Create Realistic Mock-ups for Your Pattern Collection and Designs | Sabrina Tortora | Skillshare

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Create Realistic Mock-ups for Your Pattern Collection and Designs

teacher avatar Sabrina Tortora, STortDesigns

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

10 Lessons (1h 18m)
    • 1. Intro

    • 2. Resources

    • 3. Quick Tutorial: Add Resources to your Swatch Menu

    • 4. Lesson 1: Photo Tips

    • 5. Lesson 2: Editing the Photos

    • 6. Lesson 3: Selection Tools

    • 7. Lesson 4: The Mug Mock-up

    • 8. Lesson 5: The Scrunchie Mock-up

    • 9. Lesson 6: The Onesie Mock-up

    • 10. Final Thoughts

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About This Class

Hey there!

If you are like me, then you love seeing your designs on real items. Nothing beats touching the real thing, but creating your own personal mock-up comes in as a close second.

See how I take an item, photograph it and turn it into a mock-up! 

Have a fabric design collection you want to show off? Let's add patterns to our mock-ups.

Need to have a really flexible mock-up?  Let's make the background color editable.

This class will be short and straightforward.


  • Photoshop CC 2014 or newer
  • A computer
  • A camera/or camera phone (using a DSLR camera is preferred, but as long as the lighting is on point, anything can be used.
  • A white or light product/item
  • A white background (If you will be making the background color editable). Foamboard is a great option.  If the background color is not important to you, it can be any color.
  • Optional: Other props that accent your main white item. 


- Find a white item from around the house. Technically you could mock-up any color item but white or grey would work the best with blend modes and letting the texture shine through. 

We will be mocking up a mug, hair accessories, and an infant onesie.

Since the editing process is basically the same for each item, feel free to jump to the mock-up lesson for your desired item.

- Photograph it outdoors or indoors (with great light).

- Edit the mock-up for future use with any pattern.

- Save as a jpeg and share!

Don't have the resources to start making something right now? That's fine...

My personal non-edited & edited mock-up jpg photos will be available in the resource section, so feel free to follow along and use them if you don't have the tools immediately on hand to create your own.

Can't wait to see your mock-up spaces and cool designs on products!

Meet Your Teacher

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Sabrina Tortora



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1. Intro: Hello, my name is Sabrina. I'm a graphic designer and surface pattern designer. And today we're going to learn all about how to create our own mockups from white items that we find around the house. So you can virtually make a mock-up out of anything white is very simple. It does take a little bit of practice, but once you have the files, you can reuse them over and over again with different patterns. It, it's as simple as double-clicking into the smart object, replacing the pattern, and you hit Save and all of the corresponding layers will automatically update. So you can see that we are going to use smart objects and vector mask so that we can mask off different parts. So it looks like the fabric is folded or sound and it automatically updates for us one setup. If you know how to use Photoshop pretty well and you have some patterns or some graphically with love to display in your own style, with your own photos, then this class is for you. All right, let's get started. 2. Resources: If we head on over to your resource section, you'll see seven files here. First is the grid file, and that one is necessary to download if you're going to do the mug lesson. And it's just good to have on hand as a really good pattern to line things up. Then you have the accessories, which is for our HSS crunchy, multiple onesies for the onesie lesson. We also have the onesies in a raw file so that you can follow along with me. And this is straight out of camera, so it's very blue and an unrefined and you can open it up and follow along with the editing lesson. Then we have a single onesie, which is an alternate photo that you can do instead of the multiple onesies or you can do both, whichever. And we also have the mug that's necessary for the mug lesson. And there's also one more hidden down here. Here we go, the alternative and Duchesne another mug photo that you can try. Other things to keep in mind are that I am using Photoshop CC 2021, I believe in 2014 is when smart objects were introduced. So you'll need 2014 or later version. You can download free trials from You'll also need some kind of camera, either a DSLR or just your camera phone. And then of course you need a white item. If you plan on taking your own photos. 3. Quick Tutorial: Add Resources to your Swatch Menu: Let me show you how to define a pattern real quick. If you noticed you have a file called grid dashes or one included, and this is just a quick and easy pattern that has grid lines, so that helps you line up the patterns for the mugs. And so you can either just leave this open and drag it and drop it when you need it or you can do, I like to do. And that's Edit, Define, Pattern. Say Okay. And now it will be in your patterns window. If you don't have this open, you just go to Window Patterns and you'll be in your swatches right here. And now it's ready for you just to drag and drop whenever you need it. And you can double-click on the thumbnail and scale it, rotate it, do whatever you need to. Okay. Up next is less than one. 4. Lesson 1: Photo Tips : So as we get started with lesson one, our first mission is to find some white items to photograph. My suggestion for this is look around the house for mugs, baby items, accessories, pretty much anything that's white or light gray. Or you can pick something up at your local store. If you cannot find anything at all and you just want to get started, you can use my files in the resource section. The reason I say it should be white or light gray is so that the texture can shine through when you're using the blending modes. For this course, I'm primarily going to be focusing on making the mockups. But if you do have some photography experience, that's great. If you don't, don't worry, you can take the photos with anything that you have on hand with a phone or a DSLR, it doesn't matter. And always remember the resources you have on hand, like the free stock websites. So here are my top tips when photographing your white items. Number one, if your item is tall, go for full sun with shadows. The sun will really bring out the y and any other colors that are in the photo. The shadows are really trending right now and they look very summary and fresh and photos. Number two, if your item is a low profile, it's better when it's cloudy. For example, if you're trying to photograph some fabric and it's very low-profile and close to the surface. The shadow could be very small and harsh and could be hard to edit around. But it's a personal preference and we'll be experimenting with both. Number 3, use a white foam board or light box with a white background. A lightbox also can help you tote your items around so you can move everything and photograph it easier. Number 4, depending on the time of day. For example, I took most of my photos one to two PM. You may need to open up the top of your light box and let the sun in or face your item towards the sun. So the shadows are on the side or behind. Don't be scared of full sun. Number 5, edit the photos. We brighter in Photoshop. But you're screaming, they're already too bright there in the sun. Trust me, they can probably be wider in brighter. So if you're lucky enough to have out of camera photos that are brilliant, awesome. But if you're not so lucky, your photos could look a little bit dingy in dark and gray and you will have to brighten them up some more, more than you think. Number 6, the biggest mistakes I've made in the past. So when I started photographing products, I was trying to go more of the artistic approach and when. And that is really great for Instagram and artsy photos. But what you're trying to do like product mockups. You want it to be as clear and as sharp as possible. So number one, not using a wide enough depth of field. So more of the item is in focus, and this means using an f-stop of f 4 or higher. So back to my very first products that I shot, I made the mistake of having a really shallow depth of field and only the very front of the product was in-focus. And then it blurred gradually back, which made huge issues for editing for me. And you couldn't read the labels half the time. So once I figured out that using a higher F-stop, which seems like a very simple thing to know. It was a game changer for me and it made the editing process much simpler. Second part of number 6, not having the photos bright and white enough. So I've already said this in number 5, but It's one of the biggest mistakes I've made in the past, not having my photos bright enough. So if you might think that the background is almost pure white in this photo, but if you take a look down by number six, there's little white square that's actually pure white. You can compare it with just to see if your item is bright enough. But in this course we will not be removing the backgrounds. So your background does not need to be completely pure white. So keep that in mind. And this helps in Photoshop. If you right-click into the workspace that's surrounding your document and you can change it to gray, black. You can do a custom color and you can select white so that you can see what true white looks like against your photo. For this class, you can photograph your products however you would like. Even in a scene like the one pictured above, it's time to grab your product and your camera, and let's get to work. All right, so here's me working and is about one to two PM, so the shadows are straight down sons rate overhead. If you wait a little bit later, your shadow own shadow could start casting onto the objects. They have to watch for that. And then another issue is the fabric. Make sure there's not too many folds and crazy wrinkles. Just because you will be selecting these from the background. So everything needs to be nice and tidy. So for this last shot here, it was overcast. So you can see that it brings out the cool tones and the shadows are less harsh. All right, so coming up Lesson 2, we're going to open up some of the files and you're gonna see me quickly edit them and get them prepared. 5. Lesson 2: Editing the Photos: Now that you've taken some time to take your photos, we're going to bring them in Photoshop and edit them with the Camera Raw. If you would like to skip this, that's totally fine. And you can just grab the resource files that have already been edited and gone to the next step. Since everyone's starting temperature is different, these exact settings are not going to work for your photos, but I wanted you to get a glimpse of what I do. Also, it could be in your best interest to invest in some great presets. They make your edits way quicker. So this is the outcome of it. This is what we're shooting for. And I actually refined this with Caitlin James presets which I've purchased. So since no other people will not have the same presets that I have, I'm going to duplicate those results, but manually. So this is the result. And here is our file that we're beginning with. Okay, so it was taken in the shade, so it's a very blue. So we're gonna do temperature 7450 and tint 12 already. It's a cool little better. Exposure. Negative 0.15. Contrasts. 52 highlights way down. Negative 70. Shadows. Whites negative 46. Blacks are up. Plus 45. Textures way up 75. So clunker blacks up, your texture up. So now you can see that texture in the shirt. Okay, it's getting better. Still a little blue. Clarity is up. D. Hayes is up. So 20 and 14. I'm guessing the vibrance is going to be 0, 0, 0 because it does look more on the black and white site, which you might have to take it there. So for the curves, we got negative 24 plus 22 for the lights, negative 2, negative 54 for the shadows. And I'm just copying the street on over just because I liked how the presets were. Detail. The sharpening is up 47, noise reduction 33, and 25 for the color reduction stays the same. Color mixer, nothing changed. Their color grading will lose 50. He was changed their optics. That's calibration. Calibration. We have 27 on the hue on the green. So let's see here, 27 on the primary on greed. So I'm going to take the vibrance down. That pretty much does it. And I'm going to take the yellows up a little bit. Much better. Still little blue in there. There we go. So doing it manually, I did have to do budge the temperatures a bit more than that vibrates and would probably get rid of this dark corner here just by painting it away. So all of your settings whenever you have cetera here it's just going to assert showing up right away. We just go in and change it. So setback at 0. And now we can, It's still selected right here. So now anything that we changed, it's getting just affect that area. And you just get the shadow is gone. Okay. It looks a little better. We do have a wrinkle straight across here, but that's fine. And little things here that could be adjusted. Think it looks a little too dark right here. It can keep painting. Okay, so that is pretty much it. Pretty happy with that. And we are ready to take it into Photoshop and I would get rid of this that you can see through and just anything that I didn't like. So we're going to open this up. The nice thing with the presets also, it sets the geometry and the lens correction. Your photos. So I really like that. And I've also use mass and presets. They are very, very good. So they're definitely worth investing in. So now I would go over to the correction, to the clone tool and just get rid of all of this unnecessary stuff. Got a little dirt right here. You can either use the cloning or there's a good patch tool. I'm going to go with the Patch Tool. The edges are right. Great. So now we have our file ready, and I would do this process to each file. So next lesson is all about selecting. If you feel confident with the selection tool. So you can go ahead and skip to the mockup that you want to work on. 6. Lesson 3: Selection Tools: In this lesson, I'm going to discuss some selection tools, whether you want to just cut them out or cut it out to add a background. It was the combination of selection tools. I was easily able to achieve this and add a color overlay. Okay, so I'm going to be on the original layer here. And then I'm going to hit Marquee, Select and Mask. And with the Quick Selection Tool, you can just start selecting. And it does it for you like as best as it can. It works really well. See how it works on these needles appear. So it can't really get the needles exactly. But it does a really fine job. And then we have the Refine Edge tool. So with the refine edge tool, you'll have to first make a selection and then you refine the edge. So say we have this top part selected K. Then we grab our Refine Edge tool. And it's going to do very finite selections. Working pretty well. We do see a lot of blue up here still, but it is working very well. Okay, then we have our regular brush, which as you can see, I don't want to do that. And then we have lasso tools you're familiar with in this object selection. Let's try this. So you just draw a square around it. And it does its best to find the selection, but it didn't, it didn't work as well as the Quick Selection in the Refine Edge tool. So I'm going to go back with that. So those are all the tools that are within this selected mask. Okay, so I'm going to press OK and it's going to make them, it's going to make a mask right here. Okay, The next one is the Polygonal Lasso tool. And this one is also my favorite, my second favorite with a feather. I like to do a feather of two, and that one is more for precision. So if I needed to go around this couple little bit more, but I still needed to have a little bit of a soft edge. I like to do that, but you don't get a straight edge more than a curve, so it's going very slow and for small movements. But that's my second favorite way of selecting. Then we have our magic wand. And take this away real quick. So with our magic wand, having contiguous checked and unchecked makes a big difference. So this is with it checked. Contiguous means that it's going to grab all the pixels that are the same color that are touching each other. So in this instance it's grabbing the cup also uncheck contiguous. And you've got a little bit more of a messy selection. It does not include all the pixels that are the same color that touch each other. So then you could go and start adding these areas. So you would hold down the shift to have a plus sign to add some areas, but it's adding the whole thing, not my favorite way. It's kinda just up in the air with the Magic Wand. Sometimes it's good, sometimes it's not. Then you have the Quick Selection Tool underneath that, which I love. And it just kinda grabs everything real quick. If you had a really solid object like the cut part, it grabs it really easily for you. So say, we wanted to just do this part. Sometimes I do that, I just get the main parts that I can and I mask them off and then I go back for the rest. So that works really well for that beautiful. And so for this one, you can also, it has a select and mask and it has a select subject. So select subject is just a quick selection. In my, in my opinion, I think that's better than the Magic Wand sometimes. But it's what it says. It is quick selection, just going around, not going to get those fine parts. And then it also had where you can go and select and mask, which you'd brought you back to that window that we were in the first place. So you will find that there are a couple of tools that leads you to the same place. Okay? So in a nutshell, that is the different ways that you can select an object. And with these fine hairs. So see, you didn't get them all. But my I have to go back and work on it. But my favorite way it was going in select and mask and using the Refine Edge to me that that works the best. So I went back and I enabled the little top part of the cactus. Just keep working on it and I just double-click to go into the mask again. And I just kept going at it with the refine edge until I got something that I liked. And then I was able to just copy that new selection by holding down command and clicking. And then I would just add it to the mask that I already had up above until I had something that I really liked. So that's it for this portion. Those are my favorite techniques on selecting to try to cut your object out. See you next lesson. 7. Lesson 4: The Mug Mock-up: Welcome to the first mock-up. If you notice you have a file called grid dashes or what included. And this is just a quick and easy pattern that has grid lines so that it helps you line up the patterns for the mugs. And so you can either just leave this open and drag it and drop it when you need it or you can do, I like to do. And that's Edit, Define, Pattern. Say Okay. And now it will be in your patterns window. If you don't have this open, you just go to Window Patterns, newbie and your swatches right here. And now it's ready for you just to drag and drop whenever you need it. And you can double-click on the thumbnail and scale it, rotate it, do whatever you need to. So here is our mug. For this one, we're not going to make a displacement map like we would for fabric, but it does have curves, so it has its own difficulties that we have to work through. So first thing, we're going to make a new layer. I'm going to draw a rectangle around it. The type of pattern overlay I'm going to make is where the pattern only goes up to the handle. And it's like a wrap, an image rap and doesn't include the handle. But if you'd like to include the handle, you can't. Ok. And I'm going to fill this in. Right-click Convert to Smart Object. I'm going to turn to some linear burn. We're going to hide it for a minute. And we're going to select this mug. So a couple of ways to select. If you hit the mark here and select a mask when it mass the edges, it doesn't really soft mask, which is really great because it looks like it's fading out. So try to do this method. If it works for you. If not, you can just use the regular marquee and just go around. And we'll solve it in. We'll see how we can soften up the edges later. Does a pretty good job of selecting k. Okay? Now we're gonna move the mass up to this layer. Turn it on, turn the opacity down. Oops. And I'm going to just fix this mask. So as I was saying, the edges there are kind of faded out, which actually works really good with the pattern that we're going to overlay. So in my opinion, that's the best way. If you were to use this Lasso, it would be a really straight edge, which wouldn't look as realistic. So let's click on the mask. And we have black in the foreground, and we're just going to eliminate the handle. So I'm going to bump the opacity up, make sure that this is not hard. And the print on a mug around the handle part is not usually really clear. It's kind of a little bit blurry. So this is fine. The lip of the bug. Let's bump this up and I'm going to take it away here because it's a little more natural if it's like a printer doesn't go up to the lip a little bit harder. It's a little bit too soft. Part is about 30. But since we're doing a layer mass at anytime, we can fix this. So if it's not perfect, you, when you put a pattern on a notice, that's when you can change it again. Okay, so at the bottom I'm going to also do the same thing. Get rid of this bottom part as if the print wraps around, but it doesn't fully go all the way to the edge. Here. It's kinda funny. So I'm going to have a feather of four and clean this up a little bit. And since it's feathered, it still gives us that blurred edge, looking pretty good. So now we're going to. Name this case a double-click on the smart object. We're going to open up the patterns window and we're going to drag the grid pattern onto the window. If you haven't done this already, you can open up your grid JPEG and to find the pattern so that it appears in the window. If you'd prefer not to put this into your swatches, you can just open up the JPEG and just drag it straight over to our smart object window. Say Okay, and now it's in there. The command S or File Save. Make sure save it, go back over to the main file. And now we have the pattern is overlaid. Pay so not unlink. Click on the thumbnail. Edit, Transform, Warp. And I like to, someone had defaults, not any of these because there, I like it when it doesn't have too many points to work with. And we want to just mimic the curves that you see. It. It's actually a lot easier when you have the grid. Because it could get really wonky like this really easily without you knowing if you don't have that grid overlay. And it's trying to mimic what you think the pattern would look like if it were a real cup. So it would be up here, will be straight sides. If you need to. You can just grab in the middle and kinda pull down wherever you need to pay to get it as exact as a cam. Looks good. Say Okay. And if you're not able to get this work to work, it's because you have not unlinked it. So make sure if you get a message and you just can't absolutely can't get to it. Make sure it's unlinked from the pattern, from the mask. Okay, so now that we have our grid on, oh, actually we forgot to mask out the handle. So I'm going to grab the Marquee and draw a rectangle straight down through both these handles so that it looks like the image wraps around but avoids the handles. So we want to leave a little slice on the left. And I'm going to go over to our mask, make sure blacks in the foreground. And I'm going to fill in this area. Perfect. Okay, Now it's time to test with the real pattern. Go ahead and double-click your smart object and just grab a pattern and toss it in here. And the pattern you like. See, I'm gonna do a fun one here. See here. Make sure you save Command S or Control S. Okay, it looks good. In my opacity was down. Loose that back up. Maybe about 95. Okay, now let's apply some effects to the pattern. So first we're going to apply a Gaussian blur to the pattern. And I'm going to put about 1, very small blur. So here's crisp it with a little bit of blur. And if you need to edit that, you just double-click on the Gaussian Blur and you can edit it as much as you'd like take. And now let's add another effect on top of that. We're going to do some noise. That's what I'm going to have to zoom in so we can see how much noise is good. See here. So it looks like a println, actual printing dots when you do this. So I'm gonna do for you, hey, looks good to me. So if you need to adjust anything needed just as well, actually, that's pretty good. Okay? And the only thing I see that we might need to do is if you need to move your pattern around, you just double-click inside and that's where you move it. Since we did transform the actual shape, you don't want to move it from this view. So we wouldn't want to do Command T because it moves the pattern off of the cup. So that's good, good. And then also if your edges are blurry in the actual mug and then you're drawing, your pattern is a little bit too sharp. You can go over and grab the blur tool and we will be blurred the mask. My strength is about 68. And then you can blur your mask. And I'll show you a before and after. So there's a blur Control Z and then can you see it appears right there. So it does take effect if you blur on the mask. Awesome. Okay, So it's pretty much done. Let's test. Double-click. Let's through I'm stars. And I'm going to decrease the scale to about 20, probably even less, actually 15 to save it. Okay, I am noticing there's an issue with the mask on the bottom handle of the cup and it's because of the cop's perspective. There we go. Sure. That it's exactly even here. And then I would want to blur this line because it's a little bit too straight. So in hindsight, I probably wouldn't have made this a straight line. I'd probably go a little diagonal. I'm just going to go down by hand in Blur. And it's all in the details. And on the side. Awesome. Good. All right, so there you have it. We've got our mug. Can't swap it out with anything. So thank you for watching. I hope you're able to use this with all your patterns. Up. Next, we'll be working on some fabric spreadsheets. 8. Lesson 5: The Scrunchie Mock-up: Let's get started with our accessories. This is a simple process of button, looks pretty tedious. Other is a lot of work involved, but it is simple to do, just takes a little while. So first thing we're going to make this a displacement map by, by adding an adjustment layer, black and white. You can mess with the colors a little bit to make them a little deeper so that the wrinkled standout. See here what works the best. Okay? And now we want to save this as a displacement map, same name but displacement, and you must save it as a Photoshop file. Okay, merge it down. Now I'm going to double-click on this and I'm going to command C or edit copy. And I'm going to open up my original. That's colorful. And I'm going to paste it on the top there named this shadows. Change it to linear burn and I'm going to hide it for now. Okay, Now we're going to do a new layer. Get on Marquis. And I want to, I'm going to do the electron first, make it so that you have enough room so that you can move it around. Fill it in, converted to a smart object, hide it for now. Now we need to do the most tedious part which is selecting the lasso tool works the best for me, the straight edge polygonal lasso tool with a 1, 1% pixel feather. Anything higher, it gets the edges a little too soft. You might wanna do 00 to one. Works the best and just take your time and get this really clear, really concise selection. Just a little note on masks in this class we're gonna do regular mass and Vector Mask, and they work pretty much the same. You will see that mass are non-destructive way to edit, and that white reveals and black heights. Okay, We want to turn our layer back on. And then we're going to hit the Mask button. And we're going to decrease the opacity so that we can see the center and select that. Okay, once you have the selection to your liking, we're going to go ahead and do some testing and drop a pattern and so on, our smart object layer, we're going to need to increase the opacity back up to a 100 percent. And then I need to double-click on the thumbnail to go into the Smart Object. So once we're into our smart object window, you can drag whatever you would like over into the window and hit Save. Or you can work from the pattern swatches like I'm doing here. And I'm just dragging a pattern over and then I'm going to resize it or rescale it. And then make sure you hit Edit safer to take effect, and then hop back over to your main file. Turn this layer back on shadows so you can see through. And because the fabric is kind of shiny, you can see that the sun is catching it. You want to double-click here, hold down Option or Alt. And when we drag it, it exposes the underlying layer, which is really beautiful, can get some really nice highlights like that. So press okay on that. Okay. And now we are going to leak duplicate layer. And on this top layer, Let's see here. We're going to need to press Option and mask or ALT and mask. It will give you a vector mask. And so now we need to hit the P or pen tool. And we're going to look for pieces that we can cut out and we can move that rotate the patterns, make it offset. More realistic. Hey, there's one. Let's see here. And it works better when he dropped a pattern on that. You can see the underlying layers are the wrinkles better if you can't, you should just come down to the main one and decrease the opacity. Let's see what we got working with here. This piece here. It's pretty random. The ones that I'm choosing, I just don't like to choose ones that are touching. So since I did this piece, I won't do this one. And I'm going to do this large piece right here. And you can actually go outside the line because it's already masked off, so it won't matter. So I do want to do this, but I also need to do this one. So I'm going to make this one on a different separate layer and I'll do this bottom. So that's it for this layer. Now we want to make sure this is on a 100 percent and we're going to copy this one, duplicate so it could get a little complicated here, bear with me. So click here and p. And then I'm going to hold down Command or Control. And I'm going to get rid of all these other ones that we've already done on the duplicate because they are already on the layer below. We don't need them. Okay? So now it's fresh. It P, and we're just going to do this top. Technically it doesn't have to be exactly perfect because the mask is already perfect. So it could even go up to here. Okay? Now the turn the opacity up on this and so it doesn't confuse me. Let's just do one thing at a time. So unlinked everything. Now we need to move on. We're gonna work on this layer. First, we're going to hit this thumbnail of the Smart Object. And we're going to do Edit, Free Transform or Command T. And we're going to just grab it and move it shifted. And beware of the bottom. You don't want to go up because it's not it's not showing anymore. So we want to either go down where we have lots of room to the left. Press OK. Ok. So now we go to the next one here. And same thing, command T. We're going to shift it. And it's just this piece right here. So see, just getting offset a little bit. Let's see if that's looking good. Oh yeah. Okay. So maybe a little bit more to go this way, which stays in down. Okay, Looks good. Okay, So all of our pieces are offset. So now we have another problem that we need to address. So we have this under laying think showing. And basically this one can see down to this one, This can see down to this layer. So we need to, we can leave it like that. You can either Take it off to where it's not showing through. So let's see, just focus right here on this one. See how you can see through to the underlying fabric and, or underlying pattern. And so if you want to keep this and you want to keep your eye highlights, then we need to hit command, select this, go up to the next one, shift and command so that there's a little plus sign now. And not all of it is selected. And now we're going to use this mass care and black as the foreground and fill in or Option Delete to fill in. And now all of these selections are masked out. So now you can freely use that underlying, exposing the underlying layer because it's just showing through to this layer. It's not showing the bottom pattern, so works out better. But it is a little bit complicated to remember and keep track of. So I like to make sure I got all of my pieces cut out and everything before I do all that k. So now we're on to our final step, which is applying a displacement map to each one. So let's Filter, Distort, Displace and seven to ten is pretty good. I mean, you can get up to 20 and still get away with it. It just depends on the pattern. So go ahead and pick your displacement map. And you'll see it looks pretty good. So here, this doesn't have one on there, everything sharp, this does. And you can see like the little pixels, they're following the pattern of the fabric. And you just go ahead and apply that to each one. I'd like to do this last because you will have to remap it if you move it around, you move the pattern. Okay. So you could do more or less depending on your, what you like. I am going to do a test here. So the only one that we need to replace this, this bottom layer. I like to right-click and colored so that I know. And you double-click in there. And let's do this. Let's do something here. Save it. Maybe increase the size a little bit. And just do some tests with dark and light patterns to make sure that you got it good and that you don't see anything strange happening. But I love this the way it looks like it's cut off. Looks great. So if you do notice that your path isn't going all the way up, oops, it's this one. You will have to diagnose that. Like I said, it doesn't have to be your paths for the Pen tool don't have to be exactly on the exact pattern because It's already been masked out right here for you. So it's just going to cover those areas. So it's probably best to actually even go outside a bit so that you don't have any issues. Except for where it matters like on the exact folder here. That one we might want to get exact. There we go. Okay. So just go through and make sure everything is looking up, looking good. This is a little bit too sharp. So I'm going to double-click here in feather it. Hello too much. Just because that one was just looking at a way to sharp. Okay. I'm gonna go ahead and do this next one, the exact same way. And I'll come back and we'll do the background. So I'm going to group all of these, put them in a folder. So to me, mistakes here. And I'll be right back. So now we have two folders to spreadsheets. Let's tackle the, the shadows. So first we want to change the levels. We're going to adjust them. See here, so that it's not too much of a difference, too contrasty. Okay, now I need to make a selection command and hit the mask to select the tops crunchy. And the second one, it's this one, the top mass care. It's Command plus Shift to make it a plus sign, or control plus shift. And click that when we have them both selected. Go up to the shadows Command J. And it makes another layer on top. This is still linear burn. So now we can kind of Fade this other one on the bottom out a bit. This pieces not looking good here. So I'm going to put this back to Linear Burn. And so if we were to get rid of it completely, it obviously looks good. So let's adjust for the bracelet. If we change this to multiply. So this one stays on the Newburgh, shadows goes to multiply. Now we can darken it better or lighten it. And it's still realistic and our jewelry piece stays light and fresh looking. Don't want to go too much. About 40 percent. Okay. So that's it. You can see that it follows the curves. It looks realistic. They got, it's all scrunched up like a real scratchy the fabric. And just remember, when you're replacing the patterns, you only do it on the one we label to replace it, which is the very bottom mask. And just double-click on that smart object. And now you only have to replace with one. And it, the rest is corresponding. So there it is. So all the other pieces follow suit. Thank you. We'll see you next lesson. 9. Lesson 6: The Onesie Mock-up: Before we start, I just want to put a little disclaimer that this lesson is by far the longest and details and it addresses some troubleshooting items that might come up while you're working with the smart objects. Okay, everyone, So we've got our file ready. We've got our patterns window with some patterns loaded into it. First thing, we're going to make the displacement map. So add an adjustment layer, black and white. And you could mess with the colors here just to see if he could bring out more wrinkles. The darkness. Just make sure you don't make it a two dingy and dirty. Alright. Okay, merge this down. You're gonna save this one as the displacement map needs to be saved as a Photoshop file or it won't work. I'm going to double-click this and copy it. Command C or edit copy. Now we're going to open the original file backup Command V or edit, paste. Go ahead and turn this into a linear burn for now and turn it off. It's going to be the shadow layer. Okay? So first thing that we need to do is make another layer. Draw a box that covers the whole onesie. Built-in. Turn it into a Smart Object. Turn this off for now. And now we need to select the entire onesie by hand because he end up having to go around it anyway. So you need to just try and make this selection as best as you can. So take your time with it. Feather at two. And just going to speed through this real quick. But make sure you take your time. Turn this layer back on, and let's hit mask. Okay, so this works a little bit better and you're able to see it better when you have, when you drop a pattern in or you can just decrease the opacity. I'm going to go ahead and drop a pattern in. So I will double-click on this. I'm going to open up my patterns swatch, which you decrease the scale. And you have to save this file for it to take effect. Now you go back over k. So now if you were to turn the shadows back on, it looks much better. And you can either have it on Linear Burn or multiply in your brains a little bit darker. And we will be fixing the background and making it lighter. So that will come later. Okay, so now I'm going a little bit smaller here. Now, we need to unlink everything. Needs to make a copy of this and make sure you do duplicate layer and not this one. Okay? Now we're going to cut out pieces of the onesie. Because right now it looks like the pattern overlays the entire thing and it doesn't look very realistic. So I'm going to just take pieces that I like the cell phone parts. Put different parts of the pattern on them. So we need to grab the pen tool and make sure that path is selected and not shape. Okay, So you're in, you're in the layers panel and you're going to hold down Option or Alt on Windows. And you're going to click the Mask button, and it's going to give you a vector mask, and it's going to add it right next to the regular mask. So the next step is to unlink this. So you just click the link button. And we're, all of our layers are going to be unlinked for everything. Then we make sure we have our vector mask selected. And you can see if you click on it, it turns off and on. And with the pen tool, we're going to go around and make our selection. And you can see the selection starts to populate inside the thumbnail. So you know it's working. Okay, I'm gonna do the same thing on the other side. And how I decide which pieces I'm going to select for these vectors pieces is that it could be any of them. And it just needs to be pieces that are all over your mock-up, but they're not touching. And you can always double-click on this and bring up the mask and see the vector. And you can feather it a little bit. So it's a little blurred. Lets see, I think I want to do. So I'm going to hit down here. And this section, normally this part is going to be a solid color, but right here, It's going to be. So we have to select, press P or come over and select the Pen tool. And then you wanna make sure, sorry, zoom out. So when you hit this and you pick p, you want to be able to see these blue lines. That's how you know, like it's going to for sure start making the path. And then you can see also coming up in the thumbnail. Sometimes you'll be drawing a path and it's not taking effect for some reason. So you have to always make sure you're it's going before you start. Okay, so this looks pretty good for our next step is to select our main Smart Object thumbnail, into do this, we actually have to turn off the vector thumbnail. So as you can see, I can click the vector on and I can click the vector off. So it's on. And it's off. And now you go over and click the Smart Object and then Command T or Edit, Free Transform. And you'll be able to just move this. Here. I'm going to move it down because I have more room up here. So The box bounding box needs to be big enough to where you can move it around and move that down. Okay. Now, as you can see, the pattern is offset. And then I'm an offset on the sleeves and down here. So for this one, it looks like it needs to be upside down. So we will do another selection here. Duplicate. I will delete those later. But I'm going to go ahead and since I can see the blue outlines, I'm going to go ahead and make this new selection. And then I'm going to hit command to make this arrow tool. And I'm going to delete those other pieces since we already have them. So for this one, make sure unselect by hitting it and come over, select the thumbnail. And we're going to flip this one upside down. So Command T or Edit, Free Transform, turn upside down. And I'm going to hold down Shift to get it perfectly aligned. Perfect. And then I'm going to center it a little bit. There we go. So for this next one, for the sleeps, I don't want to just duplicate this one because I know that it's upside down. So I want to go and duplicate this one instead. Pass hit P, and we'll go back and delete those blue lines. After we're done with our new selections. You can tell it changing already. So it's taking effect because this layer that we duplicate it has already been moved. I'm gonna hold down Command, click, delete those old ones. And I'm going to also, oh, it's already factored because they copied from the old layer k. So continue on to the other sleep command. Click those. Sure you delete the bottom areas too. Don't we duplicates of those. Now, I'm going to click off without my transform tool. And I'm going to move. That. Cool. Looks good. I'm going to do this color also. So doing all these paths is a tedious part. But I'm hoping that you're following along and understanding that each layer that we're making all these different paths, we're just moving them so that they're offset to the main layer. Awesome. Now we need to do our color sections. Okay, So if to fill this layer and we can make a selection with just the regular lasso. And I still have my 22 pixel feather on. Go to Adjustment Layers, solid color. And then pick a color that closely resembles just from the onesie. It's usually going to be darker. Comes out darker because of the shadow that's on top. So it it takes that into account. So you could go lighter if you'd like. Okay. And then we need to get this area over here. Pretty much any area that is the back of the fabric. And it wouldn't have been printed on. It makes it look a lot more realistic. So I've selected the mask and then I have white in the foreground. And I'm just going to drop with the paint bucket tool to fill it in or hold down option and delete k. So also up here in the color, that section would probably be the back of the fabric. So we need to add that to our mask. So our main layer one here, I'm going to rename that. It's going to be our main pattern. And this is the only smart object that you actually have to replace in all of the other, since they're duplicates, they will just follow suit and there will be automatic double-click into this first smart object. And I'm going to replace the pattern just by dragging one out. That is a little more obvious so I can check and see if everything's working. Make sure you hit Save for it to take effect. Okay, so I chose a pattern that I can tell right here, It's looking good, might have to fix some edges of the mask from both sides. And that's how you can tell how well of a job you did was when you put a dark pattern in there. It's great. Surely does not look upside down. Means test with another pattern that I know is only one directional. So you have these lovely yoga ladies. Troubleshoot with them. Okay, So it is not upside down loops and it's this part right here. So click here is upside down now. Now let me see if I can replace the pattern and if it stays upside down, because this might be an issue that you have to do manually. Xij for the HA, so it stays upside down. Okay? So for some reason that didn't take effect the first time. Okay? And so since the onesie is actually a little bit rotated, we're going to grab all of these, clicking on all the thumbnails. And we're going to command T or a free transform, and we're going to rotate it a few degrees. So it looks better and makes more sense. Okay, So now would be a good time to just check over your design and do a clean up. And if you need to make any adjustments, you make it on this first mask, the bottom one, your main pattern layer. And you just make the adjustments to the mask. And instead, you could use the brush tool and just paint in the areas white or but I like to use the Marquee with the feather of two pixels. It just, it looks more natural to me. So I'm gonna go around into fixed mind. Okay, So grab all of those layers, but not the shadow. Throw it into a folder. We're going to call it onesie number 1 to keep it organized. Okay. So I went ahead and got the second ones he done with the exact same steps as the first. Now let's head on over to the shadow part. So I want to select, I'm going to hit Command and select and click this, and it makes us selection. And now I'm going to hold Shift and Command and select the other piece. So we have both selected. And I'm going to select the top layer shadows. And I'm going to hit Command J or Control J on Windows. And it's just going to take that selection and copy it to the layer, to a layer above shadows. It didn't cut it out. It, it just copied the selected portion. So now I have this linear burn, a 100 percent. Now I can go down to the shadow here and I can lighten it up a lot because it's just the background. So I'm going to go to Levels and I'm going to really just bump this up. And you just play with it until it looks right to you. And you can also just decrease the opacity of it. So say I didn't do that. Lightning, I could just come over here and I can just decrease the opacity with that one. And you still have this top layer that's shining through. And if it's too intense for you, you can put it on, multiply and make it a little bit softer. Or you can leave it on Linear Burn and just lighten it a little bit. But for the background, you can take it completely away by hiding it if you'd like or leave it. I like I like to have a little bit of the shadow. It looks more natural. And then I just like Mint. And then make sure you test your pattern out with different or your mockup with different patterns to make sure it's looking crisp and good. And let's do some testing. And it helps you figure out the scale. Also. If you're uncertain. I'm going to say that the background of this might be on the lower side there. That looks good. Always just changed the bottom one. Place and you might make a label on it. And I also sometimes like to right-click and highlight it so that I know that's the one I need to change. On a side note, if your file is too large, which I have optimized these to be a little bit smaller. It will take a long time for the smart objects to update. So be aware of that. Straight out of camera. Might be a little bit too big. Okay, Good. Okay, So I am totally dig in this forgotten the displacement map. So we need to hit Filter, Distort, Displace. Anywhere from about seven to ten is good. You get too large. It's going to stretch all the little pixels too much. Defined our displacement map. And we made originally. And we need to add this to each one of the layers. I like to do this lasts so that when you've been moving around to your thumbnails a lot, then you don't have to go back and constantly update your displacement map. Okay, Good. So see how it adjusted. And now it looks like it's part of the MIT. So I probably won't put a blur on this just because it's already looking a little bit blurred by that displacement. Okay, I'm just going to apply a displacement map on every single layer that I have a Smart Object on. And if you ever move your design around, you're supposed to right-click and edit the small for smart filters so that it can readjust itself. All right, final details step is to paint in the snaps at the bottom so that they look more realistic. So we can use, use that color adjustment layer that we've already made. And we're going to paint with white in to the layer mask and scoring to show the onesie color instead of the pattern. And that is it. So thank you for watching this and making it through up next, this final thoughts. 10. Final Thoughts: Okay, So thank you for taking my class. I can't wait to see your patterns on the mockups. And if you did do your own photography, can't wait to see all the white items that you found and how you arrange to them. And if you didn't do any photography and you just use the photographs that I supplied. Can't wait to see how you made them. All right. See you next time. All right, everyone, so remember to tag me at S tort designs so that I can see your work. Thank you so much.