Create a Modern Photo Collage Father's Day Gift in Photoshop | Khara Plicanic | Skillshare

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Create a Modern Photo Collage Father's Day Gift in Photoshop

teacher avatar Khara Plicanic, Inspiration & Know-How for Creatives

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

9 Lessons (1h)
    • 1. Welcome + Overview

    • 2. Gather All Your Goodies

    • 3. Document Setup + Type

    • 4. Add Your Photos

    • 5. Edit Your Photos

    • 6. Add a Custom Message

    • 7. Save + Output

    • 8. Bonus! Wallpaper Graphic

    • 9. Next Steps

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About This Class

Sharpen your Photoshop skills while creating a one-of-a-kind Father's Day keepsake for a dad in your life! Whether you use it as a card or frame it as an art print, it's sure to be a hit.

You'll learn how to:

  • create a new document from scratch (at whatever size you want)
  • work with layers
  • use free transform
  • create clipping masks
  • install and work with type

When you're done, you'll have a finished project that's ready to be sent to your favorite lab or printed on your home device.

Project Resources include the finished template file; links to free, commercial-use fonts and other recommended typefaces; and several additional resources.

Meet Your Teacher

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Khara Plicanic

Inspiration & Know-How for Creatives


With a passion for simplicity, my courses are geared towards beginners. I take great pride in demystifying topics and concepts in a way that not only empowers new learners, but is also a whole lot of fun. Join me on a new learning adventure!

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1. Welcome + Overview: Hey there, my name's careful it image and a new show you had to create a quick and easy designed for Father's Day in Furnished. You can use it for a card, or you can frame it and give it as a gift or even just send it to Dad as a new wallpaper. For with his favorite mobile device. I'm gonna show you how to create this project in whatever size wants, and you can add your own custom messaging. And when we're done, we'll have a finished project that is ready to be either printed at your favorite lab or right at home on your home printer. Along the way. In this class, you're gonna be learning about working with layers free transform, clipping masks and type Let's go. 2. Gather All Your Goodies: before we dig in, we want to make sure we got all of our supplies ready to go. This course is designed for you to be able to follow along at home and create your very own project completely from French. But as a fellow learner, I know that sometimes it could be really helpful to be able to take a look at the finish file either for reference or maybe to reverse engineer it. Maybe you're pressed for time and you just want to say, skip all of the learning of and use my finish file as a template and that is okay to Either way, you're gonna find the finished project file in the resource is for this course and then ever to avoid any compatibility issues. I've converted any type players in that file to shape layers, so you'll still be able to scale them and change the color. But you won't be able to edit the text itself. Okay, let's talk about photos. So when you're picking your photos, there's a few important things to keep in mind. Photos with simple backgrounds and clean compositions tend to work best think about the way that your subject is captured in the images that you're considering and whether or not it's really gonna fit well in the different letter shape and finally consider not only the color is better in the individual images, but also whether or not they work together as a group. Honestly, sometimes the best solution is just to convert it all to black and white, and I'm gonna show you how to do that. Ultimately, it's a good idea to pick out a few extras. So you've got images handy if you find out that one or more of them doesn't work the way you thought it would. So if you need to hit, pause and take a minute to go, dig through all of your digital files and find some photos that are gonna work, go ahead and do that. And when you come back, just hit play and we will pick up right where we left it. Now that you've found the images that you want you that we need to talk about fun for this project, you're going to need a font that is clean and simple and is built in such a way that it works nicely as essentially a photo frame. The fact that I'm gonna be using in this course is called dubbed Tronic, and you can download it for free from Fonts World. You'll find a direct link for the fun in the resource is for this course, or you could always go to fonts world dot com and search for dubbed tronic What you downloaded the file. You will need to unzip it and install it in order for your system to recognize it. When you unzip the file, you're gonna find to open type font files as well as one text file containing licensing information. If you're using different farms and you'll notice that the same font comes in both a TTF and okay format, go ahead and you can pretty much ignore the TTF format and just use the open type format. It's a newer, more feature rich format. If you're on a Windows machine, once you unzip the file, you can locate the font file itself right, click and choose install, or you can copy the file to your fonts. Older located on your hard drive if you're working on a Mac once you unzip the folder, you can just right click or control. Click and choose open with font book. And then, once it opened the phone book, just click Install and, of course, like in Windows. Another option is to copy the file to your Fonts folder, located in the library folder on your hard drive. If that all sounds like gibberish and you feel like you want more information or more specifics, I've also included a link to a really great blonde post on creative market. That explains in even more detail. So in addition to the dub tronic font that will be using to hold, our photos were going to be adding a message underneath. And you can use whatever type Casey want. Whatever typeface suits the mood that you're going for, I'm going to be using a couple of page typefaces. The one is a script called East Liberty Signature. The other is from a serif typeface family called Coats. If you want to check them out, I got linked to them in the resource of section as well, and I also have a link to another free, fun from thought squirrel that I also think works great. Just remember, you can use whatever funds for the messaging as you want, but it is pretty important to have something like Dub Tronic or something really similar for that part. So if you need to take a minute, go get the funds, do so and then join me in the next video where we will start building the document. 3. Document Setup + Type: All right, we are ready to build our document. Now I'm going to be creating this to be a five by seven at 300 pixels per inch. So you're welcome to use that. If you want a different size, like maybe an eight by 10 or four by six, or even something larger, go ahead and intervals dimensions instead. So to get started, we're gonna come up here to file and choose new. And over here I'm gonna be working in inches and I'm gonna set the with 27 the height, toe five, the resolution to 300. We're gonna be working in RGB color mode and going to go ahead and let the background be white. Then I'll click create. Now we're ready to add our type. So hopefully right now you've already downloaded and installed the dub tronic typeface. Or if you don't want to know you that when I hope you found something similar that will work for you. So we're gonna go ahead and create our type player. So we're gonna grab the type tool over here from the toolbar, and you just want to make sure you're working with just the regular horizontal type tool for this project and up here in the control panel. This is when we want to select dubbed Tronic and you'll notice that Dub Tronic comes in two flavors. It comes in a solid version as well as what's called an in line version. So for this, we're going to be using the solid version, so we'll go ahead and select that. And the size doesn't really matter so much at the moment because we can just scale all of this down later. But I am gonna change the color, although technically that doesn't matter either, cause we're gonna cover it with a photo. But just for my sanity, I like to have it be black when I'm using it as a placeholder. So to do that, I'll come up here in the control panel with the type tool selected, and I'll click on. Then I'm gonna click way down here in this corner. Click and drag. Actually, if you click and then drag all the way to the edge, you should see everything zero out over here and then you'll know that you have true black , and then you can go ahead and click. OK, Okay. Now There are a lot of different ways that you could build what we're gonna build. But I think that the way that I've put things together here is gonna be the easiest way to do it with the least chance for getting lost or confused. So what we're going to be doing is instead of creating a single type player with all three letters D a. D. On a single layer, we are going to put three type players into this document with each letter being on a separate type player. So we're gonna start with the first D. So with our type, tool and all of our settings up here, I'm going to go ahead and just click to enter my cursor and you'll notice that when I did that, but a shot created a type player right here. So now all I have to do is type deep, the ones we've got that out. We're gonna commit that, and you can do that by either coming up here to click on the check mark or if you want to use your keyboard, you have to hold down command or control and then hit the term or enter to set that type. Now that we have our d, let's skip the A for a minute and just duplicate the D layer by pressing command or control J doing that makes a copy of the active layer. So because the dealer was active and we jumped it up, we jumped a copy of it up in the layers panel right here. We now have two D's one original and one copy. Now, of course, when we look over here, we only see one because they are right on top of each other. So to see the second d, we're going to switch to our move tool, and then I'm gonna hold shift to keep it aligned, and then I'm just gonna drag out, and then they can let go. So keeping shift down just keeps the d in alignment so it doesn't get all wonky. All right, now we need an A. So let's duplicate this layer one more time. So oppressed commuter controlled J to jump up another copy and I'm going Teoh Klay and hold , sift and drag it over here in the middle. And obviously we don't want to de there, so we need to change this to in a So we need to dig back into this type player to change it . So I'm gonna press t to get my type tool back on. Then if I put my cursor right here, See, it looks like the spine of a book. I can click and select B d and just type in a right over it. And then again hit the check mark to commit it or on your keyboard, you compress Commander Control, enter or return. So that is looking pretty good. And you see, in our layers panel, we have the original the we have the D copy, which is the end d and then we've got a which is obviously the middle. So I like to arrange my type layers in the layers panel in basically the same way I would read the text. So if you want to follow along, I like to take this first e here and drag it and drop it at the top of the layers panel. I'll leave the A in the middle, and then we have the D. That's a copy down here at the end. So now we can make some adjustments to spacing. If we want to. We just have to make sure that would ever let her. We are trying to move. We have to make sure we select the corresponding layer in the layers panel. So right now, I'm not worried about the positioning of the letters in the document. I'm looking at the spacing between the letters, so I want to tuck this a closer to the deep to the first tee. So I'm gonna click Teoh, select the A layer in the layers panel, and I'll press the to grab my move Va va va tool. That's looking for a shortcut. And I'm still gonna hold shift and then I'm just gonna slide it over until it's maybe there . I think that looks pretty good. If you want to nudge it, you can also use the arrows on your keyboard to just scooch it over. Then I need to close up this gap. So all switch to the D copy. That's the end. Be Ah, hold shift again and click and drag it. And I'm looking to get this space right here to be close to this space. So maybe I'll switch to the A and then use my arrow keys to kind of budget again. This is more art than science. But I think that this right here looks pretty good. So now that the spacing looks good, we can worry about the positioning and the size. So in the Layers panel, we need to select all three layers so we can move them as a group and scale them together. So I'll click the first D and I'm gonna hold down the shift key and then click the D copy and you'll see that photo shop selects the A because it's in between. So we clicked the top and we shift click to the bottom, and then everything got included. Now with our move tool. If I moved us around, you'll see that they move together, and I feel like this should be quite a bit larger. So with all those three layers still selected, I'm going to transform it. So the keyboard shortcut for free transform is Commander Control T transformed. So go ahead and press that on then the settings here can vary, So depending on your preferences, you may need to hold shift to keep everything proportional. Um, or holding shift may distort it. So experiment and, um, see what works for you. I like my preference is set so that I have to hold shift. But if you were working on a current version of photo shop and you've never changed it, then you don't have to hold sift. So holding shift or not holding shift, scale it up and reposition it until you feel like it looks good, I guess. Be careful not to get too carried away because, um, it's nice toe toe leave plenty of white space and breathing room around it, so I feel like I went a little too big. Now, here's an interesting thing. Before you commit this, I want to point out something so you'll notice when I'm dragging this around that this magenta line appears that is called a smart guide. So that is Photoshopped telling me, Hey, good job. This is centered and that's great. But when we look at this, we see that the center is not actually the apex of the A. Like you might think so there's a difference between, like the mathematical center and the optical center, so if we commit this so I'll go ahead and hit the check. Mark there to set our transformation. Um, when I look at this, that's centered. But it looks weird to me. I feel like that the apex of the A should be in the center, so maybe I want to move it a smidge over, so that is gonna be a personal choice. But just know there's a difference. And sometimes you have toe off center something to balance something, especially when it comes to typography. So position it however you like it. Make sure you press enter or click that check mark to commit the transformation. Photoshopped won't let you move on until you do that and then join me in the next video where we will add our photos. 4. Add Your Photos: now that we've already said our type that's going to become the frame, we are ready to add the photo. There's a couple different ways you can open up all those files in photo shop. I like to use bridge. You can get to it by choosing file, browse and bridge. And then once that pops up, you'll have to experiment to change the way that you like your workspace to be. But ultimately you would navigate to your folder wherever you've got the images saved. Weaken. Do that up here so you can see I'm on my computer and my hard drive in a user folder. And of course, I put this on my desktop, and I've called it Father's Day. So then I can just select all these images and press enter or return, and they're gonna pop up here in a photo shop. If you don't have, Ridge only should help bridge. But if you don't use it, um, or you just freaks you out when it opens. Of course, you can always come up here and go to file open and then navigate to your images. That way, Now that we've got the images open, let's take a look at how we move around between them so you can see that I've got my document here, which is currently untitled. And then I've got tabs for each of the images that I'm going to be using. And we could switch between the image by just clicking to activate and highlight that image . So, looking at your images when I think about which one do you think would work nicely for that first deep? And don't worry if you feel like you might change your mind later, cause I'll show you how to change this. But look through and decide which image you think will work best. I'm going to go with this image right here of my husband and our son with this hammerhead, Um uh, an aquarium. And I'm choosing it because I can just envision right here that a D could just slope right around like that. And I feel like it would hold this image really well. So now that I've got this image active, I'm going to copy and paste it into the other image. So before I can copy it, we need to select it. So just like you would do in Microsoft Word. If you want to highlight all of your text, you press command or control a and you can see here and Photoshopped that that puts marching ants all around the edge of the image. So that means that it's selected. That represents a selection and then, just like inward or pretty much everything else, you copy it by pressing command or control. See, Thank you. You're gonna navigate back to be the design that we're building the project file by clicking on the tab up at the top of the screen. And we want to make sure that we have our first D layer active in the layers panel because in a minute, we're gonna paste that image in here and by default. Photo shop will always create a new layer for whatever it's pasting in. And we want that new layer to be on top of the letter that is gonna frame it. So I'm gonna put that shark image on top of this first, be right here. So I've got that selected, and now we're ready to paste. So that's just command or control V to paste that in now. Hopefully your image is high resolution enough that it's gonna appear to large if you have tried to snag one of your images, like from your instagram. Maybe you can't find it on your hard drive. So you've gone to Instagram and try to take a screenshot or something. It's probably not going to work because that image that you're getting from the screen is not high resolution enough. It doesn't have enough pixels to fill out the D the way it needs to. So you've really got to be working with your original files or, um, at least something that hasn't been downsized. Speaking of resolution, it's a good idea before going forward to convert this image layer to a smart object. This is optional. You don't have to do this, but if later you decide, like maybe now you're building a five by seven and then later you wanna turn it into an eight by 10. If the image is not a smart object, then you will no longer have all the original pixels to be able to up size. The project filed. So it's a good idea to convert this to a smart object, so if you want to do that, I'm going to do that? We can come over here to the layers panel and can right, click or control, click and choose Convert to smart object, and then you'll see that the thumbnail here gets this funny little square. And that is just a visual reminder to us that this has been converted to a smart object. So that means it will retain all of the pixel data even if we downsize it, and later we need to restore it back to its original size. It will maintain all that information while we're here. I'm gonna rename this so that it's easy to keep track of later. So let's double click. And I'm gonna call this shark and press enter. Go ahead and name your layer, whatever makes sense. And before we transform it, we're gonna actually put it in side the letter B. So we are going to be creating what's called a clipping mask. So once we clip this photo layer to the d, we will not see this photo anywhere outside of the D. So it'll look like it's inside the deep so anywhere that the d exists, the photo will appear, so you'll see what I mean here in a minute to do that to create this magical thing called the clipping mask. You're gonna move over to your layers panel here, then press and hold Ault, or option and keep holding that while you hover your cursor in between the space right here . So when you see this funny looking cursor, then you know that you're in the right place. And so if you can go ahead and click when you see that and now two things have happened one in the layers panel. Over here, we see this funny little arrow that's coming out and pointing down, so that indicates that the shark image or your photo is clipped to the layer below. In this case, de that means that over here in our image, that giant photo is on Lee visible wherever it overlaps the deep. And what's cool about that is that because those two things remain separate, we can edit them independently so I could use the move tool and drag this around, and we see there's the shark's head so you can reposition this within the D, or you could target the D and then move the D around as well, so it's a pretty cool thing. Um, if you forget the keyboard shortcut here again that was holding all tort option. And then you click in the layers panel in the space between the two layers you want to click together, they have to be right next to each other. If you don't want to do that, or you forget, you can also come up to the layer menu. And with that top layer in in this case, the photo layer selected in the layers panel that you could select create clipping mask and that would then clip this down. Now this photo is way too big, so that's a good thing. Let's transform it. We're gonna press command or control teeth, and we see now that we've got this bounding box here and I can't even see the corners, they're way to far out on the screen. So there's a couple things you can dio. I tend to press commander control zero, and that's the number zero that will scooch out. And then you can find all of your controls here to be able to grab them. Or you can also come up here into the control panel up here and maybe I can just type in, like, 50% to scale that to 50%. You want to make sure that this link is turned on so that the width and the height both scale to whatever and now that it's within reach, I can scale this to whatever I decided, like so I'm holding shift. But your preferences may not require you to just make sure you're scaling proportionately, and then you can also move it around. So it's kind of a little dance that you do between scaling and positioning to get something in place that you feel like looks good. So I think this is kind of a nice composition, and I like the way they're over here on the left, and I like the way they're facing inwards towards the rest of the word. So I think this is going to be great for the first C. You can come up here and press the check mark, click on the check mark or press enter or return on your keyboard to commit the transformation. All right, we've got our first letter done, and we have two more to go. So click on the tab to find your second image that you want to put inside the A and we're gonna repeat the whole process. So we'll press commander control A to select all, then command or control, see to copy everything. Then we gotta pop back over to our project file. We want to target the letter that we want the photo to clip Teoh. So in this case, be a and then commander control V to Paste. All right, Next, let's convert it to a smart object just to be safe. So again, we're going to right, click or control, click on the layer here in the layers panel and then select Convert to smart object. And we're gonna clip it to the A by pressing and holding option or Ault and then clicking on this little space in between the image layer and the letter and that will clip it. So I like to rename my layer, especially when I'm teaching, because otherwise I can't tell what's what. So who leads a double click the actual name of the layer here, and I'm gonna call this beach and press enter. And now we're ready to scale it. So again, Commander Control TV, and we can scale this one. I can reach the corners off. So if not, just press commander control zero and repeat what we did last time. I'm also holding down in this case, I'm holding shift to keep it proportional. But I'm also holding all toward option so you can scale, um, from both sides at once. So to avoid scaling this side and then having to reach out and scale the other I can scale from both sides into the center. If I hold all or option just kind of saves you some maneuvering, then I'm going to position this in here in a So what I'm looking for in this particular image that I have chosen to use for the A is that the sand is pretty white. It's reading as white when I place it in the A. So if I'm not careful and gonna lose, be shape of the A and it will be hard to read. So I'm gonna see if I can make it large enough that my boys here can basically fill out the bottom of the eighth. But still I want to get some blue sky there. So I feel like this is pretty close. I think that the still reads like an A. And if you are using an image that maybe is captured on a white background or have a blown out sky or some other bright area, I'm gonna show you a trick to deal with that as well. So we'll go ahead and use this as is. So when you're happy with the position of your a image, go ahead and press return or enter or click the check mark and we will repeat one more time with our third image. So go find the tab for your third image and again, Commander control A to select all Commander control. See, to copy and then bop back over to your project image and finally target in the layers panel . Target that last letter D. So in this example it's called D copy, and now we can paste command or control V. All right. This is also a huge That's good. So let's convert it to a smart object, right? Click or control? Click right on the actual highlighted bar of that layer, and then shoes convert to smart object. Yeah, and now I'm going to clip it to the D again that's pressing and holding Ault or option and hovering in the space right here. Or maybe we'll do it the longhand way. Come up to the menu here and choose layer. Create clipping mask and you'll see that that clips it right down. Uh, so that's my son's face. Huge in the letter D. That's kind of fun. I won't include my husband, too, So I'm going to transform this commander controlled T Commander controls zero to back out if you can't see all the corners and I'm holding, shift and option or Ault scale in both at the same time. If you need to zoom back in, you can press commander control and hit the plus on your keyboard. Sometimes after you zoom out to reach the control panels, then you can't see what you're doing anymore. So I'm enlarging this to a point where I don't want the D to cut off, uh, my son's arms in a weird place, like at his wrist. That's whenever you crop people's bodies in a photo. You want to crop them, like in between joints. You don't wanna crop it a joint, cause it just it looks uncomfortable and kind of weird. So that's why I'm gonna make this a little bit bigger so that I'm cropping on his forearm. And, um, I like my husband's head up here. So I think this creates a nice line. And just like, this image is kind of looking inward this way. This image is then looking back. So I think it's a good composition, and I'm happy with us. So again, when you got it where you want it press enter or return or come click the check mark. All right, so this, I think, is looking pretty good. Join me in the next video where I'm going to show you how to edit this. So if you want to experiment and move around your photos or swap out different photos, I'll show you how to do that as well as how to make the whole thing black and white, or how to deal with blown out corners that might make your letter illegible. 5. Edit Your Photos: in this video, I'm going to show you how to make changes, maybe edit or experiment with different photos, as well as how to apply some color toning or a black and white filter if we need to make the images work a little more nicely together. So let's talk about swapping the images in or out first. So maybe you want to experiment with another image, for example. So here is another image that is fun of my husband and my son, not one of my favorites for this project. But let's just try it. So I'm gonna select all command or control a and copy it, Commander Control, See? And I'll go back over to the project file now. I don't know which one of these would work best. Let's try it in this last D here. So to do that, what I'm gonna do is come over to my layers panel, and I realized I didn't rename this, so I'm going to double click this layer and change it to bite, because, as you can see him with this icon that's covering the fun New. I can't even tell what layer that is. And if we start adding multiple images and trying to switch back and forth to do a little experimenting. It can get really confusing. The next thing I'm going to do is temporarily hide the photo of the bike. So I'm going to do that by clicking this little eyeball icon right here. And that will not delete the layer. But it will just turn off the visibility of that layer. So now we're back to just R D here. And then I'm going to click to select the D. Because remember, before we paste in our image, we want to be targeting the correct type player. So you've got the de selected, and then I will just paste this image in the new image. And maybe I'll rename this. I don't know, wrestle and again converted to a smart objects of right click or control click and again transform it, Commander Control T and drag this into position. Okay, so that's fun. Image I love that is super colorful. And, um, it doesn't I don't think it works well with these. These are very blue predominantly, So I feel like this is quite different, but that doesn't mean you can't use it, but it's good to kind of experiment and see what works best. So here we can see in the Layers panel that the bike image is also clipped to the D. They both have this little icon here indicating that they're clipped to this type player. But the bike is not visible, so I can toggle the bike layer on and off and see. I do like this image in here quite a bit, but it doesn't fit overall with everything else. So here's another trick you can dio if you have three different images with three totally mismatching color or just it's not working well together. What we can dio is add a photo filter and or a black and white filter. So here's how we do that in the Layers panel. You'll want to click the top most image first, and then we're gonna add an adjustment. So down at the bottom of the layers panel, there's this button right here. This is the adjustment layer icon, and if you click it, you can select either a photo filter, so we'll click on that first, and here you can select any number of presets. So anything here that you want, and you can change how it how it effects. You can change the density here so you can see if I boost this way up, it's adding this aqua sort of overlay to all the images. And, um, it's kind of making them fit a little more nicely together so you can choose some presets. You can click here and actually specify a particular color if you want, So this is kind of nice to if I add a real warming filter. So the way that this box works is you use the slider here to choose a hue, and then you can specify the saturation and brightness level here. So if I warm this all up, actually, I think that looks pretty good. I was really like in the blues before, but I like this image in here. So you'll see then, by adding that photo filter in the layers panel. It appears like this. It's got another layer with this little icon and a thumbnail here. This is the mask, and then it says photo filter one. So maybe I can double click and just call this warm. So this is gonna warm up all the images the thing to know about adjustment layers is two things. One. They they operate like a rain cloud, so the adjustment always just rains downwards. So, for example, if I drag this adjustment layer, let's say here it's no longer being applied to this image right here because this is the shark image and the shark image is above the adjustment layer in the layers panel, so that's handy if you want it that way. But I needed it to kind of tie all the images together, so I want it up here at the top. The other thing to know about it is that it's nondestructive, so it's completely flexible and creditable as much as you need it. So if maybe you decide this is too warm, or maybe you want to use a different color to get back into the settings that you just double click the icon right here and you can go right back into these properties and play around with it as much as he wants. So that is a photo filter, so I'm gonna turn that off right now. So we just are back to our very colorful image, and the other option is sometimes if images are really busy, if they have busy backgrounds and such making the whole thing black and white can just make it less distracting. So the way to do that, one of the ways is again from the little union down here. Click and select black and white, and you can see that now, these images that maybe had totally, um, clashing colors and patterns and things happening now they're all black and wait, it's kind of nice. And what's cool about this, uh, filter. And this way of doing it is that you can actually custom mix the black and white. However you would like it. So it's like being a chef. You can salt and pepper to taste. So up here from the little presets, you can choose to have, for example, this black and white filter with, um making the whole thing lighter. Or maybe you wanna have a black and white filter through a red filter, so you'll obviously need to experiment to find a setting here that is gonna work well for your photos. But it's a great way to help some images work well together. That maybe wouldn't otherwise one final trick that I want to show you in case you run into a situation where you've got images on white backgrounds or with blown out skies or something, and you're losing the shape of your letters. So it's hard to tell what they actually are. One way to fix that is by adding a stroke to the letters. The easy way to do that is to first group all of the image layers together, the images and the type, so I'm gonna click the top most image layer and shift click. The very bottom most layer that's not the background don't include the background, and then I'm going to group them together by pressing command or control G for group. Now, the advantage to making this a group is that we can apply the stroke as an effect, and we can apply it to the whole folder so we don't have to create the effect and then duplicated and apply it to each layer, which is a really pain. If we decide we want to change the effect later, we'd have to manually go change them all. That's why we made it a group, and now that it's a group, weaken just apply the effect one. So with that group selected, we're gonna come down here to the effects button and then I'm gonna click stroke. The stroke has been applied, and you'll see it's being applied to all the letters, not just individual letters at a time. And you can change the size over here, so if you want a thicker stroke, you can swell that up. The smallest it can be is just one pixel. But if you want it even more faint than that, also you another way to do that. But you can change the color here if you wanted to. So if you don't want black or whatever default yours is showing, you can click the little slash right here and change the color if you'd like. If you feel like you want it even less prominent stroke, maybe you just want a hint at the letter form. If you are trying to fix a blown out spot, you can also take the opacity right here of this effect and drag it down so you'll see that by fading the opacity out. It's not slimming the stroke, but it is basically stating it away so that is a really great technique. The other thing, I just want to point out is right here for the stroke. You've got three choices for position. You can have it appear on the outside of the letters, the inside of the letters, or split it down the center of the letter so half in and half out. But when you are working with type like this, anything that's not inside is going to result in some gross corner. So if I choose outside, for example, and I think in this up for you, you can see that it makes these nasty round corners, and that's pretty heinous. It just it doesn't render well, and it's not gonna look good. So for this you want to make sure that you've got the position set to inside, and that way you get some really nice crisp corners. And then, of course, you can just adjust the size to whatever works for you. So when you're happy with your stroke, you can go ahead and click, OK, and then we'll see that this folder now has this little effects icon here, which shows that that's got something fancy applied to it and down here we see it's got effects, which effects It has a stroke. And if you decide if maybe I don't need it, you can hide the effects by clicking that little eyeball here as well. So, as you can see, there are a lot of different ways that you can tweak and customize your images to make them work really well. Together. We are making a lot of progress, joined me in the next video where we will add our special custom message. 6. Add a Custom Message: Now that we've got our images the way we want them, we are ready to add a custom message. So obviously, first you want to think about what kind of message you wanna have. And I thought it might be fun to have a message that is kind of like a dictionary entry. So when I think of a dad, I think of someone who makes it all better. So that's what my message is going to be. So to do that, I'm gonna press t for my type tool. And I mentioned earlier that I'm gonna be using this typeface here called East Liberty Signature. So I'm gonna click that. And there's also a link to another free funt from Font Squirrel. In the resource is as well as you can use any front you want here. So I have got East Liberty signature. I've got black for my color, and I'm going to just click, and I'm going to type out the one who makes it all better. And remember that when you're setting type, you have to come up and click the check mark, or you have to hold commander control when you press enter, because otherwise you'll just get a language. So this is too big. So I'm in a scale it down by pressing commander Control T just like we've done a 1,000,000 times by now. So you are a pro at transforming things, and I'm gonna put it in position, like maybe, um, center or again, visual center or the actual mathematical center. So put it where you like it. I think that looks good. So maybe this is maybe this is it for you. Maybe you're happy with it. If you want to add the sort of, like dictionary s touch to this whole thing, then I'm gonna keep my type tool. And I'm gonna click carefully to insert my cursor here, and I'm gonna type many dad in parentheses, and then I'm gonna type noun and then maybe a colon, and whatever you think you know works here. I don't know how it's exactly in a dictionary, but whatever works, so then I'm gonna highlight this, but I don't want it to be in the same type face cause dictionaries are not written in a script farm. So up here, I'm gonna choose something called Coats, and I've got links to this as well. And I'm just gonna choose coats regular. And you can see that when Coates is at the same size as the East Liberty signature, it's way too big. So with coat selected, I need to scale this down so it more closely fits be script here. So I'm just eyeballing Miss, and you'll also notice that these two different typefaces have different baselines. So the coats typeface is setting a little bit lower than the East Liberty typeface. So there's a couple different ways you could deal with this. You could put the stance. You can put the serif type on its own type player and then just move it around independently. Or you can do what I've done here. Keep them on the same type player. But I need to adjust the baseline. So I've got the coats text highlighted. And so I come up here in the control panel and I click this icon right here. This little folder. It's going to give me the character and paragraph panels, and I want the character panel. And if we look in all these settings, there's one right here where you see an A a kept being capital a and then a little a like raised up above. This is the baseline shift so I can cover my cursor right on this little icon, and I can actually just click and drag or scrub to the right to raise that up. So I'm just raising it up so that it fits. So it looks like it has the same baseline as this. And then I'm thinking or more immediate, sue big. So I might scale it down a little more so that these letters are roughly the same height as thes. And I think the baseline shift looks good. So then all hit the check Mark and I like it now. I noticed that the warm adjustment filter adjustment layer that have got going on is warming up my black type so you can see that this is black, but it's sort of becoming like a really dark chocolate. So I want to move this type player above that filter layer. If you have one, just because remember those adjustment layers. I always rain downwards, and if you don't want something to be affected by it, just put it up above. So I hope you're feeling good about what you have built so far. Join me in the next video and we're going to save our work and export it for pretty. 7. Save + Output: Okay, So if you haven't already is definitely time to save our work. And when you work on a project like this, you want to save a working file that's actually different than your printing file. So we're gonna create and save our working file first. So we'll come up to the file menu and choose file, save as and navigate to wherever you want to save this and we will call it Project and down here under format. You want to make sure that photo shop is selected and then hit save. So when you save your file as a Photoshopped document, it will keep all of your different layers, and you can come back to it 10 years from now and still have everything just as it is here , and you'll be able to pick up right where you left off and make changes if you need to. So that's a PSD, but a PSD is not what we send out to a lab for printing. So for that, we're gonna need to make a J peg. So we'll come back to the file menu and choose file save as, and this time instead of photo shop, we're gonna select J Peg So you can see here that when I select J Peg, I get a little warning caution symbol that shows up here. That's because this document has layers, and so it's warning me. But there's a problem with layers, because when you save a J pay, it cannot have layers. So it's gonna take this document with all the layers, and it's gonna smash them all down into a flat file, and that will be the J. Peg. And that's okay. That's why we first saved this as a PSD. So our PSD file has all those layers. The J peg is like the final baked cake, and we can't go in and pick out the different parts anymore, like the eggs and the sugar and the flour. It's all baked together in a day, so we will leave it with the same name or change it. If you want Teoh and with J Peg selected, I will hit save. Then it's gonna ask you to choose your J peg options, so we want this to be a high quality file, so it will look great when it's printed, so we want to set the quality to 12 which is the maximum, and then click. OK, so now if you wanted to print this on your home printer, you could just choose file, print and select your print settings. Or if you prefer, like I do to send this out to a lab, then you are ready to send them your J peg or upload your J peg. If you don't have a favorite lab, I always recommend em. Picks dot com They are great. They're located in the middle of the country. They can ship stuff really quickly, anywhere. And it's a very professional lab that you don't have to be a professional in order to use. So you can just upload your file through and picks dot com and you'll be ready to go join me in the next video. And I'm going to show you as a bonus how to take all this hard work that we've done here and get even more mileage out of it by converting it to a wallpaper for your dad's favorite mobile device. 8. Bonus! Wallpaper Graphic: Okay, so now that we've Donald all this good stuff, we might as well do something extra fun with this image and get a little more mileage out of it. So I'm gonna show you how to reform at this for a mobile wallpaper. So depending on which device you want to create, this four I've got links in the resource section to either IOS devices or Android devoid devices. And you can choose whichever you think. Um, that dad has in this case that you want to make the wallpaper for. So in this example, I'm gonna be reformatting this for an iPhone X. Something. So those are the specs I'm gonna use, but you'll find different dimensions and recommended sizes in those resource leads. So to get started, we want to select the crop tool. So on your keyboard, you can just press the letter C for crop and then up here in the control panel, we want to make sure that we specify with and height and resolution because no other setting is going toe. Let you specify an exact pixel dimension. So we want with height and resolution. Um, if you're in an older version of photo shop. I forget what it says. I think it's just like dimensions or something. But whichever version you have, you want to be able to input a with and a height and a resolution. So for the iPhone X in this case, I'm going to enter a with of 1125 p x for pixels. Otherwise, Photoshopped might think you mean inches and then your file is going to be huge. So pixels and then for the high it's I'm gonna types 2400 dirty six again pixel. Okay, so we can see here that we are taking a horizontal file graphic image, and we are cropping it into a very tall and narrow vertical image. So what we do here now that we see the shape, is we just pretend it's kind of like the transform tool and we drag out. So I'm holding, alter or option so that when I drag from this corner, all the corners drag out, and so we want Teoh position it and have to zoom out. So if you need to scoot back press command or control and the the minus key, so I'm gonna scooch out So that the edge of my crop is at the edge of the original document . So it'll have the same kind of geometry in the sense, Okay. And then we need to think about where we want to position the the crop. Um, if we put be graphic up here up too high, then you might have the clock on the device that's interfering with it. So you might change those, depending. If you're creating this for an iPad or tablet versus a cell phone, it's just trial and error sometimes. But I'm gonna select this so that I've got the text right below this third top third here. Um, because that way the clock can be up here and the graphic will be below. So when you're happy with your positioning, you can go ahead and press enter or click the check mark and everything is resized, and that's wonderful. Now we need to just fill in this background here, so I'm gonna target Layer zero. Used to be called the background. Now, when we cropped it and we introduced this transparency here, photo shop renamed it layer zero. So what we've done is basically reformatted the whole canvas. If you will, um, and built the long, narrow addition. And the addition is empty right now, So that's what the checkerboard here is telling us. So we just need to take this layer zero slash previously known as background and still it with white. The easiest way to do that is come up to the edit menu and choose Phil and then from the contents here from this drop down, you wanna click and select. If you are using a different color, you can just choose color right here and then you'll get the color picker. And if you mouse over, you can just sample a color from your image. So if you use something else here, you could just click on that background to select the same color. But I'm gonna choose White and I'll click. OK, and then we have filled that all in. And then the last thing that I would do personally is on a wallpaper. This is not going to be legible down here are lovely message, so I would just get rid of that. So I'm clicking over here on the layers panel to get rid of the eyeball icon and turn off the visibility. So we just have our larger graphical image left and then we're ready to save. This time we're gonna choose file and will choose export export. As in earlier versions of Photoshopped, this was called like file save for Web. Um, yeah, here. So you can see legacy means like old school photo shop. So we're gonna just choose export over here and then export as one more time. And what's great about this is you can see how your files being cooked, like how the J peg or in some cases, maybe a PNG file. But we're going to do J peg because we're dealing with photographs. So I'm gonna choose J. Paige. And then over here we can get a view of how big the file is going to be. So if if you felt like you wanted this to be less than 200 k you could take this quality slider and drag it down and see, like 80% would drop it down to 130. Whatever. Um, I don't think we have to worry about it too much, cause it's still a really small file, but you can adjust the quality setting to suit your fancy, and when you're happy with it, press export. Choose a location. So maybe then I would call this dad wallpaper the and that's it. Then you can send this file to your dad or your partner or your spouse or whoever you're making this for, and they can put it on their device and smile every time they see it. 9. Next Steps: Hey there. Be sure to save your work and share your work. So post your finished file the J peg in the projects below for this course, and you can post it on instagram as well. And if you tag me at Kay, pledge in it, I will give it some digital love for you. And I can't wait to see what you made. If you want to join me for some other fun learning adventures, check out my other skill share classes like how to take better photos with your iPhone or how to create some very cool type effects. And, of course, you can always visit me over at cara platonic dot com. Thank you so much for sharing this adventure with me, and I hope to welcome you back to another class soon.