a good job and have a look good. So he's air. He'll kind of bring some of that texture back. There we go. And then this part here, we can just mask out. So go back to our brush and just mask all of this out here. Here we go already. So soon Back outs. Let's make sure to turn off our background layer and then we can close out of that and that will updates are smart object. Get rid of that bracelet there, as well as fixing that mask in there. And we know we have some cool smoke kind of effect coming in there coming off that, but there's still more work that we need to do. So will continue blending all of this together in our next video 16. Continuing to blend our model into the background: in this video will continue blending our model into the image. All right, so let's continue on from what we were doing in our previous video. And again, a lot of this is creative base. So the choices that I make I try to explain why I'm making choices, that I am but completely up to you, whether or not you use those same methods. So I'm gonna turn this up so I can see a little bit easier, cause I really want to emphasize some of this, but really not, I should say, to see where it where it is that I'm painting here. So it's coming off from here. But I also want it coming from from here as well. So let's change hardness. I go something like that. Same with, you know, the dress and the shoes. And then once we have this leading up here, we can then bring our capacity back down again so that you can see it. But it's not in your face, something like that, right? So you can see that it's there. If I turn it off, it's obviously there, and you know, she's kind of disrupting that. That smoke there but it's not so in your face that it's it's distracting, I should say so it's It's not that way. So let's continue on with our model here. So in the project files, there is an action, and that is Dodge and burn, and we're gonna apply that now. Someone's gonna hit Play on that. And what that does is going to create two layers. One is Dodge and one is burned. And we want both of them to be, um, clipping paths into our model here. So what we want to do with Dodge is kind of highlights some of the lighter areas. So again, if if light is coming from up above and had that in later so that we can actually see some of that light. But then this area here, right here and right here and right here, you know? So all that's going to kind of catch some of that light and this we're going to do with our Dodge, So keep it at a pretty low exposure and start to paint this so you can see how it's kind of frightening essentially, what this is is this is another term for this is localized brightness and contrast rather than doing it to the entire image, were painting in where we want this brightness and contrast to be so if I were to just turn this to add on the layer, you can see these are the areas that are going to be a little bit brighter. Overlay is gonna knock out that 50% gray, and then we're seeing what's left there, which is a slight difference in tones. So again, this here have more like here front of her body like That's That's pretty good. And then with Burn, it's the exact opposite. Of course it's gonna be the darkening, so that's the darker area of Of the contrast will bring the exposure down a little bit again. Just so it's not. It's not doing as much with each stroke. So that way I have to come in and do a little bit more so kind of getting the opposite areas here to give some of that contrast, huh? Back of the dress. And I think I'm gonna just this some to actually, um, the ah, the background here. So let's do that. Let's adjust this a mask. That is theme ass. That we're using for most of it. Yes, ingredient map adds a lot to it, but I wanna have it be a lot softer. So let's actually erase that and then paint this back in. So answer. Start over apps. Come back to me. Paintbrush changed my flow to be something really low. Now leave a pass ity and start to paint this in. So again, you can see we painted that in and then I was like, You know what? I'm not a big fan of that. Let's take it out and then do it again and there's nothing wrong with that. So when painted like some of the folds here and a little bit of darkness in there and using very, very light in order to have it be when it's affecting their and will probably want to do is to a just this smoke here. So this smoke, let's actually turn this down quite a bit. So it's there, but it's it's it's not is too much. It was too much there with this, a brighter it is too much because this is much darker here, so kind of like that. Okay, so the last thing I want to do before wrapping up this video. We can take a break, then is I want to add in a light rap around her so we'll do two of them. One will be yellowish cause we're gonna have some yellow light up here, So this will be a yellow light rap. And essentially all the light rap is is if you think of you know, three point lighting and kind of have that background light, and it's going to kind of catch some of the highlights. Some of the edges. It's pretty much what a light trap is. Um, it kind of it helps you see the edges some. So what I'm gonna do with this, though, is start to paint in some of these areas to kind of see how it starts to brighten it up. Similar. What we did with our contrast are dodge and burn. But with this where we're adding in that lighting so you can see it's starting to look like , Oh, there's actually lighting there, you know, that's actually affecting her and and changing the color of things like you would expect on different parts that are being affected by the light. So we have a yellow one, and then I'm gonna do a purple one and almost kind of like what we did with the Dodge and burn. It's going to be kind of ah contrast thing as well. So this is gonna be a purple light rap. And let's find a nice, dark purple color and change this to a soft light and start to paint some of this in. So she's down here, and some of this area here is going to be affected by that. The smoke, right. So it's gonna be kind of this purple e color down here in the fantasy world. And then I guess Wonderland would be what you call it. And so that's affecting her as well. Her lighting kind, The undersides there. Okay, so here is before and after, so you can see we're starting to get not more stylized. Look, which is what I'm going for. A lot more stylized, A lot more creative with that. But since I mentioned it, you're gonna have some light up top here, So let's start to add that in. But this video starting on a little bit long. So let's wrap this up here, and we will add in some light up at the top in our next video 17. Adding some light to the top: in this video, we'll add some light to the top of the whole. All right, so you recall from our previous video mentioned that there's going to be some light coming from the top of the whole, and that's kind of what we had added. Some of the light wraps. The yellowish light wraps because we want to be very warm feeling from of top. So we're changing the colors warm to kind of a bluish to kind of a purplish. So let's add in that light at the top from creating new group. That's our light at the top, and this is gonna be made up of a few different layers. So one of them is going to be an ad and we'll pick a nice right yellow something nice and warm like that. And let's paint this in here. Here we go. So something like that let's add in another one. So this is gonna be as actually add in some more smoke. I think that might be nice. So we switch our brush here back to one of our smoke brushes and change the size down quite a bit. So for this, I'm actually going to do something like that. Let me turn that off and turn this off so we get a better size. Here we go. So something like that and then I'm going to rotate it. So control T and let's rotate this So it's up here at the top when we just have this little bit kind of trailing down there. And so it's gonna add a little bit of variation. And again we can take this ad So it's brightening up that top area, and we have some of that kind of effect that there's a smoke there. And then let's duplicate this. Take this and again rotates rotated around. Very slight difference if you notice. If you look close here, let me switch to an easier brush to see. So I'm not taking up the whole screen when I do that. But if we zoom in here, you'll see when I turn this off and on, it's starting to effect that a little bit, so it's affecting some of that blue, which is what we want. We want that kind of transition, which is going to create a nice kind of ah ah, greenish color. So it's all going to be nice and warm and then will top this off with another piece. And again, this is in the, ah, brushes that we loaded earlier. And this is going to be kind of a light ray type brush. So let's make this larger. Who wanted to be from right here? So that's probably a little too small. Actually, we lose the size of it there, but some like that. There we go. So we have a night Nice lights there that that's coming out. And then we can come in and even just this, actually, yeah, here we go. So we have that light nice light that's coming down and actually pro want to change this a little bit? It's a little more subtle. A little bit more there. And let's take this. Make sure we're using the same color blue because we want to be consistent here. So this color blue might be a little bit on the bright side, something like this. And then let's copy that color. Actually, you know what I do like a little bit brighter again? This is a a preference thing going back and forth on that. But with this now we have this this blue color. I want it to be blue, not yellow. Pace that color in and have it be blue. There we go. So something like that one that in a little bit more One more thing I want to do with this , that will kind of be little bit more Universal went through this on the back in the background. Here, let's add in Grady int. So this is gonna be essentially the same ingredient. Actually, we could just copy that ingredient. We already have one. Don't way. So this greedy int here. If we take this and then we copy it, strike it down, make a copy. We can put this on the background here, and then we're going to get even mawr of this effect. But I want to adjust the Grady in whips what I want to do. I want to just the greeting here to pull this in a little bit. Maybe a little bit more of ah, brighter, softer blue. The more sky like is kind of what I'm going for, you know, So, like a nice kind of light blue there, pull that in, and then once we have that can multiply it over the background. So again, this is affecting the background color here. So before and after, we're adding some lighting to this top part up here and then having it be kind of consistent with the bottom part down here that is being purple, kind of darkening. A lot of that, too. Here we go. I'm happy with that. Okay? So let's move on to our next video where we will start toe add in some leaves to add some movement into our image. 18. Bringing leaves into our image: in this video will start to bring some leaves into our image. All right, so if you hop into the project files there are some leaves here and will pull these in one at a time. So let's start actually backwards. Let's start with this one here. This is gonna be the 1st 1 that we add in leaves. Three. And I'm going to scale this up so that these are covering the entire image. We can even rotate thes. So this is gonna help give us a sense of movement in the image, even more movement in the image giving. You know the idea that if there's a, ah, hold up but the top of the ground And then there's gonna, you know, she falls through. Of course, there's going to be some sort of, ah natural elements that are going to fall. And so, ah, with this, it's going to help give us that sense of movement and and sense of There was something up above. So had this in, but the color for our leaves. It's not quite right. So let's change the color of these at in a hue saturation and add that as a clipping path here. And let's adjust this a little more on the green side. If we look at our bars here, so this is This is the original color, and then the bottom is the what. It's changing, too. So changing to a little bit more of green color, dark and a little bit. So it's not like fluorescent green, but kind of a darker green that you would expect just want to add in Grady int as well. So this is something that we've done before. But this time or like to do is to change the color of the leaves as they are falling. And so ah will have green and kind of a yellowish color. You know, I said, those backwards, we'll have those. We change this to be 100%. And let's actually reverse this because if you remember, we had the yellowish light up top. So that way will have that that there. And we can put this in as a clipping path, change the color to a soft light and kind of bring it down a little bit. So what that's going to do so original. And then we're adding in just a little bit of color up here, and then we're adding this as well. So we're adding in where changing the colors of these leaves so that were essentially adding some variation to it is what we want, cause if you look, it leaves in the real world, they're never gonna be exactly the same color. It's never gonna be exactly that way. And so we want to add some variation to it. I'm actually gonna add a little bit more variation here, and this is variation that we can paint in. So if we come in here and change this, maybe that's crank this up, something like that. And then we can come in and start to paint this in. So I'm going to use my paintbrush on the mask. I want to change my actual brush here and make it much smaller and start to paint this. So we're changing something like that. Still a little green for my taste, so I might come in. Let's not colorize that. Let's change this to be a little more of, ah, yellow brown And then this can kind of be paint these in up here, and then this one, we could even start to come in and paint this go. We could even start to paint this as well. So, you know, changing again. Just adding some variation is really what I'm going for here is just adding in some variation, so it's not not all exactly the same. The colors are gonna be exactly the same. But I also want to go with the flow of this image and have the colors changing from the top to the bottom, which is what we see. Ah, in the rest of the images. Well, the lights all the way, all the way there. Okay, now, we might need to change that some, but again, we can start to tweak this as we bring in more elements. So let's pull in another set of leaves here, and these are going to be a little more toward the bottom. And these in particular, just again a little bit more variation. We're gonna change it up and let's put these into a group. So leaves these are gonna be over top of her, and then these we're gonna be under. So the masking that we did on our model is going to help Give us that effect that the leaves are actually underneath of her. So you can see some of these air actually going to be under her and weaken, even sell that illusion a little bit more. If we do kind of a partial one like this right here so you can see it's kind of partially there. So there's actually kind of that depth there that helps add to that this we want to be behind the light so it's coming, so the light is kind of over over top of it. So with this again, we're essentially going to come in and start to duplicate some of these and get a similar effect. Let me just duplicate all these, and then we can work. From there, we can start to customize them as we need to. So with this one, let's change our coloring, and this again will change it again as well changer coloring. Maybe to make this one a little bit more purplish in this one. You know, I think I will actually colorize this and turn it into a purple, so that's kind of towards the bottom here. And then what we'll do is we will paint that in So I'm gonna get rid of the mask and then paint in some of these so it's being affected by the purple down here in that purplish color. So it's not gonna be exact, which is what we want. We want that variation. That's what we get by painting this in there. Here we go. Now, the last bit of leaves that we're going to add in here is this one right here. And this is really, really up close in your face. These leaves are you know, you've you're part of the action. It really helps add some of that immersion to this image when they're really, really close in the foreground. So with that, I mean foot that around, Um, you know, I think I might have actually liked it a little bit better that way, something like that. And then this one again, we're going to need to change the location of it because this is going to be above her because it's in the foreground. So these are foreground leaves. Although I put these into a group and just like we did with these others, we can start to change our ah, the coloring of them So let's just duplicate thes and through the throw these in as a clipping path. They would go maybe change the coloring a little bit. I'm just changing. I'm just a making adjustments to the variation. So, like I mentioned before, so some of these you know, we're going to be a little bit darker, right? And some of them are going to be a little bit brighter, and that's what we want. Some variation. Here we go. I'm happy with that. I think that looks good. All right. Now there is some changes that will want to do with this. You'll notice right here. There's this leaf right here that's on top. It kind of looks kind of strange when there's a smaller leaf, even though this is supposed to be up in the forefront. So what will want to do is to come in here because there's a Tana leaves in here. Well, actually, want to take some of those out, so we'll take a look at doing that in our next video 19. Tweaking our leaves: in this video will make some changes to our leaves. All right, so at the end of the last video, I mentioned there's some of these areas you conceal, especially right here. That's the 1st 1 that stands out to me. You can see the, um, leaf that's in the foreground, But then there's a smaller leaf on top of it, and really, that kind of breaks that illusion. So what we want to do is to come in and start to remove some of those leaves, so I accidentally drag something there. So let's come in and start with this at a mask. And essentially, we're just gonna paint out some of these pretty simple process there. It's removing some of these that might be a little bit too much. And again, this is a complete This is completely opinion, you know? What do you think? It's too much harmony? How many should you keep harmony? Should you remove that one? There looked like it was kind of a duplicate. Even though we used three different images, it looked kind of like a duplicate. Same with this here. So we'll start to remove some of those. It looks like Yeah. So moving some of these Ugo and I Let's start on this one here on the foreground and start to remove some of these so we can see what we're working with their I think I'm just kind of looking at where they're at and kind of looking, making decisions on what we want to remove. I might actually remove this right here. This back with this one, I won't write their apps. Keep this. Yeah, well, just get rid of both of them, okay? Something like that. And we can remove some of these from this last one here. Let's take a look at what we were working with. Their there weren't as many with this one here, but still some of these areas here that's kind of busy and crowded. We'll get rid of some of those I want actually get rid of some of those over her head since she is the focal point. Not maybe not quite as realistic, but we'll keep her there. And with this, I actually will move this down. So we have a little break so we can see her a little bit easier. Even though she's thief Focal point, even though. I mean, realistically, you would have a lot, you know, them everywhere leaves fall everywhere. Um, but we'll get a little bit there and kind of break that reality. Sing with this right here. We'll get rid of that. All right there. Okay, I'm happy with that. I think we can continue to remove some. We continue in a shift on Morata. Encourage you to do so. Ah, Feel free to start to move these around, play with them, start to change things around that you want, and start to make some adjustments and come out with a different result than the one that I have. Now, once these leaves are in here, it starts to add some motion into our image, which I really, really like. But that starts to cause an issue for our model for Evelyn here because she is very, very crisp. And that is because the photos were taken on. They were, you know, in focus. And so if she's actually falling, then there would be some motion blur, and there would be some blur on her, just like there are on the leaves. So let's move on to our next video, where we will take a look at how we can add that 20. Adding motion to our model: over the past couple of videos we've added in some of these leaves, and that has caused a problem for our model in the photo itself. And that is because she is Chris. She's not moving the same way that the leaves are, and so let's add in some movements to hurt. So to do that, all we need to do is to come in here and because her layer is a smart object, we can come in, add a motion blur. I want to do this straight up and down said She's falling straight down. Probably not that much as a little much. Let's start to blur this. Maybe something like that. Let's zoom in so we can see a little bit easier. So I 100% see what this looks like trying to match with the leaves. Of course, you know, leaves we're gonna move at different rates is not gonna be exactly the same. But something like that could work pretty well. So hit. Okay, here. Now, the cool thing about this, with a smart object, is now. This is a smart filter, so we can paint in this motion blur, so I don't want the motion blur everywhere. I'm actually going to paint it out or fill it out so that it's not there anymore. And then we can start to paint this in and watch what happens as we start to paint. Especially her legs and the arms, Those air, partly the the parts that are going to be moving the most. So we're painting in some of this blur here. Ah, the dress is gonna have some motion to it. So we're gonna want do that area as well. But maybe not all of it. So maybe, you know, around her, the main part of her head here in her body, we could had some motion to her hair. But maybe not all of it is in is quite blurry. So we can let's adjust our flow. So it's not quite so much so. We have some parts of her and focus and some parts will not be. Is the just here that we're getting their hands start to blur that, and then it starts to get in focus when it's, you know, kind of connects to her body. Same with this arm here. Same with some of this, although towards the outs outskirts from the skirt. It's going to be more more blurry there. Here we go. So we've added in some movement we can see before and after. It really helps sell that little bit of movement to her. Now, as I was doing that, I noticed a couple like right here. You notice those look the same. So we may need to come in and clear some of these out some of these leaves again. I know we just did some of that, essentially the same process. But, you know, sometimes you find things later on that you think that you might have missed mistress Weight goes. I'm looking to see if there's any very obvious duplicates like right here. See those two? We'll get rid of one of those that way. It's not an obvious, obvious duplicate. Even though we're not using the same image, it looks like that image is actually using some of the same leaves, so we'll get rid of some of those duplicates in order to give it more variation there. Okay, I think that's pretty good. There's one. If you notice any more, feel free to go in there and clear those out. But I think this is pretty good. I don't really notice any other obvious duplicates, although I say I say that I keep finding them. So that's kind of the way it goes, right? Um, all right, so with that, now that we have her there, there's a few other things that I'd like to do. But let's move on to our next video, where what we'll do is we'll start to add some overall collar correction to this and really just kind of start making some final tweaks to our image. 21. Color corrections: in this video will wrap up our image with some overall color corrections. Now, one reason I like to do some overall colorization is like this is it helps everything kind of blend together a little bit more to make it seem like all the edits were made up until this point belong together because there's some overall coloring that is universal across the entire image. All right, so let's come in. I'm gonna create a new group here, and let's call this CC is gonna be at the top. So I'm gonna create a new Grady INT to begin with, and that's gonna give us some color from the bottom to the top. So bottom is going to be kind of this dark purple, and we could use one that we've done before. But I wanna change it up and have some different variations here and then at the top. It's going to be kind of a yellowish color, because that's what we have. The light coming from the top is kind of that yellowish color. Now, with this come in, let's set this to a multiply and really bring it down. So it's gonna be a little more of a subtle effect, but you can see it's starting to add some color overall from the top to the bottom. And then, of course, we can come in and I always like to add in a little curves in order. Add just a little bit of contrast. Or if you wanted to, you could go the opposite route and add a little bit of a faded look. You know, it seems to be real popular, adding a lot of faded. Look, bring up the the blacks there. But in this case, I'm gonna leave that and maybe something like this we go, Okay, Now, we can continue to tweak this, however we want to. That's really up to you. There is one more thing I would like to add to this, actually. And these are that is some fairies. So fairies. That's what I call him. I'm It's pretty much just you've seen it in pictures a lot of times. It's, you know, in the fantasy style stuff, which is what we're going for here. It's essentially just these little, um, dots. So, like that, right? And so I'm just gonna paint some of these around. It's just gonna give kind of, Ah, look that there's some fantasy stuff going on here. And then once we have that and add a new layer and then on top of that, let's make this ad and paints again on top in order to add a little bit of depth to those we don't have to do it to all of them, some of them something like that. So this is our fairies, and then this is our depth for them. And we can add another layer here if you wanted to. It's kind of Ah, personal preference. How many of these you add. But I'm just gonna come in and maybe changed colors a little bit and just draw few of them in like that. And then we could bring down the capacity again. It's just kind of Ah, a little bit of ah fairy tale feel to it, just adding in a few more little things that we can ah add into the image there. Okay, I think that's pretty good. If there was one more thing I would do would probably be to darken up this background just a little bit. Mawr extend that a little bit more so with this start to tweak that I wanted to paint this in. Really? I think what I'm gonna do it's just come in and keep this super simple. Let's just come in and add in a little bar here, and then that's gonna be darkened, darkening? That just separates the foreground just a little bit. I don't want it to be. Actually, I don't want to be perfect a perfect bar. So I'm gonna add in a little bit of variation here, But something like that, we can actually make it a little bit bigger. Probably I stand to be a little bit bigger. And again, these are the kind of things you could just continue to tweak this and continue to tweak it to your heart's content to get the final look that you're wanting to achieve. Overall, I'm happy with that. We change this, actually. Yeah, so I wouldn't need that to be darker. And then we're gonna need to bring in something to actually just get rid of it at the bottom. So I'm just gonna crank thes levels and on Lee, paint these in at the bottom so you don't see. See, down here. You can see those roots. So I'm just gonna get rid of them all together. There we go. Even around here, even some of this area pretty good. Here we go. And just kind of painting this in so that it gives us a little bit more variation there. That's kind of the name of the game. A lot of this adding some variation to it. Something like that. All right, now, we could continue to tweak this, and I would encourage you to do so. I would encourage you to take these files, start to play around with this and start to see what sort of different effects you can get in different looks that you can get just by changing some of the settings that we've made along the way. But with that, we have come to an end of this course. I hope you had as much fun tackling this image as I did until the next creative project. We take on together. Thanks for watching and bye for now. 22. Bonus speed edit: Additional creative tweaks: hello and welcome to this bonus video. And no, I mentioned we were done at the end of the last video, but has often happens with creative projects. Sometimes you just want to keep tweaking them now, throughout this course we've walked through. All the steps to create are falling down the rabbit hole image. But as I've mentioned throughout this course, a lot of images come from personal taste and the creativity you have in your head. Now, even if you follow along with this course step by step, their bound to come up with a different result. And that's what creativity is embrace that make changes and continue to tweak things. So in this video, one of the show a few tweaks that I made to the image after recording the final video. Sometimes it takes taking a step back and taking a break before you come back and decide to make some more changes to it. And that's okay, So this video is sped up about seven times. I spent another half hour or so just playing around the things, trying new things you can see as moving around some of the leaves playing around with the background here and controlling kind of how those roots look in the background and painting some of that in or some of that out with the exposure. There's nothing new as faras the techniques that were doing in this video. We've covered everything throughout the course. Really. I'm just going in there and playing around with positioning, composition of leaves, the color of the leaves, things like that. And now that I'm looking at this playback alongside you, it looks like the video here is a little bit darker on my monitor. But so I would highly recommend that if you want to see everything, go download the project files and open up the PST and you'll be able to see the true colors and be able to see them on your own side in order to see exactly what everything looks like in all the different layers, you could turn the layers on and off and see what is affecting what, how all of this works. So here I'm going through the process of just playing with the background, trying to see if there's something that I like, and there's nothing wrong with going through this process, playing around with it and then deciding. You know what? No, I don't really like that. I'm going to go back to the way it was. I'm gonna try something different. You'll notice there's a color Philip the very bottom there. And then I end up getting rid of it, and that's something that I was playing with. What if there was this color in the background and we were kind of mass through to see a little bit of that, just playing around with different things. Ah, here, playing with the color of the leaves and changing those colors a little bit and playing with some of that. There's nothing wrong with trying something, deciding you like it decided you don't like it and then getting rid of it. Now here, changing some of the little fairy some of the lights adding some new ones and even adding some layer styles to them. Just a simple outer glow is all I added to it in order to, ah, just add some different differentness to it. Some change some variants to it. That's the word I'm looking for. I just making things look a little bit different and playing with the light at the top, playing with some of that playing with, you know, making sure that the motion blur on her hair is affecting all of it properly. Little details like that. And then, you know, again, you know, as I mentioned before, with the background continuing to play with that some you see the little light there is trying to get rid of. Just as I'm noticing, things are looking at things, making some adjustments to the colors. It's just playing around and trying things. If you like something, you know, go with that. It's trying to match usually. Like when I'm working on product like this. I'll have an image of my head of what I want, and it's trying to match that image as best as I can. And so, ah, playing around with it. But then, as you're going through the process is as you're working on this, you like Oh, you know what? I really like that or really like, the way this works Or, you know, in this case Ah, here in a little bit. I end up where I wasn't. I didn't like the way that leaf is right next to her arm. It I didn't like that composition and saw end up taking that and moving that and changing the composition of the leaves. You can see right there so moving that so it's not as big of, ah, focal point right next to our modeling and taking that up, or some of these leaves that air covering her up there. But that's about it. You can always keep tweaking things, keep playing around with them, but at some point you have to make the decision that you're done. Thank you so much for checking out this course and sticking around to see some of these bonus edits. Now, if you haven't already again, I would recommend Go grab the project files, open up the PSD files on your end to see how everything was put together and start making your own version of Alice tumbling down the rabbit hole.