Beginner's Guide to: Photoshop Compositing for Advertising | Tom Kai | Skillshare

Beginner's Guide to: Photoshop Compositing for Advertising

Tom Kai, Photographer and Graphic Designer

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7 Lessons (48m)
    • 1. Introduction

      1:04
    • 2. Combining your Images

      11:10
    • 3. Color Correction

      10:24
    • 4. Shadows & Highlights

      10:45
    • 5. Special Effects & Final Touches

      10:47
    • 6. Saving your Image

      2:55
    • 7. Final Thoughts & Conclusion

      1:02

About This Class

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Learn all you need to know about the importance of Photoshop Composites in Advertising as well as how to create unique creations to showcase anything you can think of in a unique way! By the end of this course you will have created your own Photoshop Composite ready for a magazine advertisement or online ad, and you will also have the skills necessary to keep creating more!

I am Tom Kai, A professional photographer and graphic designer with an incredible passion for creating. I've been working in the creative field for the past 10 years and in that time i've learned a lot of useful information that I want to share with YOU! I am excited to help you get started with compositing images, to be like a pro, and to give you all the skills you need to make out of this world composite creations! If you want to see more of my work, I encourage you to check out my website HERE or feel free to follow me over on instagram @therealtomkai or you can just click HERE

This class is designed for beginners and anyone who has an interest in creating stunning imagery for either their own business and promotion or for someone who is looking to create advertisement material for others. I will be walking you through the process from beginning to end of the creation process and I will also give you insight on why this kind of composite is important in advertising. I will also provide you with all material used in this creation, including images and brushes!

This course is made using the creative cloud version of photoshop, specifically Adobe Photoshop CC 2020 is what I use in this course, however the principles and skills taught in this course can and will apply to other versions as well. You can also download a free trial of Adobe Photoshop CC from adobe.com

In this course you will learn:

  • How to use the photoshop interface and tools
  • How to composite multiple images into one in a non-destructive way
  • How to properly color correct your image so that all elements are unified
  • How to add special effects to your images such as clouds, foggy haze, birds, etc, that enhance your final image
  • How to properly save and export your image for various platforms and uses
  • The importance of photoshop compositing in modern day advertising and how the success of a business or brand relies on unique imagery that helps it stand apart

Transcripts

1. Introduction: Hello, everyone, and welcome to the Beginner's Guide to Photo Shop Compositing for advertising. My name is Tom Kind. I've been a graphic designer and photographer for the past 10 years, creating various composite work for clients and companies alike. We'll see some examples of my work going across the screen, but if you want to see more, please check on my website at www dot the real tom kite dot com or look me up on instagram at the rial. Tom Chi I'll have links to both of those in the descriptions of the scores. Success in business means being unique, but with the huge amount of companies and friends out there, it could be hard to set yourself apart. If we look at these examples of Photoshopped composites used in advertising, we can see how a bit of composite imagery can be used to set yourself apart from the competition from drinks companies to fashion to everything in between. You can be sure that they've used photo shop composites to create unique advertising material. Today I'm going to teach you the basics of how to create a stunning composite image for advertising, and we will be creating this together today, so get ready in the phone. Videos will be covering the creation process from beginning to end, so let's dive into it. 2. Combining your Images: all right, and we are in photo shop now. As you see, my screen might look a little bit different than yours. But if you haven't already check out my previous course. Photoshopped compositing create like a pro to see how I set all this up and all the different tools that I'll be using in today's composite. Okay, so I'm going to import are images that we're gonna be using for today's composite. So let's go ahead. Let's do the 1st 1 together. I do file place embedded. And let's go with our first image here. Just place it in. If you place that, it's gonna be a smart object automatically, and that's what we want. So I'm gonna get the other three images in, and we'll be right back. And there you have it. We have all four of our images in our file here. We have an image of a chair, but I'm going to be using here. We have a model sporting a Gucci belt, which is a subject of this specific composite. We have a sunset image, and we have a nice street image somewhere in Europe. It looks like so let's go ahead and start putting this together. So if we have our sunset and our street here, we're gonna want the sunset behind our seats. So let's just drag that below the layer. And for now, let's do control or committee. If you're in a max and let's stretch this to fit the screen, just drag that. And honestly, I'm Michael even bigger because I don't want any of this at the bottom. I like the framing of these lamps at the side, so it's just something like that looking good. Now we have our sky underneath, but we can't see it, so we're going to go into a little bit of masking to take the sky out of here. So for now, let's hit W and automatically have are quick selection tool. But if you click and hold down here going to try out our object selection tool, let's see how well this is going to do the job straggle square over the sky area and see that's not doing such a good job. So let's do control or commends Lee to undo that. Let's go back to our quick selection tool. Might want to zoom in a little bit for this So let's go ahead and do that. Just hit Z for the zoom and then use your mouse to zoom in. So let's set a w again to get back to our quick selection tool and we're going to start to draw little edge around here. So you see, it automatically does nearly all of this, and nearly perfectly. I'm pretty happy with this. So let's zoom in even more with Z. Okay, Let's go back to W where I want when I'm gonna get a smaller brush here. Not gonna try and get a little bit more of the detail. If you hold down Ault, it takes away from the selection. We can paint back some of the details that you want for me, that chimney. I don't mind losing this fire here for this. Certain parts of this that I do want to keep. So it's worth it to go through and take your time of this because you see here it cut out this whole section of that building. So I'm gonna go on, add that back. There we go. And the selection does not have to be perfect. Don't worry about that. For now, we just want an almost perfect selection. So let's finish up the edge. There seems to have done a good job up in this area, so I'm very happy with that. So let's Z and zoom out. We have our selection now we're gonna hit control or command shift. I what that does that in verses are selection so that when we click our masked button down here, it masks out of the sky. So let's hit V to go back into our move tool, and let's select our cloud layer so we can move this around as you see in the background that moves, I'm gonna hit control or command t just to make it a little bit bigger and so that I have more of the yellows and oranges down the bottom to work with something to drag it to a point where I think it's gonna work. I'm happy with that. And now let's get the two other pieces in here. We have our model and our chair. Now we're gonna need to chair to be below the model. So let's move the chair layer down and let's muskets out. We're going to do this one differently because this one's a little bit difficult to use any of our quick selection tools. You see if I use a quick selection tool, it can do a decent job. Who's But you see, because it's white on white might be a little bit difficult for to get a good selection. Edge won't be too nice. So has a little trouble. So we're going to do. You can hit control or command d to de select everything we're going to zoom in and we're going to use our pencil thiopental is a fantastic tool you can use to get really, really good edges on your object sled Zuman for me, the more I zoom in and the better my edges come out. So this is a simple you hit p to get your pen tool up, and this works with nodes so you can click and it'll create nodes. Or what you can do is click and drag, and that will give you a little handles you can use to get very nice curves on your image, some to do a little bit of this together. And then I'm gonna cut a little speed speed video in the second. Now you see this note here's a little bit out of place. If you hold down control, you can click on a note and move independently, so I couldn't find a good position for that and just continue with my selection. And of course, it's totally fine to do. Control a command Z to undo one of these points, especially move this image. It's a little bit hard to see the white on white background down here. It's a little bit easier. So I'm gonna cut now and go into a quick little time lapse. All right, There you have it. We have our selection made its 100% perfect, but it is a pretty good selection. So once you have your selection done with your pen tool, where you going to do is hit, control or command. Enter and it turns that into a selection for you. And now too simple is hitting our mask tool, and we have our chair. Moscow. Very nice. Let's hit control or command T. Let's resize our chair. Just something that's a little more reasonable. Something like this. Maybe very nice. And now we want our final peace. We want our model. So let's see how good of a job are Object selection tool is going to do here. Okay, not too bad. What I'm gonna do is with that selection, I'm gonna switch back to the quick selection tool and we're going to zoom in. And if we hit W, we can just go ahead and add to our selection at everything that we still want or for the things that we want to take away. So a little bit of the shoes here got cut off. So let's fix that. Because we don't want this to be. They see here It added a bunch of the background back. So let's just hold down Ault and undo that. And again, with this, it's a little bit of given take. You have to add than a race added in a race, because this tool, it kind of learns the more that you do it. So let's clear out this middle section that that a fairly decent job. So let's continue of that. Very nice. Now we have the other shoe here, just add it in nicely. It is a little bit difficult when the colors are so similar because the tool itself doesn't know what it needs to dio. But luckily, Adobe has upgraded it very nicely over the years to the point where it does a very good job . Okay, I'm gonna go with that for now. I can always paint back in more. Let's get these creases by her pants here, and we're gonna do something with hair there in just a moment. Okay? It looks like the rest of the selection is good. So now we want some more of the hair in here. So we're going to do with this tool we're gonna go to select and mask once you click that, you come into this whole other menu where we can refine our selection. So the view that I generally used is an overly view going showing a red overlay where I'm not gonna have a selection. Basically. So what I want to do is get rid of the white parts here. So we're going to use this brush over here, and it's a simple as painting in what this is going to do. It's gonna select an unmask the hairs to give us a nice, refined selection. We're going to do the same thing here. Do you still want the hair to have some detail. Very nice. A little bit over here. Here we go. I'm happy with that. Okay, let's zoom out. Let's hit. Okay, we have our selection and let's zoom out a little bit. And then let's hit our mask tool. Very nice. As you see, we kept a little bit of the hair and even up here I am asked out. Some of that doesn't have to be perfect. This is gonna be very small in the final image, so it's gonna be fine. So let's hit control or command T because we have to resize our model to fit this chair. So, you know, you never want to do something that's unrealistic sized, so generally think of her relation to the chair could make a little bit a little bit bigger . Chairs usually go up depending on the chair. These types go up like half to 2/3 of the back, so keep that in mind and you can also use your the arrow keys on your keyboard. Just moved very slightly. Your selection. I'm gonna move this over a little bit, actually, a little more up so that she's more placed on her chair. Let's go with that. Okay, so we have combined our image right now. This does not look very good. Sizing is off. You see, this person here is tiny. She looks massive. We're going to fix all of this in the next part where we're going to do some color correction and start to blend these images together. 3. Color Correction: and there you have it. We've composited our image generally the placement. As you can see between the last video and this one, I move things around ever so slightly. All I did was I increase the size of the chair and I did pull these buildings up a little bit. So if you will notice there is a little change. But that is all lighted. Everything else is still the same. Same selection, same everything else. So let's go and start color. Correcting this image to make it more unified. More like one image. So first thing we're going to do is pick one of these layers that we want to go off now. I chose this sky because I really wanted to be a very moody kind of sunset nighttime vibes for this image. So I'm gonna go off of that. So what I'm not gonna do is I'm not gonna do anything to the sky layer. Not now, at least. So let's go to our building layer and let's start with darkening things down. So let's hit our brightness and contrast slayer and hit this button to clip it to the layer below. We only want affect the brightness and contrast of our buildings. So all we're really going to do is bring down the brightness to somewhere where we're comfortable. This might be too dark. Well, let's go somewhere in between. Maybe like minus 80 looks about right, and we're going to keep the contrast as it is next. I also want to give it a quick hue saturation layer again. Clip it down. I don't change the Hugh or the lightness, but just the saturation. I want to bring it down ever so slightly. So if we close that we see there's a slight the saturation. So I'm just working on building up that moody vibe to this image. So let's add a blank layer above this. And if you hold down Ault on your keyboard and click between the two layers, it will clip it down the low. That's what we want. So let's go ahead and use our bucket tool if we hit G and might default to the Grady int. But for me, I have it in this in these three dots down here. If I click that, then next time I hit G, it goes to the bucket tool. So what we want to do is find a good color that can match the sky. So I usually use the eyedropper. And I think, one of these colors here. I'm feeling something more on orangey. So let's go with that one. I might go a little bit lighter. You can adjust it over here. Something like this would work. Maybe. Let's go with that. And we're going to set the blending mood in this drop down to soft light, and we're only gonna have this be at maximum. We don't want a very high saturation, maybe like 20%. So it adds a little orange glow because of the sunset. So not too bad. So next thing that we want to do is we want to add a little bit of a glow around the edge here from our son, go at another layer above pulled down Holt, we're going to clip it. And if you hit be on your keyboard, you'll come to your brushes. I was already in mind, so I'm gonna use a soft brush, and we're gonna change the size of it and nothing conduce If you do the bracket keys on your keyboard, you can make your brush bigger or smaller. So that is a shortcut I'm going to use mostly for getting different brush sizes. So now what you want to do is on this late, we're gonna have it be again on a soft light layer. And for no, we'll keep the opacity high just so you can see what we're doing. So with our brush tool selected, we're gonna sample these colors here. I was gonna paint a little bit on the edges off our buildings because generally in real life, when you look into the distance as a little bit of color bleed, that goes onto buildings. So we want to add a little bit of that. And we're sampling all these different colors is because we're not gonna have this orange up here. Not at this angle. At least there we go. And as you see, if we do take that off of the stuff light lending world, this is what it looks like. Not too good, right? So let's go back to soft light and we can talk about that on and off. We can see what it looks like. It just adds a nice little glow to our buildings we can pull the opacity down a little bit . And it's all about missing around here a little bit. How far you want the colors to believe down the buildings for me and for this picture. I don't want it to bleed too much, but I think I am happy with that. Now, before we're done with the building layer, we want to get rid of these people here. Okay? It doesn't help with the perspective right now to have these small people here, so we're just gonna remove them. So again, a new layer. Clip it down and let's zoom in over here. Now, if you hit s on your keyboard, it will come up with our clone stamp tool. Now, this is very easy to stamp out because there are a lot of straight edges here, which makes a life very easy when you want to do this. So what I'm gonna do is I'm gonna pick of this corner here, so if you all click, it picks a sample area and under place that corner right here. I'm gonna match it up to this pillar, and I'm just gonna start painting this guy away. So it's not perfect right now, which is fine. I know that this isn't the kind of thing where one past does it, but as you see, the bottom edge here doesn't match up, and that's what's important. So let's sample this edge here and let's bring it to a more reasonable level. See, now that meets up. That's what we want. And let's fill in these missing lines here that looks about right. Just gonna fix that a little bit. So if you zoom out, you cannot really tell. Now let's deal with this gentleman over here who's on this phone hit us again on your keyboard and again, it's fairly easy. You have some straight lines to work with, so it's pretty easy to mask amount. I always recommend if you do mask, use as many of the straight edges as you can because you get a more convincing blend that way, and there we go. I already got rid of him in a very convincing way. Now let's see. I do want to get rid of this bicyclist back here as well, so let's hit s. I'm gonna use a smaller bracket here to make my brush smaller, so let's just sample this area and we can already start to paint this guy away. So this guy is a case of one sample is good for the whole thing, and we're going to deal with these other people in the back later on with some blur. So let's go on. But before we do, let's hold on shift and click the bottom most layer of your building section here and hit control or command G to group them into a group making double. Click this and I'm gonna just rename this buildings or just building not gonna do the same thing on our skylight and hit control or command G and name that group sky. This will be handy later on when we're adding more filters and special effects. So now let's go to our chair layer. So on the chair Lear again, we want to bring the brightness of that down. So clip it down. We're gonna bring the brightness down. So let's say minus 55 looks about right and we're going to do a hue saturation layer again . Clip that one down and all we're gonna do here is bring our saturation down again by like, let's say 26. This doesn't do too much difference, but it's so something I like to do just to make sure that I get rid of as much color from it as possible. So let's go and make a blank layer above that hole down Ault and clip it down to the rest and hit G four buckets. Will and we already have the color we had from before. We're gonna paint in the chair and again we're going to go to a soft light blending mode and let's bring our capacity way down. Don't want it to be any more than, let's say, 12% Just a little orange tone to that again. Let's hold shift, select all our chair layers and hit control or command G to group that together, we're going to call that chair, and lastly, we have our model layer here since. Go ahead and do a brightness contrast on her. Clip it down. I'm gonna bring the brightness down all the way. Let's see, how far do I really want to go down? Don't go down too far. It's going like this. And for the contrast, I'm actually gonna bring the contrast down as Well, she already is pretty de saturated, so I'm not gonna do anything with the hue saturation. But as you see, we've darkened her down to fit this pretty well. So next time we want to do is add our orange layer. That's another new layer. Clip it down. Hit G four bucket to Michelle's already Hun. Fill it in. Let's go ahead and do a sub flight layer blending mode and bring opacity down. I'm gonna match the chair and go with 12%. So just adds a little orange tone to that. So hold down shift. That's group this together. Let's rename that model. There we go. So we have done a little bit of color correction. Next video, we're gonna be adding some shadows and highlights to our image. You had some shadows coming from the chair from the model. We're gonna add shuttles onto the chair and the moto as well, with some highlights coming around the edge here, we're gonna get some rim lighting, some backlighting from the sun in the background. As always, we're gonna bring out the details off this Gucci belt, this necklace, her hearing her eyes and she has teeth. They were gonna bring some highlights into that as well. So let's keep going 4. Shadows & Highlights: All right, let's add some shadows and highlights to our image. So first thing we're gonna do, we're going to make a new layer between chair and building layer. There we go. This is where we're gonna add our shadows. It's gonna be between these two layers. If we hit B, you can see anything we paint happens between these layers, and that's what we want. Let's do control or command Z. Let's undo that. And from good little trick to get the perfect shape of the shadow is let's open up our chair layer hit this drop down And if you hold down control or command and click of this stunned l of our mask. It gets your perfect outline of the chair so we can close up the chair layer here. And if you hold down, we're just pressing G to get your paint bucket tool. We're going to paint with black. Click there and it doesn't look like it. But we've painted blacks lets you control or command e d. Select that notice to control or command t to transform a layer. So if we hold on control, we can pull this down and instantly you see we have. We have some shadows here. So if you all don't control on these knows you can stretch them independently. So what we're gonna do? Well, it's a little bit more. We're gonna shadows kind of moving outward as the road goes. That's how the sun hits. That's what makes most sense. Another great tool you can use is once you're in the transform function, you gonna edit, transform and work. This gives you a little bit more flexibility to really line things up. And I'm gonna fix this one leg in just a second. Let's hit. Enter. I'm happy with that. So I'm just gonna zoom in here, get our brush, get a hard brush. Don't want any soft edges for this. Not right now. At least use a smaller bracket key and all I'm going to do Let's follow this line to wear this imaginary shadow won't go and weaken. Bring these to the edge as well. And this one we can continue back here now, this does not have to be perfect. And I'll show you why right now. So on our shadow layer, what we're gonna do is we're gonna hit, filter, blur, and let's do Ghazi Ambler. So I have a 7.4 pixel blur, which I'm pretty happy with. I like that. I'm gonna put the past city down all the way. Let's go down to like, 42%. It's a very specific number, but I like that dirty looking a little bit better now on another layer that's making you layer. We want a shadow of her model, so we're essentially going to do the same thing that's hit the drop down for a model and control click on her mask that gets a perfect outline of for Let's close up the model group there. And if we hit G, get a paint book a tool again and we're gonna fill that layer again with black slits that control or command D to de select and then control or command T to transform. And again, if you hold down control and dragged the notes, you see we have her shadow here, so this one doesn't eat too much distortion. It matches up with the feet very nicely. Actually, some happy with that. I'm just gonna hit Enter on that and what I'm gonna do is again filter, blur, Gaussian blur I'm gonna keep the scene radius a 7.4 pixel blur radius because we wanted to match the legs of the check and we're going to make sure that our opacity is the exact same amount. So I'm gonna go 42%. I'm actually going to type this women. Let's go 42%. Now, you might notice that these are overlapping and it does not look very good. So we're gonna erase some of the shadow from the other one. So if you control, click on the layer with the chairs shadow. You know, make sure you're still on the models Shadow gonna hit E for eraser. I think the brush or bigger. And I noticed the opacity isn't 100% Sure. You wanna make sure that is and you're gonna erase everywhere where the legs are on the model layer. It's nothing at controller committee to de select. It's must out that part off the model layer. So it just looks like one unified shadow, which is awesome. So next we want to add a few more shadows onto our piece here. So let's go to our chair layer. Can you layer above it and Let's clip it down with our brush tool. Just hit be. Let's make our brushing bigger and let's get a soft brush. We're going to start to paint a little bit of shadows on our legs just a little bit because the front sides of these legs will be getting very little sunlight. And another place that's gonna have a lot of shadow is exactly in front of her seat have been erased. Just that little bit there. There we go. And now we're gonna do is just turn opacity down on this 34%. That seems pretty reasonable. Now we're gonna go in the layer above the model, Hold down, don't clip it down, and we're going to do the exact same thing. We're gonna add a little bit of shadow to the points of contact with the ground and the parts that don't necessarily get light from the sun. A little bit on the shoes, a little bit on the underside of the arm here a little bit. Maybe on the inside of the leg and the front of her pens here. Not too bad. We're going to bring the opacity down of that to let's say 50% seems pretty reasonable that zoom out and you can always refine this. I have my eraser tool here. I'm not too happy with that part on the front of her. Her pants there, That's a little bit better, I think so. Next thing we're gonna add is a little bit of back lighting to her from the sun. This is gonna make a huge difference to this. So let's go. We're still in the model layer, making another new layer and clip it down. What we're gonna do is we're gonna sample this yellow color of the sun here or of the sky, and we're gonna make a small brush that's very soft, and we're gonna let's see, that's being a little bit. And then you will see the difference between blending modes. So you really want to take your time of this? Make sure that you get a good feather. Nothing that's too harsh like this thistles too harsh. So you want it just to touch the edge of the feather of your brush and the smaller brush, you have the finer detail you can get. I'm not gonna go to small with my brush. We're gonna add a little bit of a rim pretty much around all of her, because sun is kind of engulfing her in a little bit in the little ways and add a little bit to her shirt. Erase it off of the hair. So this part does come down a little bit to what your preferences for what you think looks good by a little bit. Goes a long way and you'll see what I mean by that in a second. Because under Eternal Pass City down on this, this is not something that you want to be very harsh or the main focal point of your image . This is just a little added detail to help kind of melt the images together because we see that the light from the sky layer is interacting with our model. I had a little bit in here. She and zoom out, take a look at the overall image that's not looking too bad. If we turn it off and on, you can see how much of a difference that is making a new turn it down a little bit. No past city, down to 74% and I'm happy with that. So Let's go ahead and do that same thing for a chair layer without a layer above our shadow . Leader of our chair. Clip it down that we're going to do the exact same thing. We still have our same color, and this one's a little bit easier. You don't have to add it to too much of the chair, just a little bit of the edges here, a little bit in the back here. And then let's erase what we don't want. That's just a very, very subtle addition there. Very nice. Another thing we want to add. There's one. Add some highlights onto her Gucci belt here and onto her jewelry and her teeth and her eyes. So let's do that really quickly. This is a very simple trick that I like to do a lot of the time. If you want to add a little more emphasis to an area you paint with a white brush on overlay, blending mood and you see all of a sudden everything is brightened up. What we want to be a little bit more subtle than that. So what I do is I just paint over our mogul and I'm also going to do the jewelry on the same layer. And again, a little bit goes a long way. You don't go overboard with this a little bit on the chain here, and there is all you're really gonna need. Not doing a little bit on her earrings. So you see, that adds a little bit of pop to that. I'm gonna keep that at that opacity, actually. But what I'm gonna do is I'm gonna making you layer same exact set up with overlay. Except this time, it's gonna be for her eyes and her teeth, because right now they're getting a little bit lost. Says, You see, we're adding a little bit of the white back into her eyes. Make sure you get that reflection there as well. We're gonna add a little bit to the teeth that zoom out. Now, that looks a little bit too much. Her eyes were glowing. We don't want that. So gonna pull the opacity down to about 50%. Make it look a little bit more natural and more subtle. So there you have it. We have our shadows are highlights. Done. Next video, we're gonna go and do some special effects. Finish up of some color grading on our overall image at some Grady INTs to asides, a little vignette, little blur, and we're going to finish this piece up. 5. Special Effects & Final Touches: All right, so we've made it to our final section of actual editing. We're about to do some final special effects to this image as well as final color grading to fetch the piece off. So let's get going right away. First of all, what I would like to do is let's go ahead and group all these layers together again like we did before. Keep the names consistent control or command g To do that, this is where we have our shadow layers. Just name that building. Keep the sky as it is. So first thing that we want to do is that a little bit of cloud smoky effect to this image ? It's gonna really add a lot to it. So let's go to our building layer making you layer here, and we're gonna go down and find our cloud layer. I'm gonna include all these cloud brushes and all the brushes that I'm using will be included with the course material for this. So feel free to download it, install it, and you can use exactly what I'm using. So let's just pick one of these clouds. Gonna put the opacity down like 8% and use our left bracket to make the brush smaller, and we're going to sample these colors here and again. We're just gonna bring a little bit of that smoky haziness in to our buildings. We can also go onto the layer above the model, and we're going to do the same thing. I get a little bit of that color going over her. Not too much, just a little just like that, numbering capacity down on that ever so slightly. So I'm pretty happy with that. Next thing we want to do is want to add a little bit of a Grady into our overall image. So hit G, it's gonna go to the bucket talks. That's what I've been using. But let's go to our great into over here and by default. I haven't set to use our foreground color as the first color here, and it goes to transparent, which is what I want. So if you hold down Ault, let's sample the darkest part of her image, which looks to be this lamppost. Let's hold down shift. Let's bring up a little bit of ah ingredient from the bottom here. Not too bad. I'm gonna bring the capacity down of the ever so slightly. I'm looking at a new layer we're gonna do to more Grady INTs one from either side coming at a slight angle. Others were not a little bit so more space for this. Never go a little bit from there and a little bit from here. I'm okay with that. Let's go. Capacity down to, like, 84% of that was like a little bit of Vigna effect, and it makes you focus on the middle. So now what we want to do is we want to blur away all of this in the back. We don't want that to distract the fact that there's people back here doing who knows what . So we're going to do is on our building layer. We're gonna hit control or command J. It's gonna duplicate that layer for us. And let's hide the one that's below it. Want to keep our original? And now, with our copy, what we're gonna do is gonna we're gonna go to filter and convert for smart filters. This it Okay, what this is going to do, it's gonna flatten everything in that group down and to give us one image you can work with and apply smart filters to So the filter that we're gonna be using we're going to go to our Blur Gallery on. Let let's experiment here. Let's start with our field blur. This is the one that I'm gonna use mainly. Let's set our middle focal point to the very back of the image. And here we have a little bit of detail of what we want. We have our set to 15 pixel blur. We can add some light bulk a Boca color light range. We're not gonna do anything with that. I'm going to keep this the way it is 15 pixels and just hit. Okay? It's gonna take a second for Photoshopped to think about what it wants to do. There we go. And we're gonna come down to our smart filter and we're gonna paint a lot of this away. Basically, that would be for a brush. It's gonna something soft brush. And what I'm gonna do initially is I'm just gonna get our paint bucket tool and fill it, fill it with black. That gets sort of all our blur. So I want to paint in our blur. Let's put our opacity up 200 there's a back section we won't completely blurred. Let's put our capacity down to, like, 40. Let's start feathering that out a little bit and we're gonna want to blur a little bit of the buildings here on the edge Way go. Not too bad. Our next step here is we're gonna take all of these layers. Hit control or command G put that into one year layer called Final Piece. We're not done yet, though. We still have a little bit to do to make this look very moody and very nice. So next thing we want to do is we want to add a color look up adjustment. I'm gonna make sure we clip it to the bottom. And the love that I'm going to use for this specifically is gonna be foggy night. There are a whole bunch of other ones here. Feel free to look through them. If you find one that you like, better use that one. I'm going to be using this one fucking night. It comes by default with adult be Photoshopped. As you see, this is a little bit too much. So what I'm gonna do is take the opacity of this down all the way to about 41%. That's looking a lot better. However, this has made it a little bit dark. So let's go at that brightness, contrast layer. Clip that down and we're gonna bring our brightness up ever so slightly. I have to move that and we're gonna bring our contrast. Found just a little bit for overall image. Just flatten it out a little bit. I'm also gonna add a hue saturation layer where we bring our saturation down to about minus 10. That is looking a lot better. I'm happy with that. So another thing we're gonna do is we're gonna add a curves layer above all of this. We're gonna bring this handle up. It crushes the blacks a little bit, and we're gonna put it and just a little bend in the curve. Still a little bit. That's all you need. You see, It added it added a little bit to our image. Now, some final little details we're gonna add some birds. It's kind of like my signature thing that I do with nearly all of my composites is I paint in some birds in the back. So let's go make the Russia very small. Something like that. And we're going to sample again our darkest color. We're going to use our lamp here. We're going to start to paint. Just make sure my capacity is high. Let's paint a bird here. Let's which are the type of birds were using that you don't want. Used to be too distracting Everyone back there. Nothing there. I don't have a group of three up here, so nothing too crazy. But what I'm gonna do is I'm gonna go into my eraser tool bringing opacity down about 36. And I'm just gonna paint these out a little bit because of atmosphere and just to soften them up ever so slightly. So they're still there. You can still see them, but they've been softened up. Now, the final piece, which is really important with branding. You want an image that's gonna be good for all types of advertising and marketing purposes . So what I'm gonna do hit t for a text tool? Don't add some text of this as if this were an advertisement. So let's call this First of all, let's just get another fund here. I'm not gonna call this to avoid all copyright issues. I'm gonna call this kooky. It's a very funny name, but we're gonna roll with it. Bring the spacing a little bit together. Make sure we have our text selected. And if you don't have this venue on your right, make sure you hit window and character and that will let you just all of this. So we have our text here. Let's makes the text white. Let's bring that somewhere where it's a little bit more more advertisements, style. So let's place up there when I want a little bit of a subtext as well. So let's switch to our other fund here again. You can use whichever fought you're happy with, and as a subtext. It's gonna be another made up word, something that sounds a fancy. So let's put that here. We're gonna drag that to fit the same width, but I'm gonna make the fonts smaller. Let's go to like a 36 size fun. I'm gonna change the spacing for it to fit in very nicely underneath our main text here and there we have it. What I'm gonna do. One final touch here is on a new layer hit em for marquee tool. I'm not gonna drag us a little rectangle here and fill it in with white. If you hit D and exit will give you white as your foreground color. That's a controller. Command de un select a beast like that and control T Control Committee to get our movement tool here. Let's center that very, very nice So we can group these three into one layer and call it logo. So now we can just move that as one. So I'm gonna put that down here and change the opacity down to something a little bit less jarring. Something like this. And that is our final completed composite ready to go for an advertisement ready to go into a billboard or into magazine or wherever you want it in the next video. What I'm going to do is show you all the different ways you can save this image for different purposes, as always, different ways. You can rearrange this image for different uses such as instagram ads, Snapchat, Facebook, all kinds of places where you might want to have ads going for your company. So let's hop to it 6. Saving your Image: All right, So there you have it. We have our finished image, good to go. But now we need to save it. So let's go ahead and do that a few different ways. I save it. I'm gonna show you three ways. The simplest file save as. And we're gonna go down to J. Peg. I'm gonna call it Kooky Hit Save. I'm gonna replace it. Not a problem. And this is gonna be a large file. 4.18 megabytes. That's pretty big, but I'm gonna hit. Okay, now, if I want anything to go into a website, I needed to be way smaller than that. So let's go file export Safer Web legacy. So, as you see, this menu is gonna pop up and our image currently is 1.17 megabytes. That's a little bit big. So it's changed the percentage value here down to 50. And now, as you see, it's resized it to be 399 kilobytes, and this won't lose any detail. All the detail is still there. Perfect for a website. Plus it's safe. I'm gonna hit kooky Web version. You can name it whatever you would like and again on the hit replace. There you go. And another way I save. The third way is I do file Save as and I save an image as a PNG file. I use that a lot. When I upload over to Instagram and other social media places for me, I found that that looks the best. The color looks the best quality looks the best. So do whatever suits you the best. So call it kooky, PNG. But save and yeah, I will replace it. There we go. It's saving. Now What? If you want to use this for, let's say, an instagram story. This is not going to look very good, cause an instagram story is in a nine by six ratio, but vertically. So how do we make this into a vertical add? Very, very simply, What we're gonna do is take our local layer transforming. That's a center it of of our model and might even move in a little bit up. I don't like it touching the buildings, and if you hit see it's going to give you a crop tool, and by default I have mine. In a nine by 16 ratio, you can select that inner drop down here. And if you just click on the edge here, it will give you the freedom to move your image around. So let's find a cropping here. A framing that makes her be very centered. Enter. It might take a second to do this success. Surrender all the smart filters again. There we go. And now you essentially have an ad or ready to go for your instagram. You can have a swipe up link or anything. So, yeah, this is a very flexible style of editing. You can make this fit Whatever you need, a square ratio, no matter what, you can do that. So next video under wrap things up, give a final conclusion and this course 7. Final Thoughts & Conclusion: All right, There you have it. We've completed our course here on Photoshopped Compositing four Advertising rose. Also, we created this fake ad for a brand called Kooky that we made up. And I'm really happy with how this turned out. And I really want to see what you've created. Using these techniques that you've learned Feel free to create your own using your own images or ones that you find online. I'd love to see what you make. She'll drop it down in the course section, and I'm more than happy to give you feedback as well on what you've made. It's always good to share with others and learn from each other. If you want to see more of my work, feel free to check out my website at www dot the rial tom kind dot com. Or feel free to follow me on my instagram at the real Tom tied to see my work as well as behind the scenes videos off my creations. Make sure also that you keep an eye on my profile here on skill share. I'm gonna be uploading a lot more Photoshopped. Graphic design and photography related courses take you on your work to the next level. As always, feel free to leave your own feedback about this course. In the comments. I'm always open to critique and bettering what I do. I hope to see you again in another course. Take it easy.