Design Pixel-Perfect Posters & Mockups in Photoshop | Derrick Mitchell | Skillshare

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Design Pixel-Perfect Posters & Mockups in Photoshop

teacher avatar Derrick Mitchell, Designer | Teacher | Artist | Innovator

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

23 Lessons (2h 48m)
    • 1. Skillshare Poster Intro

      3:05
    • 2. Rock Band Poster Design 1 Gathering Assets for Your Rock Band Poster

      2:33
    • 3. Rock Band Poster Design 2 File Setup for Print

      2:51
    • 4. Rock Band Poster Design 3 How to Create a Radial Starburst Background

      12:05
    • 5. Rock Band Poster Design 4 How to Add Text and Images

      8:34
    • 6. Rock Band Poster Design 5 Text Shortcuts

      5:19
    • 7. Rock Band Poster Design 6 Pushing the Design Further

      14:44
    • 8. Rock Band Poster Design 7 How to Quickly Create Alternate Versions

      10:13
    • 9. Rock Band Poster Design 8 How to Export for Print and Web

      7:03
    • 10. Movie Poster Design 1 Project overview and gathering assets

      3:33
    • 11. Movie Poster Design 2 Quickly Drop in Main Elements

      10:53
    • 12. Movie Poster Design 3 How to Align and Distribute Text

      8:19
    • 13. Movie Poster Design 4 Blending it All Together

      3:04
    • 14. Movie Poster Design 5 Blending it All Together 2

      8:00
    • 15. Movie Poster Design 6 Blending it All Together 3

      12:35
    • 16. Movie Poster Design 7 Blending it All Together 4

      8:55
    • 17. Poster Mockups 1 Introduction

      3:10
    • 18. Poster Mockups 2 Mockup Overview

      6:05
    • 19. Poster Mockups 3 Adding Your Poster Design to the Mockups

      5:00
    • 20. Poster Mockups 4 Adjustment Layers and Reverse Engineering Template Files

      4:43
    • 21. Poster Mockups 5 More Adjustment Layers and Smart Object Introduction

      5:18
    • 22. Poster Mockups 6 Smart Objects

      10:22
    • 23. Poster Mockups 7 Finishing Touches

      11:38
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About This Class

Learn how to create posters in Photoshop! Not only that, but you can use many of these skills and techniques for all kinds of projects that go way beyond just posters. You can apply the skills, tools, and techniques to just about anything; from business cards, letterhead, postcards, and even web and social media graphics.

After going through this course, you will be confident using Adobe Photoshop, and you will also have some really cool projects to show off in your portfolio. I provide premium assets and exercise files to follow along and do exactly what I do in the lessons, or, you can use your own photos to create something truly unique and custom! 

My name is Derrick Mitchell, and I have over 20 years of experience using Photoshop as a graphic designer. I will show you my exact workflow that has helped me make a full-time career as a graphic designer using Adobe Photoshop as my main tool.

I'm stoked to see what kinds of posters you design for our class project, so be sure to share them with the class and also on Instagram. Tag me @dmitchelldesign so I can see your work! 

Let's go! 

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Meet Your Teacher

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Derrick Mitchell

Designer | Teacher | Artist | Innovator

Teacher

 

 

Hello! My name is Derrick, and I’m so stoked to be teaching here on Skillshare!

Are you interested in making a living in the creative arts industry as a graphic designer, freelancer, videographer, photographer, or web developer?

If yes, then be sure to join me in these courses here on Skillshare as I show you what it’s like to be a graphic designer and make a living doing something that you love!

I will help you master the skills you need to become successful. I’ll show all of my processes so you can accelerate your success, while also learning from my mistakes so you don’t have to repeat them yourself and fall into the same traps that I did.

I have spent my entire career in the creative arts and market... See full profile

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Transcripts

1. Skillshare Poster Intro: In this course, I'm going to be showing you how to create posters using Adobe Photoshop. Or actually I'll be creating two different styles of posters. The very first one is going to be for an event. So as an example, I create a rock band concert poster and I have premium assets that you can use to follow along. Or you can follow along with your own assets to create something for an event that might be coming up in your world, whether it's a yard sale or a church event or a family thing, or maybe it's something you're trying to sell, like a car or motorcycle or something. So you can create your own poster with your own assets using the skills, the tips, and the techniques that I'm gonna be showing you. And then the next project is a little more advanced. We are going to be creating a movie poster. So we're going to learn how to take lots of different assets and I provide those as well and how to cut them out and bring them all into one file and blend them together so they would look like they really belong in that scene. We're gonna be working with smart objects and type and adjustment layers and all kinds of really cool things that you could take and use for any project you use it beyond just a photo or a poster. You could actually use these skills and techniques for lots of different projects when you're all said and done. On top of that, once we get a couple of projects to work with, once you've designed both of these posters, we're going to learn how to create a digital mock-up. So if you wanted to, these posters will be print ready. So you could actually take them out and actually have them printed for real and take photos of them and make it look like it's sitting on your desk and use them for your portfolio. Or if you don't have access to a printer or you don't want to go out right now and do that. We're going to create these digital mock-ups. So with a digital mockup, you can drop in your artwork and it will automatically scale it and skew it and add all these cool adjustment layers to make it look like this poster is really on that wall or sitting on a desk. And so you're going to learn how to do that. We've got some premium assets that I provide that you can use to kind of reverse engineer and dropping your own artwork and see how it works. And then I'm going to take that further and show you how to do that yourself. How to setup a file and create your own custom mockup that then you could use to show off all of your pieces or your portfolio or to share on social media like Facebook or Instagram or wherever you want to share them. And then once that's all said and done, you can even go as far as to take that asset you just created and even sell it on places like Creative Market or Adobe Stock or auto elements. There's lots of cool things you can do with this course. So I'm really excited to show you everything that I've learned in over 20 years of using Photoshop and kinda distilling that down into best practices and tips and tricks that have worked for me. So also one more thing to point out, sometimes they get really excited, I'm, I talk really fast. But the cool thing about this course is that you can actually pause the video and rewind it and watch it again. Or if it's, if it's two basic, you can skip ahead to some of the lectures that are a little more advanced. So you kinda jump in wherever you want and learn some of these tips and tricks along the way. I'm super pumped for you to jump in and get started and I can't wait to see what you guys create. So once you get into the course, you start making your stuff. Be sure to share with us in the group. Poster, poster projects, poster, posters so we can see what you're working on and then also be sure to tag me on Instagram at of design so I can see what you're working on. So Alright, let's go and jump into the course and get started. 2. Rock Band Poster Design 1 Gathering Assets for Your Rock Band Poster: In this lesson and in this project we are going to be creating a rock and roll poster, much like the one that you see here. Or maybe a little bit like this. It's gonna be up to you to choose the assets that provide to make whatever you want to do. But we're going to be learning how to add text. We're gonna be learning about this cool radial starburst effect you see here behind this hand. You also see it here behind the guitar super trendy effect. You gotta be careful with it though, because it's been used a ton. So we're going to show you how to tastefully used that effect. We're gonna be adding text. We're going to be working with vector assets that you can bring into Photoshop. And also this guitar icon here, not icon, this is a photo, a guitar photo as well. So feel free to follow along. I've provided the assets in the Assets folder, but just a quick reminder, uses this for practice. Only order posted in our Facebook group, but don't use this in the real-world, or you'll get us both in trouble. So feel free to follow along. And if you want to use these assets for real, I gotta do is licensed them. It's super simple. So in this case, this is an auto elements. I have a subscription, I love it and I highly recommend you guys check it out. The best integrate assets here. So if I want to use this, all I have to do is click on the download button and I'll give it a name. I think I already used one for the Photoshop bootcamp course, I did. So I have a project already for this course. I can click on that and I can add and download, and I can download it. It will give me a license to use this. If I had a real project or a client, I can have a license that goes with the project. So that way we know that we licensed it and everything isn't good, good working order. Alright, so that threw it into my download stack. Let's take a look at that. And this is just a basic guitar already isolated forests on a white background. All right, so I'll go ahead and close that. Let's throw that into our assets folder for this project. Let's drag and drop it in there. Alright, now let's go ahead and grab. I found these really cool icons, rock music festival logo. This isn't Adobe Stock, so I also have a membership to that as well. This one though you do pay per image downloaded, so I'm gonna go ahead and licensed this and download it. And this is interesting. It gives me the option to download a vector or a JPEG. So in this case, because I do have illustrator, I have the full Adobe subscription. I'm going to download the vector version and we'll go ahead and click the download button. And if you don't have illustrator, if you'd just using the Photoshop subscription will pull out these assets in a way that you'll be able to use them as well. So I'm going to come back over here into my finder window. Let's grab this downloadable, just throw it in there real quick. And then in the next video, what we're gonna do is actually create a document and get up and running. So you can follow along. 3. Rock Band Poster Design 2 File Setup for Print: Now that we've gathered our assets, it's time to start creating our posters. So to do that, I'm gonna go ahead and click Create New. And at the top of my dune document window I'm going to click on the word print to get my print presets. And I'm going to click on tabloid over here, which is going to set up my file as an 11 by 17 inches at 300 pixels per inch. So what that means is when this is all done, you could export this file and send it to the printer and have it really printed at 11 inches wide by 17 inches tall. And it's going to look amazing because our document set up right from the very beginning. The other thing I wanna point out is this color mode. Currently we're gonna be working in RGB. It will allow us to use some more filters and things as we designed. But when it's all said and done, we're going to want to convert this to CMYK. The biggest difference being in RGB, you're designing for a screen. We have a red, green, and blue lights on the screen shining brightly and blending to create those colors. In print, we work with cyan, magenta, yellow, and K stands for black, and those inks mixed together on paper. And so because of that, your colors are going to look much different on screen versus in print. So we're gonna pay attention to this at the end when we export everything. But for now, no, we're working in RGB and when it's all done, we're going to convert it the CMYK, so everything prints how we would expect it to. Let's go ahead and click Create. And now we have our document. And one thing I noticed right away at my rulers from the previous project were set up in pixels. So I see these numbers across the top. You can leave it like that if you want. You might not even see it. If you go to view down to rulers or command R, we can turn those on and off command R to cycle them on and off. Sometimes it's handy to know where things are set up on your document if you're trying to measure things or lay them out. The other thing we could do is come up here to file, I'm sorry, I'm on a Mac. So photoshop preferences, and we're gonna go two units and rulers. If you're on a PC, I believe it's under edit down to Preferences. There we go. But anyway, alright, we want to get to units and rulers will click on that. And we're going to change our units, the ruler from pixels to inches. We'll click OK. And now we can see that this is 11 inches wide by 17 inches tall. So before we get too far down the road and forget to save, let's go ahead and save this. We'll go to File down to Save As and I don't have the option to save yet because I haven't done anything. So let's go and click Save as. And we'll call this rock band poster. And you might even put the dimensions at the end of it. So 11 x 17, so loved by 17. Just an easy way to know if you create multiple versions of this thing. You can know which version this is if it's the full sized poster or maybe it's a tiny graphic for social media. Alright, now that our file is setup, let's get to work and start designing our poster. 4. Rock Band Poster Design 3 How to Create a Radial Starburst Background: Alright, now that we've got our file setup, let's get some context for the design that we're going to make. This is going to be a fictitious concert, but we're going to base it on some real-life events. So feel free to do this exactly if you wanna follow along, or perhaps there's a concert coming up that you want to feature yourself or somebody else you wanna do. But if you just want to follow along and need some ideas, go ahead and copy this text. So in the exercise files we have this rock concert details text file and the title. We're gonna make it rock band concert. The location is going to be the George ampitheater. It's in Grant County, Washington, nine miles west of George Washington. This is a real place. Let's go and take a look real quick. So if I open up this browser, you can see that the gourd is actually a really cool concert venue. It's an outdoor event. So maybe this gives you some ideas for a poster or maybe you create something that looks kinda like this stage. Instead, lots of ways we could play with this. Let's jump back into our text edit file. Alright, so the date, we're going to set this at August 21st, 2021. The gates opened at 04:00 PM and the details, it's a live performance by Twenty One Pilots, mus the killers, Weezer, rise against Bishop Briggs and revivalists. So this is actually based off of a real concert that my wife took me to for my birthday. She's amazing. This already happened. It was an amazing event, but here you can see it was part of the iHeart Radio is in Los Angeles at the forum. And these were all the bands that played. So you could do something like this where maybe it's featuring multiple bands and you can see that they have a logo. They've got the date huge here, the location, the formula LA. So you don't really need an address because if you're in Los Angeles, you know where the form is. And then we've got these bands listed here. So one cool way to do that. Now, the other thing I want to point out, if you're going to be doing something for real people or real band or whatever. Pay attention to the spelling. I wanted to point this out because I noticed that in the text here, Twenty One Pilots is not capitalized. But you notice mus is, the killers is rising in spirit, brings all these revivalist right there, all capitalised. And I'm assuming that's on purpose because I've looked at multiple different places. The other thing is alter ego. Look at that too, like their logo, right? So alt is all kept in an ER is lowercase. So just pay attention to that. If you're going to be featuring a band, Make sure you don't miss it or misspell it. A lot of times bands do creative things like that when they're doing their, you know, when they're doing their name. So now that we have a little more context as to what this event is going to be. Now we can start designing. We can jump into Photoshop and start laying out the groundwork. Now, the way that I work, typically, as I gather all of my assets and I start just thrown it in and go into town. But I'm also trying to create this in a way that you can follow along. So let's just go ahead and warm up our creative muscles here. And we're gonna start by creating a radial starburst. And I'm like I mentioned in the previous video, the radial starburst effect is very trendy. It's very overdone. You'll see it all the time, but I still think it's a valuable part of the toolbox. Toolset for you to understand how to make it, because we can do this in a way that adds some, some, some character to your design and some depth to your design. And it's an easy win. So let's go ahead and learn how to create a radial starburst. So there's lot of ways to do this. But basically what we're gonna do is just hit the letter U to get my Shape Tool. And specifically we want the rectangle tool, okay? I'm going to start drawing with a black fill. So when the Options bar, I've got black set up here with no stroke. And the reason why I'm gonna do it this way is because using the blending modes, I can change the color of this later. And so I'm just gonna go ahead and drag a stripped down here. I'm going to zoom out a little bit. And I'm using the keyboard shortcut, spacebar, command and option to cycle between zooming in and zooming out. Just so I can kinda see the edge of this here. And I'm gonna free transform this command t. It's going to scale this up till it snaps. And if it doesn't snap for you, make sure under view you've got Snap turned on, ok. And that should work. I'm just going to scoot this over to the edge here. And now this little technique, I always screw it up because I'm used to doing this in Illustrator. In Illustrator, you can copy something, move it over in the hit Command D to duplicate it. But in Photoshop you can't do it that way. So we are going to hit command option t. There we go. So now we've got this plus at drags a copy does command option t. Now that it's done, I'm going to hit return or enter. And then I'm gonna hit Command Option Shift and T to clone that again and again and again. And I'm holding down Command Option Shift and t as I step and repeat this. So that always screws me up. So if you don't get it the first time, that's okay. Let's just do it again to make sure you and I are doing the same thing. So I don't wanna go that far back. Let's just delete these. I'm gonna get my direct selection tool because it copied these on one layer. So I'm gonna come over here, grabbed my direct selection tool, click and drag. There we go. Okay, so now I've got my singular shape again. Alright. So with this selected command, option t, we're going to click and drag. And then let go when we get it where you want to hit the Enter key. And now this time Command, Option Shift and T to step and repeat that. Alright, so that is up here under Edit transform again. But by adding the Alt key, it's transforming a copy. Alright, so I don't even see that in the menu. I don't remember where I learn that, but it's super handy for stuff like this. And hopefully you're able to kinda follow along. Now something else that this does that I don't fully understand either. And and I say that because you guys, it's easy to think that I haven't all figured out, but as you work through Photoshop, there's so many layers to this that I don't want you to feel overwhelmed if you don't know everything, just kind of follow along. Do your best, but notice that some of these at this time, it set each shape into its own layer. But in the other one that I did, it had grouped like three of them together. I don't know why I did that. But let's go ahead and grab all of these shapes. I'm going to shift click all of these. I'm going to group them together. And I'm going to transform it command t. And the reason why I'm doing this shift is because I don't want these to go edge to edge. I want it to stop just short of that. About like that. We'll hit Enter. Let's go and convert this to a smart object or right-click. And I'll convert to a Smart Object. And now what I can do is come up to filter, down to distort and then to polar coordinates. And then make sure rectangular to polar is selected and click OK. All right, so there's one way to do that. All right, let's go and learn another way to do this real quick. I'm going to turn that off. We'll save that for later. And notice there's not very many of them. I kinda would like, I'd like it to look more like this sample if we come back over here where there's a lot thinner. So the way you would do that or like this one is a lot more of them is just make more strips before you do that polar coordinates effect. Okay? So we're going to turn that off. Let's learn another way to do it. I'm going to make a new document or I'm sorry, a new layer. I'm gonna get my Gradient tool, the hidden letter g. And I wanted to be the default black and white. So let's go ahead and reset it right down here. And we're gonna go ahead and make sure it's this very top left gradient, linear gradient, normal and a 100%. Looks good. Alright, now I'm going to click and drag from the top to the bottom to hold down shift to make it perfectly vertical. And actually I wanna do this the opposite. I want the blog on the bottom. I don't think it matters, but want to do it that way. Alright. Now that we have that, we're on this layer here with a gradient when it come up to filter down to distort. This time we're gonna come down to wave. And you can see the settings that I've already played with to get this effect number of generators I've got set to 70. The wavelength. Again, depending on your document size, you might need to play with these numbers, the amplitude. So just honestly just kinda scrub it around and play with it, see what you get. And I'm going to click, but basically we're looking for is in this preview what we want to turn into these strips here. So I'm gonna click OK. And so one thing I'm excited about showing you is it kinda has this blurred effect in the middle because I didn't have my settings. There's, there's there's a few different ways we get our settings, but I'm okay with that because check this out. If I come back to filter down to distort and back to that polar coordinates. The same effect we did with the other one. It's gonna do the same thing makes you have rectangular to polar selected. But what I like about this that's cooler than the other one is I love this blur that added to it all automatically. So just adds more depth to it. Okay, so there's two different ways to get the same thing. I know that was a little bit technical, but don't forget it's a video. You can rewind it, play it, pause it, do the work, and hopefully follow along. So now that I have this background element, what I can do, I'll turn that off as well and we can start playing with colors and things like that. So typically when I work with color, I don't start working with color until I have a logo in here or an image in here, or something that I can sample from to make it all match. So let's go back into Poland, that guitar asset that I have. So I'm gonna go ahead and grab this guitar and just drag and drop it right into my workspace and my Photoshop settings. I've got a little bit different to have my jpegs Open Camera RA by default, you probably won't see this. It'll just bring it right in. We'll click OK and bringing that guitar. Alright, so now that I've got this guitar in here, we're going to need to cut it out. We'll do that in the next step. But all I wanna do is just sample some of these colors to start working with them inside of my document. So I'm gonna go ahead and click the letter i to get my eye dropper tool. It's over here on the toolbar. And again, depending on which workspace you're looking at, I'm using the painting workspace right now, so I see it right over here. I'm gonna go ahead and sample. I think I want this post would be mostly red, so I'm going to sample from within the guitar so the red tones match. I could jump right into this background layer, but I'll just make a new one on top of it. And I'm gonna hit option delete. You can also go up here and down to fill. Alright, we're gonna fill up the foreground color that's red. You don't see it though, because this is a guitar is in front. So let's go ahead and grab this layer. Let's hide that so we can say we're doing There, we go, turn that layer off. And now I've got this red background. Now I can turn on this radial starburst layer that we have. And I'm going to play with the blend modes. I already know that the Multiply blend mode is gonna do what I need. It's going to knock out that white. So let's go and go down to multiply. And then we're going to scrub the opacity down. Click on the word opacity over here and we're gonna scrub it down quite a ways actually. So it's just adding a subtle element to this. We gotta be careful because now it starts to look like the Circus a little bit, not maybe a rock band. So we're gonna play with that. But now, because I did this polar, the polar effect with the radial starburst thing in black and white. Now what I can do if I wanted to, maybe we turn this guitar layer back on and maybe I grab this orange color from it instead. And I'll make a new layer. And I'll hit option delete to fill it. Now I've got an orange background, so it still works no matter what color I put below it. So you could go through, and if you've got an image, a different image, you're following along with just sample a color from that image to make the background match with your design. Alright, so now that we know how to do that, we are going to take a look at how to bring in this artwork for the rest of the design. 5. Rock Band Poster Design 4 How to Add Text and Images: Alright, now that we have our background in place and we're going to play with this further, so the color doesn't really matter quite yet. What we're gonna do is bring in the rest of our assets to finish this project. So if you've been following along, you might already have this guitar image in here, but just in case, let's go ahead and do a quick refresh and how I brought that in. So there's a couple ways to do it. My favorite, typically, I'll have it open in another Finder window. And I've got this isolated electric guitar image in our exercise folder. I'm gonna click and drag and just throw that right in top of my document. Now when I do that and I'll hit return, Photoshop brings it in as a smart object, and I don't know if it's gonna do that for you by default or if it's a setting that I've had set in the past, but for me it brings it in as a Smart Object. And if I do it this other way, if I come up here to file open, and I grab that same image and we'll click open. This time it opens it as a new tab. And so to get it into this document, I can click, drag, hover over the tab for a second without letting go of the mouse, bring it back down, and then let go. And when I do it that way, if I looked at my Layers panel that time it brought it in as a regular Rasterize Layer, not a smart object. So the reason why I point this out is if you plan to use the handy background removal tool, if it comes in as a regular image, you'll have that option right away and click on that and immediately removes the background. Pretty handy. But notice that it cut the top off the guitar because when I did that, it was past the border of my document. Alright, much enough that layer for a second. Let's come back to this one that's a smart object. So in the Properties panel I see I don't have the remove background tab selected or even as an option. So I need to convert this to a layer, or right-click on this layer and rasterize. And now I'll have the option to remove background. And this time because the object doesn't go past the bounding box of the document. If I click on that, you'll notice that it includes the top of the guitar as well, whereas this version cut it off. All right, so now that we've got that, if I zoom in, you'll notice that up here by the tuning pegs, I still have some white that I might want to clean up. So there's lots of ways to do this because it's a mask. I could let a b to get my brush tool with a nice soft brush and black as the foreground to hide. I can just paint by hand to hide some of that. And I notice on this one and even took away too much. So you hit the letter X to swap my fill. So now I'm painting with white on this mask to bring that back. So I could go in by hand and I could bring back parts of the image that it shouldn't have taken away. And you can see is going to be really time consuming and hit X again to quickly swap. So now I've got black as the foreground where I went too far. If you wanted to, you could do that and dial in your settings and your selections. I could even select, use maybe the magic wand tool over here had letter w to get that magic wand tool. And I could choose and just click right on that white background. Right now my tolerance is set to ten by default to yours is probably set to 20. Also makes sure that continuous is selected. So it's only gonna select pixels that are touching each other. It's not going to select anything inside of the image. If I zoom out and look real quick, you'll notice it didn't make a perfect selection down here. So what I'm gonna do with this selection, selected. I'm going to make sure I'm back on my mask layer, dip my brush tool again. And this time I'm just gonna scrub and paint really loosely over the top of that. You'll notice that selection protects me from going too far past. Alright, so lots of ways to work, but hopefully that gives you a good idea of how to kind of refine the selection a little bit. And we've talked about this in some of the other lessons as well. So I'm not going to linger too far on this lesson because the point is just learning how to bring in your asset here. Alright, so I'm not too worried about that. One thing I'm gonna do, I'm gonna bring this backward quick though. So I'm gonna select inverse, and I'm going to paint with white. So we'll flip this letter X. So I'm painting with white on my mask to bring in some of that. Okay. Good enough for now. Good enough for now. Let's go ahead and deselect that selection, select, de-select. So now I've got my guitar in here. What happened to this layer? I must've got turned off somehow, so we have a burst back in there. I'll go ahead and save before I forget, just to make sure we're saving our progress. And now I want to bring in some text for us to work with and I'm not too worried about the placement of assets yet. I'm just trying to get all of the pieces of the puzzle in here so we can start working with it. So let's go ahead and jump into that text edit file that's in the exercise files. And there's a couple of ways to work. You might be inclined to highlight everything Command a on a Mac control and a PC. And we're going to copy it, command C to copy that. And I could get my text tool T right here. And I could click once and paste it. And what it's gonna do is any returns that i had. So all of these new lines, it's going to force returns in here. If it was just one long line of text. When I did that, it would paste it in loops, would paste it in as one long line of text. So something else you could do instead of just clicking with the Text Tool and the letter to get my text Hello, I'm going to click and then drag and then paste it in. And now in my text comes in in a text box and I can resize and change the flow of that text. And both of these ways are fine. But I found that it becomes difficult to be creative with the layout of text if I do it that way. So I'm gonna hit the Enter key and I switched my move to one kind of movies around. So the way that I like to work takes a little more time, but I found that creates a lot more creative results. So that what I do is I'll come back in here and it takes a long time, so I'll go ahead and get started and then we'll pause the video, but I grab each text one at a time. So I'll grab the title and come in here and get my text tool. I'll click once and I'll paste it in there. Then I'll hit the Enter key or you can click up here in the Options bar for the checkmark to place that. And I'm gonna switch to my move tool by either clicking on that, hitting the letter V or holding down the command key to quickly switch back and forth between text and move. Just kinda move that in place. Now the next thing that I do instead of this was highlighted If I triple click in here. And so trying to guess what font size I want, let's click back on the Move Tool or again on this check mark. I'm gonna go to Edit and we're going to free transform this thing up. And then that way I can scale it exactly to the size I want without having to guess what font size it is. If I hit Enter, triple click in here, I can see, oh, well that was what does the 86 points. So I could have guessed or fudged around until I got it just right, you know, kinda nudging things in place. But it's so much faster to bring things in one line at a time because then you can really control your layout. So the next thing I would do, a couple of ways to work. I can hold down the option key and click and drag a copy. Come back into my text edit. Maybe grab the word Location. Command C to copy tea for my text tool, triple click in here and then paste it. And by doing it that way, it brings it in at the exact same size, the alternative would be good and delete that real quick, would be just to hit the letter t, click ones in here, and then command V to paste what's on my clipboard. But at that point, it's not going to bring it in the exact same size necessarily as maybe what I wanted it to. So just something to pay attention to. All right, the other thing I want to point out is currently I'm using a font called Qian. So if you don't have that installed, this is a font you can get with Adobe fonts. So we're just going to click on this little drop-down. And then up here on the top right, it says more from Adobe fonts. So, and click on that little icon. It's gonna open up Typekit and I can search for Qian. So if you want to follow along and use that same font, go ahead and activate that by clicking on the little activate toggle switch, you just turn it on and it'll be available in your system. And go ahead and close that tab from the browser, come back into Photoshop. So we're using Jen for that. So now I'm gonna do, now that I've got these two lines of text and you kinda see my workflow. I'm gonna go ahead and speed this up and bring in the rest of the text just to get it all in here as separate text layer so I can work with it further. And one thing I'm gonna do right now, I'm gonna click and drag and then paste. And the reason why I did that is because the text that I just copied, let's grab that was a longer chunk of text. And so I might like having the option to keep that forced inside of a textbox, but it doesn't look very good right now. I'm not worried about it. I'm just trying to bring in all of the assets into one place so I can continue to push this design further. Alright, so I brought in all of the assets and the elements that I want to use for this poster. So in the next lesson, we're gonna go ahead and push this design a little bit further and refine the text so it's actually legible and is easier to read. 6. Rock Band Poster Design 5 Text Shortcuts: Alright, so now we're going to do is refine the text layout and the poster layout in this video. So I, I go really fast if you haven't figured that out already and if I talk too fast, I'm sorry. So don't forget. You can play the video, pause it where you get stuck, do the work, rewind it if you need to, if you miss something. But I'm gonna show you some of the workflow tips that I use when working with typography and fonts. And so I haven't changed what workspace. And so last video, so we're still looking at the graphic and web layout. And I've got my character panel up here. So everything that I'm about to do, you can see the options right here. We even have as tiny little hamburger menu appear on the top right and click on that. And you can see there are a few other items in there that you might find helpful. But what I want to point out now is we're about to start laying out the text. And so a couple of shortcuts that I use all the time and that are just faster to do it this way, I'm gonna tee to get my type tool triple click in here, and then Command Shift and the period key or the comma key so that greater than or less than sign. And you'll notice as I do that, it makes it right here. This is getting bigger or smaller, so it's just increasing the point size, okay? Or I'm clicking here and scrub and make it bigger or smaller. So that's another way to work if you just try to nudge things around command shift in the comic, eat and make it a tiny bit smaller. When I'm done, I hit the Enter key. Alright, hold on. Now I've still got the type tool selected. I'll hold down the command key to quickly toggle it to my move tool to move things around. Or command t typically scale it down. So I'm constantly bouncing around with those shortcuts to kinda move my text around. And maybe like all I want to turn this out, a little bit of tracking out. So I'll click in there with my text tool command a to highlight the whole thing. Command option. And then either the right arrow or the left arrow. And you'll notice over here in my character window, that's the shortcut. To set the tracking. I can also just scale it. Ok. So the reason why I'm taking a minute to kind of point out that I'm using all these keyboard shortcuts is because when I really get into my flow and I'm, and I'm kinda transcend out and just making the design. I'm using the shortcut keys all the time to make my designs. So I just wanted to point that out real quick, fast because I wanna make sure that you can follow along with me, get faster, improve your craft. Hopefully make more money because you're getting faster at things and getting things done faster. And that's the goal, is to show you all these little tips and tricks along the way. So now that we've kinda talked about that a little bit, let's start moving things around and trying to get this in place. So right away and issue with this, with this text. If I click the text tool, click in here, it command a to highlight the whole thing. Probably the fastest way to fix this is to come up here and my character panel. And you can see that we've got our letting. So it's called letting, not leading. And the reason why is back in the day when they would set type, they would actually use physical pieces of lead to separate the text blocks. Okay, so what we're gonna do is click on this instead of it being forced to be 15 points where instead the auto, alright, and so it automatically makes this what it thinks it should be. But in doing that, you'll notice we've got this little tiny plus sign in the bottom right corner because the text is flowing past textbox. So let's go ahead and resize this so it'll fits in there nicely. This is all centered, but maybe we wanna make it left justified. So I'm gonna come up here to my Paragraph window. We'll click on that. And we're going to change it from centered to left. Alright? And then I can refine this further. But this is kinda start flesh and things out. Getting it in place here. That looks good enough for now. And I'm going to click either on the Move Tool or on the checkbox, appear to get that set. All right, that's fine. Let's fix this one same thing, clicking here, command a and highlight it. Come back to my character panel. And this changes from 15 points to auto. If I wanted to add the selected, the keyboard shortcut now command option. And this time set a left and right for the kerning or the tracking. When it command option up or down on the arrow to kinda nudge. That's if you want to stack it really close together. And you can see over here it's changing the letting points where 35, so you can really refine exactly how your text looks or if we wanted to match this other one, we'll just set it to auto. Alright, same thing, but the date, let's come up here to paragraph and change it to left justified. The Move tool and we'll kind of snap is in place and it's lining up at snapping because under view I've got Snap turned on still. Alright. What about this chunk of text? Maybe we should leave it like that. I don't know. All right, it could be creative. Let's fix it though. We're going to highlight it, change it to auto paragraph, make it left line. And a lot of it's getting cut off. So it's going to grab the bottom of this textbox and resize it. Put back on the Move Tool. Alright, so our text is getting better. It's getting a little bit better. So I'm not going to fuss with it too much more yet because overall as a whole, I want to refine some other parts of this design. So let's go ahead and get your texts close if you're following along, I'm going to pause this video, start kinda nudging things in place. And in the next video we're gonna continue our design and push it a little bit further. 7. Rock Band Poster Design 6 Pushing the Design Further: Alright, so we learned how to bring in photos, we learned how to bring in text. We've learned some of the shortcuts that I used the keyboard shortcuts TO quickly manipulate the size and the layout of the text. Now it's the fun part. Now we're going to get in and just start refining this design until we're happy with it and it looks cool. So right away I want to start changing some things about this design. I'm gonna change this background color. I'm gonna turn off this cyan look in color that we are playing with. And right away by having that orange that we sampled from the top of the guitar. It looks so different. It looks a lot bolder. If I turn that off and go to the red version of this also read is very, very striking. You want to be careful though, because to me now, between the radial band thing we have in the background and the colors, the red and the orange and the white. It's starting to look a lot more like a circus instead of a rock band concert. So some things we can play with to change that one would be maybe the color, maybe go back to this orange color that's a little bit better. Or maybe I'll make a new layer d to get a reset. My swatches here, hit option delete to fill it with black command and the right bracket key to bring that layer above the orange and anything black. I feel like if you're gonna be in a rock band, you have to wear black t-shirts all the time, right? Everything's gotta be black, all black. So maybe, maybe this is a better approach. Let's go ahead and hang out here for a second. Now, when I do that, that starburst pattern, we had went away. So maybe we want to change the color of this and fade it just a little bit. Let's just see what happens here. Will scrub the opacity down and never getting kind of an ugly brown color. Let's kinda rethink this. I'm going to turn that black layer backoff. We'll go back to orange for a second. Or maybe read, how can we fix this? How about we add a gradient over the top? We'll add a new layer at the letter D to get my Gradient tool. Want black to be one of foreground color. And I want the gradient that goes from the foreground color to transparent. Do linear. And we're going to click down here towards the bottom, hold down shift to make it go straight instead of at an angle. And then we'll let go. All right, so now that we have this gradient, let's change the blend mode to multiply. Will scrub the opacity down a little bit. Okay, just adds more depth to it. Make this guitar stand off a little bit and help us tech standout a little bit better. Alright. So, alright, we're heading in the right direction. Maybe we want to scale this down. I'm not sure. Let's go ahead and play with this a little bit. All right, so maybe let's change the font of the rest of the text to something. Some sans serif have Open Sans or something like that, which is a Google fonts. You can download it from Google. Let's make it semi bold. And this is all kept. Did I bring it in as all caps? I don't think I did. Okay. So all caps was turned on, so command shift k, I don't even know I learned that shortcut will cycle that on and off. So we're back to regular sentence case here. Let's shift in the period key to scrub it down a little bit. What size is that? So this is the posters are twenty-four point is still pretty huge. We could drop is all the way down to like 14. And it's still going to be big enough that if somebody wants to figure out where this thing is at the end, come up here and look at it. So we'll go ahead and hit enter. And once we get that into size, so there's my location, date, time, details. Triple-click, we're going to cut it command X to cut that. Oops. We can snap this into place up here. Details and I want to bring a textbox that matches this one. So I'm going to click on that, hold down the option key to drag a copy and then Hogan shift to bring it straight down. And now here's where it gets a little bit weird. If I just paste what I just copied, it's going to change the size. So what I need to do is jump into something like text edit, paste that text that I had highlighted, and then copy it. And what that does is it strips out the styles because this text editor is just a plain text editor doesn't mean any of the styles with it. So now when I come back in here and paste it, it keeps the same style as what's above it. Alright, so let's grab the details which was live performance. There we go. Alright, so that's one way to do it. We also could just leave all the band names down here. And this lesson, I feel like can get very, very long. But I'm, I'm hoping that as you, you see my workflow, I'm trying to teach at the same time, it can get a little tricky. But my hope is that you can kinda see how you don't just, you don't always just like throw something in here and then love it. Like sometimes you gotta, gotta kinda work it into place a little bit and kinda mess with the layout. So I'm trying not to bore you to death. I'm hoping to give you the opportunity to look over my shoulder and also maybe follow along with your own stuff. And at this point I've shown you the tools. And now it's just a matter of going through and getting things to look exactly how you want it. So let's go ahead and play with that. And actually maybe we want to align this to the right. I don't know. We're making it up as we go. Location. All the details that stack them over here, Rock Band concert. Maybe let's make these even bigger. So there's a couple ways we could do that. I can highlight all of these. Use my keyboard shortcuts to make it large. Kinda close. Command option down k. I don't like. Let's cut off concert command X to cut it at the Delete key, wants to move this blank space up behind there. Alright, rock band. Now I can have it all this and make it just I wanted to be. And then Hitler t click once and then paste the word concert that we cut earlier. Command T to resize this. Alright, scrub it down a little bit. Alright, we look in, we're doing pretty good. What I don't like is, so the alignment between the K and the d here and the R and the b here. Not quite right, so let's highlight all of that and make it centered and centered. So did the center alignment, that's a lot better. A lot better. Okay, and, and concert that zoom-in close here. How we look in. So if you think I'm going too fast cars and doing all these shortcuts and stuff. Remember, play, pause, do the work. So all the shortcut should be popping up down below so you can see what I'm doing. And at this point, I just want to show you that once you get into your flow and once you know your work, your workspace shortcuts, you can go so much faster to just start kinda getting your designs knocked out. Okay, so that's the point. Don't feel discouraged right now if you see me flying through stuff where you feel lost. Watch that last video, watch the shortcuts. And that's all I'm doing right now. I'm just kinda nudging things in place. And so I've got multiple different layers over here. My layers panelists go ahead and break this tab off so we can see it a little bit better. So you can see that each one of these, you know, all these pieces of text or just in here separately as layers above all this other stuff. So we're just trying to kinda get these details in place. So let's see, let's bring down. And this is why I like breaking up my text because then I can really dial in the layout and get it exactly how I want it to be. Alright, so y now what I'm looking at, if I drag down a guide for my ruler, the ruler's not their command R. Go to view down to rulers. I'm gonna bring this down and snap it on top of that. And now I can make sure that visually I text lines up. Another trick we could do, I'm gonna get the letter U to get my Shape Tool. And I'm just gonna draw a shape from about here to here. And all I'm doing is using this as a way to measure. So I could drop a guide actually before I get that committed to it, let's make sure this is centered. And we've got my guitar. Actually wanna do it this way. I'm going to grab this shape Command Shift and the right bracket to bring it all the way to the front. Command a to highlight my entire board. And that's just center this. Okay, so visually, this, this shape now has been centered into the canvas. And so now I can look at this guitar and if I wanted to get real picky, I could nudge it just a tiny bit, but for the most part it's pretty much already centered on this image. So now I could grab this shape and use it as a way to measure dropdown, a guide or the Option key to make it vertical. And then we'll move it to this side. Same thing. I'm going to drop down a guide and option, make it vertical and snap at there. So now I can delete this shape, turn it off. And I know that the space between this side of the text and this height of the text, if I want it to match up visually, I can just snap these in place. And now my designs gonna look a lot more cohesive and balanced. If I turn those guides off, you can see that it fits really nicely. So again, I know I'm going to go fast, but we got a lot of ground cover and I wanna just show you my thought process in real time as I go through it. So let's go ahead and keep going. So we've got the date we've at the time. This time goes off up there. So let's cut that. Let's see what could we do instead? We could just scrub it down or make it smaller. So Command Shift and the comma key, everything doesn't have to be the same size every time. I don't think I don't know. We're just kinda plan where we're doing whatever we want. We're designers. We have the freedom, creative liberty to just kinda go nuts with it. So now what I've lined up, if we look at our guides, We've got a guide across the top and then also pay attention to the baseline of your lines of text. So in this case, looking at rock band, the bottom here comes across and it lines up with the texts over on this side. So the same thing here with concert. Dropped down a guide. We'll bring up this details text. Okay, so it just feels a little more balanced. And look at this. This was a happy accident. So the cut-out of the guitar down here, visually, let's take off this guide creates more space on this side. So rock band concert fits nicely over here. And if we turn that guide back on, we can bring in our bands. Snap a min up here. Okay, also pay attention to the distance. So we've got two different textboxes. So I'm gonna use that trick again where I get my Shape tool. I'm going to draw from the bottom of this text to the top of the line below it. Just to kind of see visually how far the spacing we did and there's lots of better ways to work. I'm sure like you could use a paragraph styles and make sure that everything is identical. But this is a poster is kind of a one-off deal. And instead of worrying about setting up all of my paragraph styles to match and all have the exact same margins and stuff. I'm kinda going really fast and loose Just to let my creativity do, just, just to kinda go, go crazy. So couple of things Now, let's look at this. So it, this text down here, we've got live performance by 21 and then pilot. So ideally, I don't want the band's name to split two lines. So let's play with that a little bit. Let's change our size box or a text box size. So I perform subtotal and pilots use killers, Weezer, rise against Bishop Briggs and the revival is so that makes me more happy, happy. That makes me happy as far as all the texts being together and not breaking at certain points. I can also just click in here and hit the Return key to force it to a new line Command Z to undo that. When I'm happy with it now I can hit enter on my keyboard or appear the check. Alright, so let's go ahead and see how this looks. I'm going to turn off my guides. I'm hit Command 0 to fit it all on the screen. And it, it's not bad. It's, it's ok. Let's go and click down here on this text. I'm going to turn off that. I don't know. It's pretty minimal is not bad. Maybe we want to kind of bounce out a little bit though I feel like. So what I'm looking at visually, I see from the nut of the guitar to the top of the text is a different height than actually it's pretty dang close then this part of the guitar. So visually though I feel, I feel like this wants to just nudge down a little bit. So I'm gonna click on it, use my arrow keys holding down shift to go ten pixels at a time. Just kinda to shift this down a little bit. So that looks better to me already. Let's see at the bottom of the guitar we can maybe clean up the selection a little bit. What else could we do? You know, to make the stand off even further, maybe we come back down to this gradient layer and maybe we changed the opacity scrubber backup of tiny bit more to make it even more. What's the right word? Make it pop even more. So this guitar really pops off the background. And that's, that's pretty good. I think there's a lot more we could do to it. There's a ton more we could do to it, but that gets us started. So 11 more thing I would maybe do. And I'm just going to point in the direction. I won't take the time to do the whole thing. Could grab all this text, will then shift click to get all of that text. Command G to group it. I could throw with this group, I could throw a mask on that. I'll click right there, hit the letter B to get my brush tool. And then I could grab some kind of a grunge texture or whatever. And I could paint over the top of that, make sure you're painting with black. I just said I was gonna do it and here I am, here I am basically doing what I was gonna do. So what I'm trying to do here is I just kind of scuffing up this text a little bit to make it look more like it's a rock band concert. So I'm just painting on the mask that has all the text layers below it. Just kind of add some visual interest. Okay? So lots of fun things we could do with this. Lots of fun stuff. So I'm gonna go ahead and stop this video here. I feel like I've pushed as far enough that you could kind of see my workflow. So what I want you to do now if you haven't already create a rock band concert, feel free to use the assets I provided or compress something totally on your own and then share it to the Facebook group, share it to the course. And I can't wait to see what you've done if you're on social media, share it and maybe tagged me in the design them on Instagram at D. Mitchell design. I'd love to see what you're up to. 8. Rock Band Poster Design 7 How to Quickly Create Alternate Versions: Alright, I'm pretty happy with the end result on this. I think it's fun, but let's create an entirely different version. And the reason why I've discovered that sometimes if I'm trying to create one really good idea, sometimes it's good to have a lot of time to put towards one really good idea. But sometimes if you're working for a client, they might see that one idea and not like it, and then wish they had something else to look at. So I like to design two or three versions. And the benefit to doing that also makes it so that way you don't feel like you have to get it right with the first one. You can kind of explore some creative options. And I feel like it helps me design faster because I'm not worried about this one design being the absolute best thing I've ever made in my life. I just kinda throw it out there and if it's cool, it's cool it if not, then I move on to something else. So what I'm gonna do is go ahead and hit Command Shift S or go to File. Save As because I want to duplicate this document. And I'm going to call this, just gonna put V2 as in version two or Comp two or, or round two or whatever you want to call this thing. Bums making a second design and maybe we should take out the word file because technically this really isn't the final, at least not yet. Alright, I'm gonna save it. There we go. Okay, and on the one hand, it's nice because now I have all my text oral already pretty much laid out. But it also kind of nudges me towards this direction. So it might not be as creative as if I started with a white canvas to create the second version. But let's just do it anyway. That's kinda dive in and see what happens. So because I want us to look different, I'm going to turn off the guitar and I'm going to turn off this radio burst layer. And let's go ahead and jump into the illustrator asset that I've included this Adobe Stock file. And if you don't have illustrator, you'll be able to open up the Photoshop document when we're all done and grab these pieces out of it, you only have the Photoshop subscription, but if you do have illustrators to open it up, this specific file, everything is grouped together. So if I go to object, Ungroup or Shift Command Z, it'll break it apart into separate pieces. It actually breaks it apart probably further than you want to you, but let's have fun with it. This iPhone with it. So these wings are pretty cool. I'm gonna grab just this piece right here. And I could, one of a couple of things. I could leave it this color or with selected, I could click in here and maybe change it to black or whatever. I'll copy it commands in the copy. I'm gonna paste it in this document. I'm going to paste it as a Smart Object just so I can scale it up and it stays really nice. So I could use this as a design element. That's, I don't know, that's kinda cool. Maybe I didn't. This is not where I was going with it. Okay. So there's an option where I was going to go with it. Let me commend J to jump cut that. Turn that off. Command to Yeah, I was gonna make it like a background element, like a super huge, just something kinda cool look in bats, actually pretty cool too. I like that. Alright, so that's all black. I could change the blend mode to multiply and maybe scrubbed the opacity down a little bit just to kinda make it blend colors. You know, just more of a subtle design element. All right, so I love looking at pieces of artwork, in this case, backends Illustrator file. We could have just grab this whole thing and plopped right in there. Let me undo that. Let me just grab this whole thing. So I've got the Move tool, click and drag, but it grabs Background Layer two, so I'm holding Shift and click to remove that from my selection. And I'll copy all this command C to copy, jump into Photoshop command V to paste as a Smart Object. So I could, I mean, that's kinda cool. I can just throw it right in there if you want to grab one of these stock elements from Adobe stock or in bought, Oh, that's not bad. You would probably want to change the text. And let's go ahead and turn that off for a second. Let's grab all of our text, which is right here. Let's rename this from group two. We'll call it text Command S to save my progress. And now by default, auto select layer is turned on if all down the command key up at the Move Tool selected honk monkey it toggles at ofs and unclick anywhere. And it grabs all the attacks so I can grab this Holden shipped, drag it down, maybe like that. And let's turn this back on. That's pretty cool. I like that rock music festival. But if we're looking at this beyond just as it look cool, a couple of things don't make sense. One, this has rock music festival, this is rock band concert to different things. So we would want to obviously change that and make it match if we're gonna keep going this route. The other thing is our fonts. So we're using Jin here, we're using something different here. So we want our fonts to match. So if we were going to do this, we would probably want to jump back into Illustrator. And this time I'm going to, okay, everything is a separate layer, so it's gonna be kind of a pain full on Shift and click. I can remove that text. And now we're bringing just the skull and the stars command C to copy back into Photoshop command V to paste, paste it as a Smart Object. I'll scale it up holding the option key. And let's click back on this layer and turn it off. That's pretty cool. That actually is, I love how this is looking. I'm not going to lie. We could even scale it passed like you don't have to just make it go to the edges were the artwork is get creative with it. So that is another alternate version. I'm actually pretty happy with that without doing much more. So I'll just hit Command S to save it. Let's push it even further. So Command Shift S, And let's rename this to version three. Okay, we'll save it. And that is really cool. Let's get past it though. Let's do a different color. Let's see what happens if we turn on Orange, about blue, about black. Okay, how about, let's see that red, that red is working pretty good. Let's not off sample this color. Making new layer, fill it. Ok, so what I sampled was this lighter gray tone and we still have as black gradient over the top, so it's still add some depth and some movement there. I could leave it like that. Let's turn that off. Let's come back into Illustrator and grab maybe this element here. I'll grab this guy. Shift click to remove this background from that selection command C to copy. Paste that in here. And that looks pretty good. And we still have this element in the background is wing element. Maybe we turn that off. Let's go back and grab this lightning bolt separately command C to copy. Actually, let's make it black first. Copy it back into Photoshop and paste it. Even if you brought it in as a weird color. Let me just show you. Even if I brought this in as a weird color, let's just make it pink because it's sitting there commands either copy, paste it. Alright, let's just say, oh, actually you know what? It could be like an all chick band thing. That's cool. Happy accident. I actually really like that. So even if you bring in a smart object as a color that you want to change. Down here under the effects tab. Click on that. When click on color overlay and force it to be any color you want. Okay? So there you go. Click OK. And now I've got a color overlay that I can toggle on and off. Alright, that's kinda cool. So I like what this is going. This was an accident, obviously. Let's see. That is not what I meant to do, but that's why it's fun creating multiple versions because it gives you the freedom to kinda fool around with it and see what happens. So how can I make this match better? Let's see, I could just copy this will come to this later with the pink. Oh, wait, that's a different thing. Okay. For a second, I thought I had this color overlay, but I didn't sort of use up mouse. Click back on this. Come down here to color overlay. We're going to sample the pink from this bolt. Let's see if we can do something to make it match. I don't like where this is going. Okay. So I guess I'm just trying to show you is is more than workflow. Most tutorials, I know it's nice to come in and pretend like I've got it all figured out, but that's not how design usually is. Usually it's trial and error and figuring things out and trying to see what works. And so the faster you can get with the shortcut keys and being able to think through what you want to do fast. That makes such a difference on being able to create good designs. Because now keyboard becomes an extension of your hands making something and you're not all hung up on how to make it really do what you're trying to do. Alright, I hate this. I don't like how this is looking at all, but I'm trying to wrap this up while I'm talking, so let's just put a bow on it. What happens if we do this? And make it go past? Because we can, there we go. Let's grab this text real quick. Nudge it down and we'll call it good. Alright, there it is, guys. So we've got three different design versions and we did it pretty fast. So for your class project, if you haven't already, go ahead and dive in, create a couple of posters and be sure to share them with us either on social media, tag me on Instagram at D Mitchell design posted in our Facebook group, post it in the class. If there's a section for you to post it below, I'd love to see what you're working on and good luck. 9. Rock Band Poster Design 8 How to Export for Print and Web: All right, you should always print your work if we're going to do something for print and test it. So in this video, we're gonna take a look at how to export your artwork for print. And also quick little tip here. Sometimes you might be displaying your work in person, maybe at a coffee shop or something else with your client or your friend or whoever you're doing your work for. And so it might be helpful to actually show them what you're doing on screen. And so you might want to just export a JPEG for them to look at it. But something else you can do that's kinda handy. We've got all three are going to all three of these files open right now in different tabs. So I've opened them all up. Vehicle appear to window down to a range. I have options, some pretty cool options. Actually, I can float all in Windows and what that does is it pulls them all out and it floats all these as separate windows. So if you wanted to like quickly rearrange and just kinda look and explore some things. Or up here, one thing that would make sense for this specific project is to have three up vertically. So if I click on that, it's going to stack them all three right next to each other. Now, because of the workspace have opened at kinda crunches on down. So let's reset graphic and web layout. So it kind of goes to the side. In fact, let's do one further than that. I'm holding Shift and tab, and that just cycled on and off all these windows on the right. And so now these all almost fit completely in there. So what we can do now is go to view. And we're gonna go to fit on-screen commands 0. Ok, so to do that command 0 on each document, and it's going to fit them all into the screen. So now I could quickly at a glance, look at all three designs and analyze them together and just decide if I want to hassle with printing all of them or just my favorite layout. So remember at the very beginning was like, hey, pay attention to the color motor using so this one. All of these are currently still in RGB right here I see the tiles is RGB, right? So these are great for showing online. But if we want to make these colors that'll print well, we need to convert these. So before I do anything else, if I go to image down to mode, and I can change it from RGB to CMYK. If I click on that. It's gonna ask me if I want to flatten this or not. If I don't flatten, let's say we use those Blend Modes and we're working with different layers blending together. If I don't flatten this, let's click on that. I don't rasterize. Let's see what happens. And we're looking at this image right here. Okay, so see how read, how this read is more muted and kinda, kinda gross. Actually, it is just faded and it, it doesn't pop nearly as much as this color over here. So that is a great side-by-side comparison of what the colors are gonna do. And again, remember this RGB version that's shining light into my eyes. So it's got all kinds of colors, brighter, vibrant colors that I have access to compared to looking at ink on a piece of paper. So it really dulls down your colors when you're in CMYK. And the reason why we didn't switch to the very end was because I wanted to use some of these filters. Not all of these filters are available in. And RGB document. So that's why I, I tend to design with RGB first. But you gotta be careful. It can bite you in the behind if you're careful with your color swatches. So just pointing that out. So now that I've got that converted, I'm going to save this as, I'll go to File, Save As. And the reason why is because if I go back image mode and that triangle back to RGB with this thing. Depending on the filters and the colors and the settings, a lot of variables, but look, that red color didn't come back as vibrant as the before. So if I wanted to post this on social media and I wanted it to look this rich. I can't go backwards, so I'm going to undo that real quick. Undo all more time. There we go. And now we're back to the original RGB document, and that's the file that we had like that. So let's come back to image mode, CMYK one more time. And if you want to look identical and you're done editing it, you can go ahead and flatten it. What that's gonna do, let me bring back, well, it's gonna flatten all my layers. So if I bring back all my tools over here, windows, it flattened everything into one layer. And where that's a benefit is if you're using Blend Modes and you've got different layers interacting together, do this as a last step. So that way when you go to print, this thing will go to file. And this time we're going to save as and we'll call it final underscore CMYK underscore flat. Okay. And what that does for us, we came to see it as a Photoshop file, but in this case, let's just save it as a JPEG because then we can send it straight to print a JPEG or PDF. Either one of these would do real good. It just depends on where you're printing it out and what their preferences is. But for now we'll leave it as a JPEG. We will click save, believe as maximum. Click OK. And now in our project folder we have a flat JPEG file ready for print. And that's how you export your JPEG. And if you're gonna use a weather was like Staples or any other print service company. Typically, they'll give you an email address and you can email this file directly to them and pull it up in their print queue. Or you can take it to them on a flash drive and have it printed and have it look great. So that is how you export your jpegs for print using that CMYK color space. We see down here the resolutions, high resolution. And if you wanted to save it for social media, you could just do the same thing. Let's go back over here and we'll use this as an example. You could go to file, down to export, tend to export as or save as either way. And what we're looking for is a jpeg format. And this time notice because we didn't convert it to CMYK, we still have this SRGB color profile, and we'll call it, we'll call it V2 screen, okay? That way I know this is my screen version of this. We'll click Save. And this is a much smaller file size. We'll click OK. So now if I compare these two, I've got my flat JPEG and you can look at how muted and all that looks. But that's what we're gonna do in print. It'll look a little more vibrant, but it's going to be pretty true to that. Okay, and then we also have our screened JPEG and look at how rich and colorful that is. So you could crop it down and either send it to your smart phone or email it to yourself or whatever and post this, whether it's on Facebook or Instagram or wherever you want to post your stuff. So that is how you take your poster design and export it for print or social media. 10. Movie Poster Design 1 Project overview and gathering assets: Alright, in this project and lesson, we're going to create a movie poster and it's going to be a ton of fun was one of my favorite projects. And we're loosely basing the design off of this demand G poster. So the things I want you to pay attention to, we have four main characters here. We have the environment of the landscape behind them that these are set in. And then we've got the movie logo and the actor names. Those are the main elements that we're going to play with this project. So real quick, as an overview, I've downloaded a ton of awesome stock for us to play with. So we've got some isolated fire. This is fire that's cut out on transparent background. So you can drop this and I'll show you how to do that. I've got some smoke overlays that'll add some atmospheric texture to the poster when it's all said and done. I have all kinds of actors and actresses we can play with, pulled back in those stormy skies from the previous lessons. We've got the lightning bolts. We've got the cyborg. What else do we have? We have movie poster text. And then here is, let's see, let me skip BY that will come out to that. So we've got some netscape cityscape, some more people we can cut out and drop into this thing. So there's gonna be a lot of assets for you to play with n real quick. I just, I just tried to jump in and do something real fast and it has some problems. Okay, so let's go ahead and analyze what we did here. I'm going to hide my, my menu and I wanted to take a look at these two posters. So this is kind of the direction I was going and I just was flying through agenda. Make sure that before I teach this section that I actually knew what I was doing. And then I had an end goal in mind. And in doing that, there's some things here that I've done well and there's some other things that it's like as I look at it with fresh eyes is not my favorite. So for starters, as I look at this, I like the purple color and the orange and I sampled this from his scarf or whatever you'd call that. And, and, and the purple and the lightning bolts and just that bright pop, highly saturated colors like I like how that looks. But everything in this is so busy. We've got the clouds with a lightning bolt cityscape. These, the people here in the front there. They're all about the same size, so there's just everything. Just feel so busy to me and it's too overdone paired with the oversaturation. And the reason why this is so saturated is because I made this second, actually did this version first. So I'd color corrected it based on everything kind of be in flat as far as the same tone. And so when I brought it over here, I could fix it, but rather than do that, I want to step through some of these problems with you so you can just kinda see how I'm thinking and how you could make a poster even better than this. Ok, so the other thing I wanna point out, so we've got some, some actor names. I maybe stuff myself in there, look at that. And then we've got a lot of noise and textures and stuff happen in here. So in this lesson are, in this section rather we're going to dive in and I'm gonna show you how to bring in all these different elements. And it's going to be some review if you've gone through the Photoshop compositing course and the course, but the section where we did the Photoshop composite image, we're going to build on those skills. And we're also going to build on the movie or I'm sorry, on the band, The Rock Band poster. And we just did, we're going to build on those skills to create this. It's gonna be a lot of fun. So go ahead and explore those assets that are available in the exercise files. And let's go ahead and dive in. 11. Movie Poster Design 2 Quickly Drop in Main Elements: So in this lesson, I'm assuming you've already gone through the Photoshop compositing section in this course. You've also gone through the rock band poster. So we're going to pick up the pace a little bit. We're gonna go a little faster and get into a little bit more advanced details. So if you're not quite up to speed yet, don't forget it's a video. You can pause it, you can rewind it or watch it again if you get lost. Ask questions. If you're not part of our Facebook group yet joined that Facebook group in case you get lost and you have some questions you want answered or things aren't working quite the way they're working here in my screens to make sure we can get you taken care of and make sure you keep up with us here. So let's go ahead and get started. We're going to quickly drop in the main elements of the poster so we can start creating this thing. So I'm going to close these two samples, but you can see where we're headed with this stuff. So here's how we get there. Let's go ahead and close these. And we're gonna go ahead and make a new document, same as before with a rock band poster. We're gonna come up here to print. We're going to come over to tabloid. So it's 11 by 17 and then click Create. Alright, so we've got our blank canvas and all my tools are gone. Let me hit the tab key to bring all those back. Let's see what workspace we're working in right now. I typically work in the graphic and web, but then I ended up peeling off my Layers panel because I get a lot of layers and I like to be able to see them all stacked up, but let's just reset this as we get going here. Okay, so graphical web reset number. Go ahead and grab these layers and just peel them off over here. And that way, as we worked through this project is going to be a lot of layers and so want to be able to see them as much of them as I can. So let's go ahead and jump into the assets and start populating our project here. So in no particular order, I'm just gonna go through, start throwing things in here. That's just throw some of their main characters. We'll drop this guy in. I'm going to hit Enter. And Accumulo is a smart object. Let's open up our little window. Let's go down to properties. It's good that open as well. Alright, so here's our Properties tab. So with this layer selected at the Smart Objects, so I'm gonna go ahead and convert this to layers by clicking inside of this properties window will clicky. Yes. They were gonna click Remove Background and I'm not gonna get very fussy at all, but the selections, those by the end of this as you saw, there's gonna be so much going on that even though the selection is pretty rough, you're not gonna be able to notice. So I'm not going to get super picky right now on my selections. Alright, so we've got this guy in here. Let's come back to our assets. Let's grab Let's see. Sure. Let's grab a cityscape. We'll just throw it right in there and maybe zoom it up a little bit. About like that. I'm not too worried about everything yet. We're just trying to get it into the canvas now obviously we don't want this in front, so we're gonna send it to the back. I'm going to hit the command and the left bracket key. To throw that backwards. Let's go find some more assets here. Alright, well, drag and drop this guy in here. I return. We're going to convert to layers. Yes. Remove background. Boom, there's that guy. All right, and you can see where we're going with this, but free to speed up if you don't want to watch me do this, we've got just a couple more here, but same thing. Drop him in there. It return convert delayers. Yes. And remove background. So as I go, I'm just kinda starting to nudge these guys in place. And one thing that I'm looking at, and let's turn off this background so it's a little easier to see part of design theory, how to administer called design theory, but one thing to pay attention to. So. And what's funny is I'm actually doing the opposite. If you have somebody on the page and they're looking off to the left and you kinda looks like you're sticking their noses in the corner. So usually in a design, you would actually have these guys stacked. So they're looking into the page and their eyes guide you back into the page. Now however, because we're making a movie poster, we're kinda doing the opposite here so that it's like, you know, they kinda have their their stance like they're all standing together and kind of looking around at the different I don't know whatever they're looking at. Right. But see, do you notice a difference? I guess what I'm trying to say is pay attention to that. I did that on purpose. I wanted somebody who's kinda looking three-quarter to the left, three quarter to the right, and then dead center, right. So maybe you make this guy your main character and is just huge and these guys are just kinda sub-elements in the back, but it's your poster, you can do whatever you want. So just get everything in there, just start slapping it in there. Don't worry about it too much yet. We've got plenty of time to refine everything. Let's throw this busted plane and business supercool plane. Actually, if you guys are on YouTube at all and you follow Peter MacKinnon, he actually did a supercool vlog about this spot. You should check it out. Maybe I can put a link in here somewhere, but let's keep going. Alright, let's convert this two layers. Yes, let's remove the background. And there's a busted plane we can use as an element in there somewhere. And let's go back to the top because I forgot the kid. Let's throw this kid in there. And as I go back into it, I, you know, I wanted it to be interesting that there was a kid as the main character. Let's see, convert delayers. Yes. Remove background. But one thing that I don't like and there was a few other images of this kid. Maybe I'll throw him in the folder after the fact, but he's got his hand over his face and his eyes are as you zoom out there, just obscured. And typically if you're going to make a poster and you're gonna have the hero beyond the front. You don't want their face to be obscured by something. You know, we want we want to be big and bold and just right up there in front of everything. So something else to pay attention to as you're grabbing your assets, make your main character, your hero, have just an awesome image to be the main thing. Okay? So the other thing to notice is in this poster, even though the rock is, he's basically the man, right? Dwayne Johnson. We also have Kevin Hart. We have Jack Black, Karen Gillan. All these actors are very famous in their own right. So you'll notice that they're all kind of about the same size. It's not like one actor is dominating the upgraded, you know, we've got the rock up here in front. So I guess I take that back. He is kind of a front-and-center, but for the most part they're all kind of relative in size. So with my poster, I'm going to be changing that a little bit. If I go back and open up the demo, let's see if we can open this up here. Open up the demo. I started to experiment with sizing and placement. That's a bad example. Let's open up the other one. So you'll notice this guy here on the left. I tucked him in down here kind of underneath his armpit and these guys kinda fade off in the distance. And the part that was on purpose, I wanted this to be my hero, the main, the main character. So as you start throwing things in and start sorting your layers, start thinking about that like who's your main character and who's gonna be the most important? Seeing start. As I start working through this, I can start scale on these things down to kind of where it makes more sense, right? So we can just start nesting these guys back here. Scale this guy down. I know he ends up down here eventually. Let me put that there. I'm not too worried about it yet. Let's turn on the background. And this background is where things get real busy. I wonder what happens if I just scrub the opacity down a little bit. Maybe we'll play with that a little bit later. Okay, let's keep bringing in the rest of the assets here. Alright, let's see what else do we have? We need those thunder and the lightning bolts rather. Let's throw those in there. And I, I was I was working really fast and kind of lazy if I'm being totally honest, I just scaled them up real quick. Hit return, change the blend mode on this to screen. And I told you guys, if you're, if you're struggling to keep up with me right now, done forgetting, pause, rewind. I told you we're going to pick up the pace if your advanced and this isn't fast enough, the need to speed up the video or, or skip ahead. But I'm just trying to quickly give you guys an idea of what's possible so you can get in there and start going crazy. So what we're gonna do now, these lightning bolts, Alright, I'm gonna come down here and add a Layer Mask. I'm going to hit the letter G to get my Gradient tool and I'm going to be doing so this specific technique, I use a lot when I'm compositing images. So I've got a mask. I get the gradient tool and make sure that the black color is on top. And then the gradient is the foreground to transparent. And that way I can click and drag and you'll notice that my mask, it fades it and I can do multiple, I can do it multiple times. And you'll see I kinda have this faded circular thing went on to kind of fade those lightning bolts to fade them into the background. So let me step back a couple spots because I don't really want and let's say it's one if aid that went out from there. And then from the bottom. And I want them to end hard some of the clicker right where they stop and come up with it. So just kind of fades out. So I use that technique a lot to fade things in and out or use a mask to do that. Alright, so we got some lightening in there. That's cool. Let's go grab those stormy skies will the slab it right on top. And feel free if you guys want to grab something different, go to Google Images or go download something from invite two element or whatever you want and check it out. All of a sudden now we go from being a cityscape to being like pirates or something. So makes a big difference, whatever the background images. So let's just grab these clouds. Same deal. I'm gonna throw a Layer Mask or a rate there, but a mountain Add Layer Mask. Go back to my Gradient tool. And this time we'll click just above the waves here to fade that out. And maybe that's a bad idea, but we're gonna do it anyway. So we're going to start blending things together later, but right now we're just trying to get everything in to the document that we're trying to include. Ok. So we've got all of those assets and they think we're just about done. So I know we're flying through here. We're just trying to get everything, everything that we want to work with or at least explore dropped in there and I think we're pretty good. I have this image. We could use that, but I already have a cityscape background, so I'll probably leave that one out of this example. And that looks pretty good. Okay, so what we're gonna do now, if you haven't already, make sure you save your work. So we'll go ahead and save this. And then in the next lesson we're going to start exploring how to align and distribute the text. I'm going to show you some shortcuts that we haven't gotten to yet. 12. Movie Poster Design 3 How to Align and Distribute Text: So in this lesson we're going to drop in some text and I'm going to show you some other tips and tricks when aligning the text. And if you want to follow along, go ahead and grab the movie poster, start dot PSD file in the assets, and you'll be right here. You'll have all these assets just kind of plopped in there. So we've got some work to do. Let's go ahead and dive in. And we're going to begin by adding our title down here. So I'll click in here at my text tool and we'll just type in the end and use whatever font you want. I'm being a little bit lazy and I'm just using what we used in the last projects. So this is currently the font called gin, and you can get it in adobe type git. Alright, so we'll drop that down here. And then we need to drop in our actors names. So in the text folder and the text file within the assets, we've got some actor names and you can, you can do whatever you want. This is just in case you don't wanna think about it. So let's go ahead and drop these in here as well. Scales up, paste it in there. Scale it down. Okay? And so we want this to be, I'm going to come down here just so we can see right now, I'm just worried about the title and the the names just to get it in the ballpark. So if we're going to have four names across the bottom, you can see we're going to have to change the sizing, but let's just get one of them started here to get it close. And I'm a skew this down out of the way. And we'll grab this. We're holding the option key and drag a copy up. And then I'll done shift to keep it in line with itself. And let's just see if it's not already makes sure that you've got centered. So that way as you change the names, everything lines up nice. So we're gonna go ahead and make this smaller Command Shift and the comma key to scale this down or come up here and scrub it and the character panel, or just free transform it. Lots of ways to do the same things in Photoshop. Ok, get that firstname, nice and small command option and the right arrow key to track that out. Same thing over here. We can scrub the tracking right there to get it whatever we want it to be. And I think we named this guy Wes West Johnson. All right. Sounds like a great actor's name. Let's see, and let's go back to our text edit. And then we've got Andrew, Nova Einstein. I don't know guys, I'm making this up as I go. Alright, so let's get, let's get this kind of set. There we go. Okay, so there's one name. Let's go ahead and group this over here. And then I'm going to hit command J to jump cut that with the Move Tool selected and hit the command key to toggle off my auto select so that way I can click anywhere in that layer will stay selected, will just drag it over here, drag a copy, matures in line by holding Shift. And let's go copy this other name and drop it in there. And we'll jump back and grab the lastname. Feel free to throw your own name in there, whatever you wanna do. It doesn't matter. Scoot that over and I can tell this is already going to be way too big. So what I'm gonna do is Command click both of these groups. So I've got the FirstName and the second name will command click Command T at a free transform and just kinda tuck those down a little bit more. And I'm gonna hit Command J to jump cut both of those. But the Move Tool selected and hold down command again to toggle off that auto select. And then click and drag and then hold down shift to move these copies over. All right, now they're not totally aligned perfect yet, but we'll get there in a minute. Let's come back and finish fleshing out the names. Hey, Doug Mitchell, I should know how to spell that one. Put in your own name here if you want to guys, have fun with it. And then the last name is Jordan Stella. Paste that in here. Okay, so we've got names. Now, two things I wanna pay attention to is the title here. If I were to draw a guide on the side, oops, jumped out. Let's zoom back in. Kind of a guy down that side and on this side. And paying attention to the title, the, and to the sides here, I want to line up my text above it as well. So two things. I want to line up that text. So this needs a nudge over and I want my space in-between to match. So here's a couple of ways to go about doing that. Let's go ahead and close these folders in my Layers panel. And if I was being really organized and working as organized as I can, if this was gonna be a real client folder, I would actually have Brookline file, I would actually name these. So feel free to do that if you want. You don't have to. But it's definitely helpful down the road as you get to have a 100 different layers in here. So let's go ahead and take the time to do that real quick. And drew know Vince D. Alright, which one is this? This is me. My name in there. Shameless plug and Jordan Stella. So it's just good practice to name your files and try and stay organized. To be honest, I do a really good job when it's client work, when I'm trying to teach, I get kinda caught up in the moment and I forget to do that. But we're going to hold down Shift, run. It will first want to click on the very top folder, hold down shift and click on the bottom one and it's going to select everything in between. And then now what I wanna do with the selected, with the Move Tool selected in my Options bar, I see this little option right here, which will distribute horizontally. So if I click on that, now it distributes all of these so that with the space in-between them is all matching. So now that we've got that done, let's go ahead and with all four of these folders still selected, I'm gonna hit Command T to get my free transform. And it looks like it's pretty good on this side. So I could probably leave it alone. And I'm going to jump over to this side. And I'm going to scale this into place. So now everything is perfectly aligned. Looks real good. And that movie poster lockup looks great, except for it's cut off at the bottom. So let's fix that. Ok. So we've got the end and we've got the names above it. So let's shift click. We've got the n selected Holden shift click up here. And let's group these together. Command G to group, um, and this is called this title and names. Ok, so now everything is in one clean folder. I'm going to again or at the Move tool selected, I'll hit command to deselect Auto select. So I can click anywhere and shift and drag that title up. I'm going to hit the letter F key to change my view because this or I could just zoom out command and the minus key to Z. I want to see how much space is on the bottom of this compared to the side to see if we're close to see it better when it's f once and f one more time. Let's zoom in a little bit. I'm just trying to see if that's too far down or not. Hit tab to bring back in my tools. All right, so I see that still selected. Let's drag it up just a little bit better, a little bit more. Alright, so we're headed the right direction and you've got your text in there, we've got it distributed and aligned correctly. So we're definitely headed the right direction. Now what we wanna do is go ahead and continue pushing this design further. But before we do couple of things I want to point out. One, don't forget to save your work and to something I should have mentioned, as you add tons of layers, if you've got an older computer, you might be noticing by now that it's struggling to keep up. And part of that is because we're creating a large print file. So if you want to start working on this and have better luck, maybe start with a web file instead of a print document. And I should mention that. I'll mention that in the beginning lesson, but want to make sure that just to remind you if, if your computer, by this point and if it's struggling to keep up, maybe start a new project and just do it as a web design instead of as a print design. And that'll help it run a lot smoother. 13. Movie Poster Design 4 Blending it All Together: Alright, I hope you're still with me here and keep it up. Just a reminder. I know I keep saying this a bunch, but I really want you to feel free to pause the video, rewind it, play it back slower if you need to. If you need help or you feel and stuck, jump into that Facebook group and post your questions. Otherwise, hopefully been able to follow along and you're getting excited about what you can create and how much fun this is going to be. So let's go ahead and start merging this together and start to arrange these assets in a way where it starts to blend. So what we're gonna do, I'm just going to jump in and click on this main character here. And it's really bothering me that his hand is over his eyes. And if I was taking my time, I might grab a different image, but we're just gonna go for it. I'm going to scale this up a little bit because I want him to be the main focus. I want him to have the most weight and the most visual interest on this poster. So we'll scale him up a little bit. I'm going to grab this guy down here. We're just going to scale them in place. Again, that shortcut just Command T to get things and you can even rotate things. Feel free to rotate things, but we're just kind of nudge in a min right down here so we can CM. I'm also kind of loosely paying attention to my margins and my guide. So where the text ends, notice that I kinda didn't really push them too much past that I could I could put his head right against that and let us arm lead past whatever. I'm just kinda loosely paying attention to those guides and trying to keep it all balanced and look in nice here. Alright, let's, let's kinda scale this guy down a little bit to keep his The End of the rifle from going off the edge here. Okay. And we have a lot of problems. We're going to fix. Some of it is scaling issues, some of its color and contrast and notice they all have different values and Hughes and contrast level. So we've got a lot of things we've got to address and we'll get to all of it here. But we're just trying to start putting things in place and, you know, doing our best to make it make it look like it all belongs together. So there we go. And feel free to totally deviate from what I'm doing. Go ahead and go nuts, go whatever you wanna do, make it your own. And I can't wait to see what you do. So when you make this, what you get it all done and you export it, don't forget to share it, share in the Facebook group, post it to Instagram, tagged me in it at D-Major design and love is what you're up to. Alright, so we've got those kind of in place. You'll notice this guy totally gets lost in the background. This guy gets lost. They all kinda get lost. It's a hot mess. Let's, let's go ahead and start by getting everything on the same page here. And for some reason, I don't know what just happened. I use my spacebar shortcut all of the time to switch to my hand tool real quick. And for some reason, Photoshop is starting to crash on me here. So it's probably a good reminder to save if you haven't saved already, let's go ahead and just save this. And I'm going to pause this video. I'm going to restart Photoshop just so as I continue through this process, everything works smoothly and I don't get distracted. 14. Movie Poster Design 5 Blending it All Together 2: Alright, so I just saved my work a closed Photoshop and opened it back up and that seemed to fix it. So if you ever noticed that Photoshop is behaving a little strange, maybe it's time to restart it if you haven't. So it looks like we're in business, we're good to go the hand tools work and again, let's continue on. So I've got these characters kind of placed where I think they look. Okay, Let's just start from the top down and start blending things. I'm going to click up here on the sky. Lots of things we could do to this. For example, we could add an adjustment layer down here. There's a little half circle thing. We could add a hue, saturation. I could totally D saturate those clouds. And you'll notice everything below this layer got desaturated, the background and everything else. So what I wanna do is hold the option key or the ALT key and click right in between these two layers. And now what that's gonna do is mask this adjustment layer just to those clouds and other clouds or D saturated. I could also change the hue. Maybe I bring the saturation backup and I'd change the hue to match the sky behind it. We could have some crazy effects if we wanted to. And that looks pretty cool. Let's go back to black and white. I'll grab both of these layers, group it. And then maybe I'll change this blend mode to overlay or anything else that I want. Play with it and see what looks cool. You'll notice what happens when I go to overlay, for example, it picks up the color of what's below. So the group has an overlay blend mode. By toggle this down, you'll notice we've got this desaturation adjustment layer over the clouds. Guys, there is a 100 different ways to work. So as I'm working through this, feel free to do something completely on your own. Feel free to try something different, whether you try different adjustment layer rather than the hue saturation. Maybe you make it black and white that do basically the same thing. If I made a black and white versus the 2-SAT and dragging a saturation all the way down. So feel free to play with it. And then what I did here, remember I hit the option key or the alt key on a PC and click between. So that way it gets masked with this layer below. Alright. So there's 11 of a million different things we could try and explore so that all that did was made it look like those clouds kinda fit into the image. I could even scale this up. I wanted to, let's grab these clouds directly right here, Command T, and it doesn't have to stay. I mean, I could scale them up if I want to, but I could also skew them. So if I hold down the Shift key, I can just skew them down if you wanted to, you can go crazy. You guys, you don't have to try and follow any set rule. Just go with what looks good or what, what is fun or cool to you. All right, so let's see, we've got the clouds kinda go on. We've got the city skyline. Let's darken this up a little bit. I'm going to grab the cityscape layer, ok. And now I'm gonna hit Command L, which is the same as going to image adjustments down two levels. And I'm just going to darken this thing up. Let's just play with a slider a little bit. I can grab this little black slider. And make it real dark and moody. I can also just the output levels. So maybe it's faded, super faded. So that way our character stand out a little bit better. So again, a million different ways to do the same thing. I'm just hoping to show you a couple of these ways. So you can kind of dive in and explore on your own. So let's, let me see here. I just don't want, I don't want these characters to get lost. So I'm going to compress the blacks a little bit, crushed the blacks by dragging the slider towards the right. So what that means is the blackest level in this image will be, won't get any darker than this midtone, right? Then whatever, wherever I dropped this letter out, That makes sense. So just to experiment with that, again, we're just play with levels a little bit. Maybe I drop the blacks here a little bit. Bring up the whites, play with the mid tones. And all of these combined are going to create some really unique results for you. So have some fun and play with it. Figured out I'm not going to worry about it too much. We'll click OK. And that is looking, I don't know, that looks cool. We'll keep going. We'll keep going with this thing. So the next thing I wanna do is start blending the bottom of this altogether. And I'm not going to have my text be dark, it's going to be a lighter colored texts. So just to get us started, I'm going to get the eye dropper tool and I'm going to click on his scarf. I'm on the Text Layer. I'll had optioned delete to fill that text cuts. Go ahead and grab all of these kind, do that all at once. I've never tried that before. Let's see. Apparently not. Okay, so one really fast way to do it would be to add a layer style to the very top group. So if I come down here to effects and I go to color overlay, I could change this to whatever color I want and will sample from his shirt. Click, okay, so now this Layer Style, this color overlay is a affecting everything in that folder down below at, even though this text, if I turn this off, all this text below it is in black. Okay, so that's one way to work that might get us in trouble later if we want to make these different colors than the other. But that's a fast way to quickly apply a color to everything. Let's go ahead and click down here on this cityscape. I'm gonna make a new layer just above that Metaliterate g to get my Gradient tool at letter D to reset to black. And then we'll click just above here. I'm gonna click and drag up with my shift to make that black. Okay, so now I filled in the bottom portion of that with black. Lots of other things we could do. I could have let's turn that off. I could grab this and actually just scale the entire image down. Maybe that's a better way to work. What I like about doing that instead is all of these details that come in down here. Let's scale it up even bigger because I want those buildings to come back. There we go. And then let's turn this gradient layer back on. Maybe we fade this down a little bit. That's kinda cool. So there's some more visual interest going on down here. And now there's a hard line on this guy right across the bottom. So I'm going to group him because he already has a layer mask when we brought him in and we click the Remove Background. So I don't want to add to this mask. Let's just group him, command G to group him were an atom mask. On top of that, we'll click down here on the Add Layer Mask icon. And the letter G to get that gradient going from black to transparent. Like I told you guys, I use that all the time to fade stuff. So on this mask layer went to click and drag up holding down shift. So he kind of fades out a little bit. That might be too much. Let's try it again and I will go quite as high that time. Just a little soft fade there. And it's starting to look a little bit better. I could probably make him even bigger. Let's go ahead and do it, scaled up a little bit more. Because remember that first, my first try at this, I made it much smaller and I felt like it was just too busy. There was just too much going on. So this time I'm trying to make sure that he really stands out as the hero. And that there's enough contrast between him and the background that you can really tell what's going on. So let's see here, I think read a really good stopping point and take a break and make sure you're following along. And if you have questions or you feel and stuck, again, jump into that Facebook group or comment below and let us know how you're doing if it's making sense, but go nuts with it. Have fun. Explore, explore the colors as you're exploring with the text colors try and sample from within the different characters of the image. And that'll really help your poster blend together in the end. So I'm gonna go ahead and pause it here in the next video, we're just going to continue designing and continue to push this further. 15. Movie Poster Design 6 Blending it All Together 3: All right guys, we're getting really close to finishing up this poster. Let's just go ahead and put a couple more finishing touches on this and we'll call it good. So I took a break, I came back to it and as I look at this, I just don't like the face that this kids making a piece our hero, he looks confused. So let's find a better photo of him. And this is honestly a reason why I really like about two elements, is because if I change my mind later, I don't have to buy another photo and spend more money. It's just a flat subscription every month. And so I can download as many things as I want. So I came back in and I happened to find the same model in a different pose that I think is going to fit better. So I can download it already. Did that real quick. And I can bring this photo right back into our document. So let me just click right on him with my auto select checked with the move tool so I can make sure that I'm right, right in the same layer that I'm working in because now we're starting to get quite a few more layers and it can get confusing pretty fast. So I've got this Layer selected. I'm going to come back into finder. And let's go ahead and drag and drop IN, grab on the title and you are here or even on the thumbnail and finder and just drop it right in. I'm going to scale it up. And I'm just kinda eyeballing it here because we're going to end up moving things around a little bit. Anyway. That's pretty good. Lets go ahead and convert it to layers here in the properties panel. And then we're gonna quickly click the Remove Background button. And let's see how that looks pretty good. Let's go ahead and turn off the layer below. Alright, looks pretty good. And one thing we'll notice, so this new image is actually inside of this folder that we created with that blend. If I hold down shift and click on that mask, and you can see the bottom part of this image comes back, but we had faded that, so it's still fades out and remembered all of that. And now I can play with the sizing of this. I kinda don't mind that worth his arms down on the side to kinda guide your eye right down into the text. But now we need to change the layout of everything behind it. So let's go ahead and play with that a little bit more. Maybe we scale these guys back up. And I hesitate to get real nitpicky on things because I know you guys are watching this, trying to learn all these skills as fast as you can. And I don't want to get caught up in the little details and turn this into a ten hour project. But this is my workflow though, like I agonize over the details. I shuffle things around until I feel like I've gotten it just right. You know, maybe we don't need maybe four is a crowd. So maybe we turn off the cyborg, turn that guy off, maybe scale this guy up a little bit. So again, constantly playing with things until you're happy with the results. And It's just a ton of back and forth with posters like this. But it's a lot of fun. I really enjoy it. And I think because I really enjoy it, it turns into quite a long process because I'm, I'm sitting here agonizing and shuffling details around. So right now what I'm looking at, his face is pretty much dead center. But if we break this into the rule of thirds, it's in the upper third and its large. So as far as visual interest and balance, it feels balanced. We can maybe scale this guy down a little bit. So the rifle kinda comes down in line with this text. And again, it's these little details that we agonize over. Now, let's look at this guy kinda feels faded out compared to these other two. So I'm gonna click on him. And I'm going to hit the levels 21 thing that I haven't even talked to you about yet is working destructively versus non-destructively. We'll get into that later. But the way that I've been working, none of these are smart objects. So let's say I made an adjustment to this and I wanted to go back. I really can't have been working destructively. A smarter way to work would be to right-click on this and convert it to a Smart Object. And that way as I make changes to this. So for example, if I add a Levels Adjustment Command L, and I may be dark and him up a little bit to try and match the look of this guy over here. When I click okay, this turns into a smart filter. So now I can turn that filter on and off. Versus if I had made this, just write on this layer, if I click on him again, hit Command L without it being a smart object. And we make that little change and I click OK. Will it mashes that change down right on top of that layer? It's destructive. I can't turn it on and off. So something we haven't talked about till now, I probably should've addressed that'll sooner. But now that, you know, start working with smart objects as much as possible. So we're gonna right-click. We'll go ahead and convert this guide to a smart object. Image mode, I'm sorry, image adjustments, levels. It's kinda dark and him up just a little bit trying to make it match. The guy on the right. Just eyeballing it here. I'm not trying to get it to perfect. All right, good enough. All right. So the next thing I wanna do is actually make these guys stand off from him a little bit. Just kinda looks like it's a growth on his shoulder. So let's click back on this guy. And I'm going to command click the New Layer icon. If I just click on the new layer, it throws a new layer above it, but I want to throw new layer right below him. So hold down command while I click to get that layer below in the brushes windows with the letter B to get my brushes. Up here in the Options bar, I click on the brush that I'm currently using and I liked this brush a lot as water, make sure you you had it. So with its elected this tiny little gear icon in the top right, I'm going to click on that. And what you're gonna do is click Import brushes and you're gonna go to that exercise file. And I've included in there what I did is I clicked export selected brushes. So it exported this brush and I had a click on that. And I just named it grunge half tone brush and I stuffed it in with our assets. So you'll see that in there. Let me pull it up. It is right here under movie poster, grunge half tone brush dot ABR. So grab that. I think you can just drag and drop over Photoshop, but with your brush tool selected, you can also come up here, click on the little gear icon and then import that brush that I discussed for you. Alright, now, let's keep going. So we've got this new layer that we made. And we want to basically what I wanna do with it is trying to separate this guy from the guys behind it. But I don't want to just do something like this where I come in and maybe drew like an outer glow or something into it. Let's see what that looks like. Obviously this looks ridiculous because the color, but hang with me for a second while we explore this option. And size. I don't know. So I'm just trying to separate him from the background. Maybe if I selected a better color, obviously I'd have better luck. Maybe drop the opacity a little bit. That's one way to do it. It looks terrible, but that's one way to work. What I wanna do, instead of just having like a solid outline that totally matches. Let's go back and do that. I'm gonna go back to this new layer I created below there. I'm gonna go back to my brush and I'm gonna change the color. I'm going to give my eye dropper tool actually. And let's select this lighter, olive drab green color. And what we're gonna do is go back to my brush. And let's see. We're going to cycle down here and hit the left bracket key next to the letter P. And I'm just going to kind of paint a little bit just, and here let's zoom in and get my brush and just kind of paint a little more. Let's see. I'm going to get, let's see, I could actually bring this down right in front of this layer. Hold on option and click between these two layers here. And now this brush work only affects the top of this guy. I don't like that and let's go ahead and undo it. Let's go back. Let's maybe make it a little darker. We could explore our Blend Modes. It's play with multiply. What's that do? That kinda dark ended up a little bit. So it's kind of like a drop shadow, but because of the grunge aspect of the brush, it, it adds some grit and texture to it and it doesn't feel like it's just straight up a drop shadow. So that's one thing we can do. Maybe let's add some over here to this side as well. I'm on the wrong layer. I'm drawing right on top of the kid. So let's undo that, come back to this layer and try again. So, so what I'm doing now is just kind of loosely and you can see it better on the light sky. I'm just kinda doing that. Let's undo that though because I hate what we just did there. Area. Let's try it again. We're just going to add it kinda around the shoulders and we're just trying to isolate him from the background. Alright, good enough. Maybe two, maybe too much. Let's play with the blend mode a little bit, holding down Shift and hitting the plus or minus keys. That's better. We're gonna do Color Burn. That's better. That's better. Maybe too much. Okay, so now what we could do is get my eraser tool and choose that same brush. Or I could leave my brush tool selected and throw a mask on top of the current layer. And some still painting with the same brush but with black. And now I'm just kind of removing some of that extra texture. So I'm actually painting with black on this mask and lightening it up a little bit. Okay, so this you guys this is turning into a really long tutorial. I apologize. Again, just trying to show you my thought process, my workflow, and hopefully showing you that in some ways you can work really fast. And in other ways it's just a trial and error process where you just experiment and you play with things and you see how it looks. Right now we've got a few things we need to button up down here. Maybe this plane needs to move and move it up a little bit. But we're getting really, really close, really, really close to having something that I'm proud of that we could show as our movie poster. So now that I've got this brush selected and we're still kind of in this headspace. Let's come up here to the tidal and names folder. Alright, so everything's in there. I'm going to add a Layer Mask. Two it. We're gonna make this a little bit bigger. Let's zoom in so we can see what we're doing. And instead of clicking and dragging, I'm actually just clicking and the moving and then clicking. So I'm just kinda like sponging some color onto this right here. So by doing this, if we zoom in more, you can see it's adding some subtle details to it. And what's cool about it is when you do it this way, if you, let's say we're using a grunge font, these letter yz would look identical. So down here, you can see there's less texture than on this letter E over here. So by doing it this way, by making a mask and then just kinda like chipping away at some of the corners here and eroding some of it more than others. You can create some really cool natural, organic looking textures, which is really fun to do so again, I could spend all day, I could spend so much time doing this, you guys. So that's my process. That's kinda what I would do. I really like how that's look and we've got some texture going in there. The only couple things I probably need to do before I would call this done for me is admitting make the clouds a little more Moody again. I know I lighten them up, but looking at it now I might come back into here. We've got this overlay. Maybe we cycle through some of the different blend modes to see what we could do with that. I don't know. Guys, I can't turn it off. I get sucked into it and I keep playing, and I keep playing and I keep refining, and I keep going crazy. So I need to probably pause this video, turn it off and let you guys take a crack at it and see what you can come up with. All go ahead and keep pushing this a little bit further. I think I've shown you everything you need to know to create some really cool movie posters. So go ahead, get crazy. And then you can refer to the last, the last section where we had the rock band poster where we exploited the file. So go ahead when you're all done, go to File Export and you can export it as I go to File, Save As save it as a jpeg. Post it to the group, post it to social media. Tag me at D Mitchell design. I can't wait, suture guys do. Alright, go get after it. 16. Movie Poster Design 7 Blending it All Together 4: Hey, you're back. So I figured I would keep recording myself. For those of you who wanted to stick around and see me keep pushing this further. But for those of you who are feeling pretty advanced by now and feel like you've got a good handle on it. Go ahead and just skip this video. I'm just gonna go ahead and keep talking to you and maybe it'll tell you some stories. I don't know. But let's go ahead and finish this out and see where we end up. So a couple of things that I didn't include in this poster yet is some of that atmosphere. We have spoken back into the assets. I've got isolated fire too. We should play with that. Alright, let's throw some fire in there. I'm just going to grab any one of these. I don't really care. I'm just gonna throw it right in there. I'll Yeah, that's gonna make all the difference. Fire makes everything better. Okay. Let's jump back in here and throw some more fire. Oh, yeah, this is getting real good. Here we go. That's what it was missing you guys as fire. So I'm just grabbing random. I'm not even really okay. I'm kind of looking at it but just grabbing a flame ball and throw it in there. Ok. This is cool. Dig in this, I'm digging this, you guys. Alright, one more, two more, one more, one more. I'll throw that in there. Just kind of nested down there. Maybe. Alright, good enough. That is really cool. I dig it. Let's throw, I lied. So much more fire. Alright, let's click on this guy to see where he's at this kid. I'm going to throw some behind them to see if it kinda separates it from the background even further. Grab another flame, maybe that'll be good for that right shoulder or drop it back here and nest it. Scale it down a little skill down even more. Alright, and then we're going to bring this behind him. Alright, how's this lucky? I don't know. Maybe it's too much, maybe it's way too much, but I'm having a lot of fun. And that's the point. You should be having lots of fun exploring things, trying it out. And then if you feel like you've gone too far or you're not sure what to do different post to the group because we've got lots of amazing students in there who will let you know what to think. And sometimes you'll get great feedback and they'll say you're awesome. And sometimes I'll say, hey, it looks pretty good. But try again. So let's go ahead and play this a little bit. Alright, good, good, good, good. I like it. I feel like we should change the title to something else, but it's alright, let's grab this airplane. Let me see if I can find that down here in this layer and see this is where it gets true. You get in trouble. I've got all these layers and now I have no idea which one is the airplane. I didn't name everything, so it's a hot mess. And I can't even click into it because when I click, oh, just kidding. There it is right there. Let's see if we can bring this up a little bit and make it make more sense. Maybe, I don't know, maybe it looks kinda dumb. So it's really tough when you're designing by yourself, kind of, you know. All alone in an office. It's tough to know if your ideas are good ideas or if they're terrible. So it's really nice to have people to bounce ideas off of. So for now, because I've got nobody to bounce an idea off of while I'm making this. I'm just gonna throw this right here in the middle. It's probably a terrible idea. But whatever, I'm gonna go for it. And we'll look at it later. We'll see what happens. We'll see what happens. Alright. Yeah, there it is. Let's come back to the sky a little bit. I'm not sure what I'm gonna do with that color wise. Maybe we'll throw an adjustment layer over the top of everything. So I'll grab down here, we'll click on this and will go to from has to hue saturation. And we'll click on that and will colorize. So that could really help i click on this colorized button and you might make the whole post or a color. And that really helps with things. Maybe I fade it back on the opacity, we'll scrub it back just a tiny bit. And that really helps everything kind of blend together. Depending on the Hue you wanna go with. Maybe will warm it up a little bit because of the fire. That's kinda cool. Kind of dig in it. That's cool. Alright. Theres before. There's the after. Maybe we need to make it a little more subtle. Oh my goodness guys, don't forget to save. I'm gonna save this one as designed continued. Alright, say that. There we go. I'm pretty happy with as I feel like it's come a long ways, we're headed in the right direction. Now the next thing I want to add it, we're gonna come back over into our assets. We've got some smoke overlays, so I've got a ton of different overlays here. I want one that looks like it's coming from the bottom or the top. So the very first one actually might be a good option. So this is kinda from the bottom. I'll drag it right in here, throw it to the bottom. And I'm gonna hit Command a to give my whole canvas selected and we're going to center it and then throw it to the bottom Command D to Deselect. We're gonna change this blend mode to screen. Alright, so there's the before without the smoke, there it is with the smoke. Maybe that's too much. Let's kinda dial it back a little bit and make it more subtle. Bring that opacity down. And the more subtle effects you have built up on top of things, the more realistic and the more things kind of blend together. So let's go ahead and throw some of that up on top as well. Come back into finder. And now I'm just gonna cycle through and find another smokestack. That kind of comes in from the top. I know I saw one earlier when I was messing around that one comes in from the top. The number was at 2020 would be good. That might be good to 23 because coming from the corner where we can stick it up here behind his head a little bit. I hit return or enter tangible and mode to screen. Maybe fade that down a little bit. That might be too much. So as cool about that is it brings into more atmosphere and texture that kinda comes over his face and it just makes everything feel like it's part of one image. That's pretty cool. I'm pretty happy with that. As I look at this now, this white part on top of the building is kind of annoying. I might, I might remove that. Kinda blended better. Let's see. Let's come down here and let's see how we want to do that. We'll click on that. It's a smart object. So by double-clicking here, it'll open a new window. So what's this building right here? So I think what I'll do is a lot of ways to do it. I'm gonna try a quick and dirty. I'm gonna grab my lasso tool. I'm going to click and drag. I don't even care because it's part of a background that's kinda hidden. Making a selection, I'm gonna go to Edit, Fill. We'll change it to content aware. Click OK. Hey, that's better. That's a lot better. Little faded there. Maybe I'll do the whole thing again. Honestly, it's probably fine. And it fill content. Where? Shirt? Great. I'm gonna, I'm gonna save it Command S to save that smart object. We'll close that. And it's going to automatically update in my file. That looks but I mean, it's kinda weird if you get real close to it, but zooming out with all the other stuff we have going on. I think it's okay. I'm really liking this. I think this is super cool. You guys. I hope you like it. I hope you learned a ton. There's so much more we could do to it. We could spend hours just playing around with it. But I think this is a really great start for you guys to start playing with it. And I'm gonna go ahead and save this. Now, let's go ahead and export it voter file. Well, export, Actually, let's just save as file, save as, as a JPEG. I'll call this movie poster design. Big capital letters. Final. There you go. Will click save. We'll click OK. I'm gonna hit F twice to cycle through command R to hide my rulers command 0 to fill it to screens, I can just stare at it full screen and look at how cool that is our AI guys. I hope you learned a ton. I can't wait to see your work. Post it, share it, all the good stuff. We'll see you in the next video. 17. Poster Mockups 1 Introduction: Now that we've created these beautiful posters, LET shut them off to the world. So to do that, we're going to create these realistic looking poster mock-ups. So some of these are assets that I've downloaded from invite two elements and Adobe Stock. And then I'm also going to be showing you how to create your own custom mock-ups. So let me just kind of cycle through real quick so you can see what we're going to be doing here. So we've got this version. We've got this version. What's really cool about this one is we've got the subtle lighting comes over the top of the poster. So it really looks like it's in this scene. We've got this one. We've got this one. This one is cool because it looks like it's really on this wall that's even in the right perspective. It's kinda skewed a little bit. And it looks so real. And this one and this one, check this one out. This looks real to me. All the textures and the subtle nuances like the edge down here, that's got a little bit of a ripple to it. Like all this stuff. Even the subtle blend look at that, how the letters go from totally crispy and sharp to just subtly blurred to give that illusion of depth and space and look and like it was taken with a like a really nice camera too. So let's keep cycling through this one I threw in here just as an example. Based on that demand G poster, that was my original inspiration. And then this one right here is another one that I actually created based on just a still photo. And I did the mock-up as well. So I'm going to show you how to do all of these different things. And if you want to follow along, you can grab these assets that are in the assets folder, and we've got a bunch of assets to work with. So we've got these main elements and lato elements files that you can work with. And inside each one of them, there are different layered PSD files that you can work with and we're gonna be going through that here in just a minute. And then I also have the mockup poster that we're gonna be doing that I'm going to show you how to create your own mockup. So then you could go and you could take a picture of a building in your city or where you're at, and you can create your own mockup that looks real. So that's the goal. And then one more thing I want to point out before we get too far down the road. I do have this poster mock-up source links, text file. So in here, just a quick disclaimer that I'm giving you these assets to use for practice only. So I want you to be able to follow along with me, but technically there are only licensed to me to be able to use commercially. Alright? So if you want to use these, I've provided all the links to where you could buy these or subscribe to get those links. I'm not trying to get you to buy into anything you don't want to. I just want to provide these high-quality assets if you want to use them. With the goal being that everything we do, we license it correctly so we don't get ourselves in trouble. And on top of that, all of these mockups were created by artists just like you. So we don't want to be stealing from them. We want to make sure that we're licensing these assets to be able to support their work as well. So with that disclaimer in mind, feel free to download the assets using to follow along and build up your skill set. And then you can even create your own mockups if you wanted to. And actually sell these on places like Creative Market and invite two elements and Adobe Stock and maybe even make some extra money for yourself as well. Alright, now that we've covered the basics in the next video, we're going to start diving in and learning how to create these beautiful mock-ups. 18. Poster Mockups 2 Mockup Overview: I'm really excited to dive into this. I really loved making mock-ups. So what we're gonna do is we're gonna start with the templates first because I feel like it will help you get a better understanding of the different ways that some of these artists work. Because each one of them, if you look at all these different templates that I have downloaded, and we'll look in the layers of your amps going to peel this off. And again, I think I was started with the start with the graphical web layout. And then move my layers over here so we can see all the layers. But as we look through each one of these, you'll notice some of these. They actually organize their files and the color coordinate their tabs. We haven't gotten into that yet, but in layers you can actually change the colors of the different, of the different layers just to kinda keep it clean and organized. And saw them over the top. And they've got all kinds of things happening in here so they can be a little bit overwhelming at first, but I think once we dive into this, you'll pick up on it really fast. So let's go ahead and start here because I think this will help you get up and running as quickly as possible and give you lots of good ideas. So I'm gonna go ahead and hit Command Z to undo what I did wear dropped in this. So I did that before we obviously fired up this tutorial. But so I've got these two posters here, and this is the dual post or mockup if you look in your exercise files. So we're just going to open up this PSD in here. And when you do that, you should see something like this. And almost all templates when they're doing a mock-up of this using the power of smart objects to work. So let's take a look at what that looks like. It came up here. Click on the Move tool, make sure auto select, selected. And this doesn't always work, especially in these super complicated files. You go to click on it and it might not take u, in this case, it doesn't take me right to this Smart Object because there's an ambient light overlay. So like I, like I said, sometimes you get too close, but sometimes you need to just drill down into the layers and see how they're set up. The other thing I should point out too with the templates, almost always, they have a help file. So if you get stuck or you get lost, you can go through and you can see how each artist intended the template to be used. So that can be really helpful as well. Alright, so let's just jump in here. And when you open it up, all these folders might be collapsed. But typically like in this one, he's got a big red color over here. So it says, oh, you're previews here. Okay, well that must be where we drop in our work. Let's look at some of these other ones to same, same kinda deal. They've flagged it for you to try and make it pretty easy to see. Alright, so let's jump in here. What this troll down? And it looks like I've just got two different smart objects here. So I know it's a smart object because it has this little tab down here in the corner. So what I'm gonna do is actually double-click on that. So let's work on this left black poster first, I'm going to double-click on it. And up here you'll notice it opens a new tab and it's a dot PSB file. So when I save this, It's not saving to my desktop, it's actually saving an embedding within the Photoshop document that we open it from. So what we can do now is we'll come back. Let's close this. Let's come back to my finder and let's go back to that movie poster project and I'll grab my final movie poster. I'm just going to click on the thumbnail and drag it right into this document and hold down shift. When I hold down shift before I let go, it makes sure that when I let go it puts it completely centered in frame. So a couple of things we have to make some decisions on right now you'll notice the poster that we made as a lot skinnier and is a different aspect ratio. So I could leave it like this if I want to, or I can scale it passed. I'll hold down the option key or the alt key on a PC to scale from both sides. And I'll just make it big enough that there's no black bars on the edge here. And now I've gotta make another choice. Do I want to have the text go right to the bottom or maybe snap it up there so it looks good down there. And then we start get really close to the kids had eaten trimmed off here at the top. So depending on how your poster looks, you might need to modify the artwork a little bit or leaves some of that space on the sides. But whatever, whatever you wanna do, it's just an artistic call in your choice. So we're going to hit return, or we can click up here on this checkmark would checkbox in the Options bar. And now that's placed right on top. It doesn't even matter that this bottom place holders still here. You could delete it if you want to. You don't have to. I'll hit save. And when I do that command S, you'll notice that when I did that, there's this little asterix up here. So when I save it, then asterix goes away. I know it saved. I can close this tab now. And the smart object automatically updates in this file and applies vent a bevel and embossed. So any effects that, that had been applied to this automatically get applied to the new artwork. Really cool stuff. So we're gonna jump into this one now the yellow one will same thing. We're going to double click on the thumbnail. And now let's go find that other posted. We did that rock band poster. Let's see, we'll grab that, will just drag and drop it right in there. That time I didn't hold shift. But it seems to put it right in the center anyway. So I think we're in good shape rather than the option key, key on a PC. To scale it up from all sides. Enter and it looks okay, I can maybe, I can maybe nudge this up a tiny bit. I'm just looking at this tiny little yellow thing up here that kinda gets cut off funny, so we'll just scale it up. I'll save it. Same deal. It's adopt PSP files so I can just close this because it's embedded in this document. And just like that, I've updated the template and I could just come up here to file, save as. And I could save this as JPEG. Jpeg. And we'll save it. Boom, done, that's it. That's so easy, so easy to do. So now we're going to go through and look at a couple more options and kinda peel apart the files and just kinda learn how they made all these things. How did they go through and add these different lighting effects and all that kinda stuff. So now that we've done that, let's quickly jump in and we're going to update the rest of these. We're gonna go through and explore these filters. And they were going to create our own mockups. 19. Poster Mockups 3 Adding Your Poster Design to the Mockups: So in this video, we are going to drop in these posters into all of these templates. This is probably a little bit redundant. You're going to start getting the feel of this almost immediately, I would say so feel free to skip this video. But my hope is that for those of you who are brand new still and still trying to get this all figured out just to make sure that it's super clear and that you understand what we're doing here. So again, feel free to speed up as video slowed down or skip it altogether. But let's go ahead and drop in these mockups into these other templates as well. So I'm going to jump into our exercise files for the movie poster mockups here. And I'm gonna go to this glued poster mockup. We're going to open up this template file inside of here. We'll double-click. And by default, this is how it looks and this specific template has a few different layers on top and you can turn them on and off to kind of see what's going on and see what each change is doing. Some of them are very, very subtle lighting changes, so you might not even see what's happening, but what we're looking for, depending on, again, on the template, they're all a little different. But usually you'll see something that says like your artwork here or your preview here. It says double-click, so it's really clear, it's even got a blue tabs are just going to double-click on that. It opens up our Smart Object. And let's go ahead and go back and find our movie poster. I'll throw that right in there. Feel free to use my my movie poster that I designed. If you didn't make one, if you didn't follow along, or even a photo, you could literally throw anything into here. It doesn't have to be this. It could, it could literally be just a photo. Here's, here's an example. Let's just throw this for my libraries are right in here. This photo I used before. Okay. I'll just throw anything in there, anything just to follow along. I'll save it. Yeah, we should place that, I suppose. Ok, so it saved this smart object dot PSB. We can close it. And now that poster is updated with the photo. It's amazing. I love it. If I changed our mind, just double-click back in there. I can even turn off that layer and I don't even have to delete it. I can just turn it off, save it, close it, and it updates the image. So cool. This one I would say, hey, great, done, I'm ready to post it to Instagram. I'd come up here to File, Save As and then save it as a jpeg. And you're good to go. Alright, that was pretty straightforward, pretty easy. Let's look at some of the other ones in here. Let's go to our next mockup. This one's pretty cool. I like the look of it. Same deal. It's got a big red tab, so I know which one I need to update. We'll double-click on that smart object, will throw something in there. How about this pirate ship? Why not? We'll save it, will close it. And just like that, the posters updated super-simple. Alright, flying through this now, I hope you're starting to see a trend. Okay, so this one, this is the poster mock-up, urban poster mock-up. Okay, and just a reminder, again, all of these source links are right here in this text file. So if you want to purchase these and use them for your own portfolio, go for it. Alright, so we've got this, let's open this one. That's only just did my bad. Next one. There we go. Okay, so this one has a horizontal version and a vertical version. I'm going to go ahead and open up the vertical version just because it would fit well with Instagram Stories and, or the fact that our posters vertical it just, it's gonna look nice. This template is really cool and let me show you why. Let's go ahead and coming here to your poster. I'll double-click on that smart object. Let's go grab my movie poster. Or was at thing. There we go. I'll throw it in their scale it up a little bit, holding the option key, the Alt key. There we go. We'll save it, will close it. And now by updating it in this one spot, look the eyeballs and even turned on. It's just using that Smart Object. And now we've got all these different views so I can toggle this on and off. So just grab any one of these views and look at all these different mock-ups we have. So pick whichever one you want. Turn on that layer and go to File. Save as save as a JPEG, send it to yourself. And then, oops, I didn't mean to do it. Give JPEG, save it, send it to your phone, and then post it on social media and say, hey guys, look at this cool new poster I made right? Look at how easy that is. So let's drill down. I feel like I feel like you're getting a handle on, on, you know, how to update these templates. So now what we wanna do in the next video, we are going to explore a little bit more in depth about all of these settings and how to work with the smaller objects so you can create your own mockup. 20. Poster Mockups 4 Adjustment Layers and Reverse Engineering Template Files: Alright, let's get a little more tactical. Let's look underneath the hood of how all of these templates are functioning, how they work. So that way we can recreate our own versions of these mockups and start showing off your work. So if you want to follow along, I am currently using the poster mock-up, vertical views dot PSD file. You can find that in the exercise files under the folder called Elements urban poster mock up with all the budget letters and stuff. Alright, so we are using this right here, the vertical views Photoshop file. Alright, so we open that up. We dropped in our, our artwork. We went into this smart object here and updated our poster. Okay, let's explore this a little bit further and something else I want to point out to every template is different, we talked about that, but check this out. Some of them have these little hidden gems that are even just way more than you would expect. So cool. So if we drop this down, hit the scroll down. I have all these filters I could turn on and look what it does to the poster as a whole. We've got a warming filter, cold, retro, and dirty. So cool. So just one more way that we can kinda make this our own, make it all feel like it belongs together. Posted on social media and say, hey, look how cool this is. So let's drill down on this and just see what's going on. So they've got a vignette layer. It's basically just a blink layer where the edges are been kind of burned in its at the multiply and the opacity is 21%. So if I turn this on, its turn off these layers below it, it's, it's super subtle, just kinda burning in the edges a little bit. All right, now we've got a warming filter. Let's check that out. So it's set to normal. The opacity is 13%. If I double-click on this, we can see what it is, is just a gradient map, this purple to orange gradient. So if you wanted to create this on your own file, all you have to do is come down here to this little adjustment layer, this little circle, half black, half white circle here. We'll click on that. And we are looking for gradient map. It's right here. We'll click on that. And then we'll click within the Gradient Map here. And looks like so under the gradient editor, we have this default gradient right there. Literally all they did. Let's turn that back off. Let's see the settings. They have a set to normal and 13%. So if I turn this on and I change it to 13% in theory, and this are some of the setting I'm not seeing. Turn it off or not one on. Look, the exact same thing. So all they did was they changed the title of this to say a warm filter. They did it in all caps. Same difference. Alright, so we added a gradient map to kind of add that coloring to it. Alright, contrast filter. What's this? Well, let's turn that on. Will double-click on this little icon here. And there's a brightness contrast adjustment layer added. The brightness has been turned to 15. The contrast is set to two. So let's turn that off. Let's come down here to my smart objects. Nope, sorry, my adjustment layers here. And we are looking for brightness and contrast. It's right up here. So we'll turn that on. And then what did we say? The settings where on this one was 162. So double-click back on this one. We'll set it to 162. Alright. Let's turn it on and off. Turn this one on and off. It looks the same to me. I don't see anything different. So they call this one contrast filter. So we'll just double-click in here and we'll call it, and this time we'll do it in all caps contrast filter. Alright. So the reason why I'm showing you this is because I want to really break down and distill all the different things that are happening within this document because you could do the exact same thing with your own mock-ups. So you could go take a picture of a wall just like this. Throw your filters on top of it, update your smart object and you're in good shape. Okay, so that's how this filters is working in. Same thing as we drill down into these other layers. Double-click on this, we can see it's just a different color gradient for the cold filter. How about Retro? Same thing. It is a whoops gradient. Ok. And then also double check with the layers doing up here. So it's at the screen and 49%, that's a big deal. Make sure you're paying attention to the Blend Modes. Alright, so now that we have a pretty good handle about the adjustment layers and how that's working out. Let's go ahead and in the next video, let's really drill down into the Smart Objects and learn how we're getting these dialed in. 21. Poster Mockups 5 More Adjustment Layers and Smart Object Introduction: Alright, let's get into the best part of this whole thing, the smart objects and how all of these layers are working together to create this mock-up. So right now I am drilled down into this horizontal views were in the first view. All these other turned on. It's going to click on one and then scrubbed down to two and the rest of them off. As we mentioned before, these are all just different mock-ups, different angles. We're going to look at this one. So we'll click on a little twirl down arrow and we're gonna look at how this is being built. So right now the next layer that's on as this lights layer, if I turned it on and off the toggle, let me zoom in. Obviously you can kinda see what's going on, but let's, let's really take a closer look at this. So it's just some subtle coloring here. How about the shadows? Same thing, some shadows across the top. Well, these are both smart objects, so let's go ahead and double-click on them and just see what we're, what we're working with here. So this is just an image of a piece of paper that's probably a stock image that they downloaded somewhere or you could take a picture on your desk. And let's see, we've got going on here. So we've got this lights filter, okay, and look at all these colors. So basically it's a levels than adjustment levels. Okay? So if we came down here to adjustment layers and we went to levels and added our own levels. That's what's happening here. I'll go ahead and delete that real quick. And then specifically these levels, everything's being crunched if I scrub them back left. So this was a very subtle paper effect that you hardly even see. So at all these levels were just crunched like this to create this really extreme version here. So when I save that and we'll just close it, actually don't save it. That's what they have here. And notice the blend mode is set to screen and fifty-five percent opacity. So that's just sitting on top of that effect of that smart object right here. We've got the shadows. Same thing if I double-click here, we have an adjustment layer. It's a Levels adjustment, okay. Affecting this base. I think it's the same piece of paper, just a different setting set to it. We'll close that. And this one is set to multiply, so only the dark tones are coming through at about 33%. This top layer is only looking for the highlights because it set the screen so anything Black won't be hidden. Alright, so that's how that's working, that's how they're getting that really cool paper texture to show through. And then the next thing, let's turn off our smart object right here. If we look at the base, they've already photoshopped in a piece of paper. You'll notice there's some subtle drop shadow behind it. And, and they made the smart object fit just exactly on top. And then made a selection around this white piece of paper. And use that. If I select it, it will see with the magic wand is just see what happens if I click in here. Alright, so I have to refine this election a little bit to do a better job. I'm on the wrong layer. There we go. Let's try that again better. So I could use the magic wand tool to quickly get most of this white piece of paper selected and then add a layer mask. So that way the Smart Object, nothing bleeds past it, especially in these little tiny detail areas. If I zoom in up here and you can see how it kinda curbs, let's deselect them, that selection. So there's a little bit of a curve to it. So when I turn this on to my poster back on, right, none of it leads past. Now the next thing to notice, if I turn this off, you'll see we have some shadow right here that makes it feel like this corner of the paper is curled a little bit. What else do we have? We have a little bit of wrinkles to it. Super subtle, super, super subtle. But all these little details as a whole add up to make you think that it's real. Okay, so we've got some wrinkles down here. Well, how are those showing through? Well, if I turn my smart object back on and I look up here, you'll notice my blend mode is set to multiply and 95%. So by doing that, let's just turn them blend mode from multiply it, let's turn it to normal. And you'll notice that those wrinkles pretty much go away. You can still kind of see them because the opacities at the 95%. But if I put this back up to a 100, now, it doesn't look as real. It's still kind of looks real because we have some stuff going on. The actual, this particular poster that I designed. The coloring kind of already matches this scene. If it was something else, it might not fit as well. They would look a little bit off. But by setting is to multiply. You'll see all those details come back into play. We'll change this back to 95. And it's just a subtle, subtle, subtle effect. But now it feels like it's a really in this scene. So that's how, that's how they're, they're really creating this mock-up. Now, let's talk a little bit about the Smart Objects and everything. How would you go about creating your Smart Object to fit in this? How do you even get this in there and make it fit, right? So I promise guys, we're getting there, we're so close. In the next video, I will show you exactly how to do that. 22. Poster Mockups 6 Smart Objects: Alright, so up to this point, I feel like I'm one of those TV shows that almost gets to the good part and then keeps going into commercial break. But in this video, I promised we are going to dive into smart objects and we are going to be creating your very own custom poster mockup. So to dive in and to follow along, jump into the exercise files. And you want to open up this poster mock-up start dot PSD file. And it's going to look just like this. So let's go ahead and get started. This is just a JPEG image, had just happened to be a Photoshop file because of how I saved it. But you could go take a picture right now if you wanted to, of a wall in your neighborhood or anything else, if you want to follow along with something different, you could download your own stock photo from somewhere else. But the principles that were about to jump into or are going to apply across the board. So let's get started. The first thing I'm gonna do is go back to my movie poster file. I'm going to grab that final JPEG that we've been working with just to show you a few things as we work. Okay. So I'm going to drag and drop this right into here, into my document. I can either hit the return key or this checkmark in the Options bar at the top. And when I do that, it automatically created a smart object for me. If yours is not a smart object, just right-click on it and click on Convert to Smart Object. Now, one thing I want to point out, if I were to double click into this one object that I just created from a JPEG, right? So when I was over here, I had a JPEG file, I dropped it into here. And by doing it this way, if I double-click into here and I try and do any changes to this that are layered like we did in those other documents. So if I jump into this guy, I open it up, see, Yeah, there's two layers in this template file and it's adopt PSB Smart Object. What's interesting about this, when I did it this way and I double-click into my Smart Object, it opens it, but it's a dot J peg. It remembered that this came from a JPEG file and it's trying to save it that way. So if I try to do something over the top of this, let's just say fill it with this bright pink color just so you can see what we're doing here. If I try to save it, it gives me this error message that it can't save as document back to its original file format. I need to flatten the layers and discard extra data and then choose File and Save. Ok, so what they're saying is look, jpegs don't support layers. You've got to flatten it first, so there's a few ways we could do it. We've got to create a layer and then flatten image down here. And then I could save it. Now if I save it, I'm kinda scared to do it because I'm pretty sure it's going to override. And right over the top of my JPEG val here. I don't want to do that. So I can save it as something different, but that defeats the point of the Smart Objects. So let's try and do this a different way. And the reason why I'm showing you all this basically the, what not to do is because it's really easy if you're following along to miss these subtle nuances in these steps, and then things don't work, right? So let's go ahead and close out of this. I don't want to save this right now. So let's try something different. What happens if I right-click? It's already a smart object and I convert it to a another smart object. So it's like, it's like Inception. It's a dream within a dream. Now if I double-click on this, now it's a dot PSB file, and there's this nested smart object inside of that. So I have a jpeg file in here as well. Alright. So it gets really complicated, really fast if you're not paying attention, but hopefully this makes sense. So now what I can do, I can make a new layer in here and let's just fill it with pink for kicks, just because we can, and it's adopt PSB. I can save it and then there's little asterix goes away. So I know it's currently been saved. I'll close this smart object. And now it's updated in here. Ok, so it's a little bit tricky, but just the little things to pay attention to. All right, so the next thing I want to show you, if I duplicate this Smart Object by holding down the Option key on the Mac or the alt key on a PC and I just drag a copyright on over. You see I've got two layers here. And if I double-click in any one of these layers to open up that smart object. And let's just, let's just change the color here too. I don't know something else, something else real quick, so we can just see the difference here. I'll fill it, I'll save it. I'll close it. It updates both of those smart objects. So these are Linked Smart Objects because all I did was drag and hold down the option key and has made a copy. I can also hit Command J to jump cut this into its new layer, or command C to copy and command V to paste it into a new layer. So I've got all kinds of smart objects in here doing all kinds of crazy things. And as at the, any one of these, and I save it and then come back, they all update. Why didn't this one update? Well, it's because which one? I don't remember which one I did because I was feeling fancy and going too fast. What I want, what I'm trying to point out is that if you copy these without going and right-clicking and going new Smart Object via copy. If you don't do that, they're all going to be linked together. So the benefit of doing that, that is exactly how this template works. So if I come back into this template exercise file, this poster mock-up, vertical views and I close this views are one and the turn this off. And we see all of these different. Let's open up. Both of these will turn this one down. I've got a smart object here. And this layer that's got these different settings. And I also have a smart object here. Well, these two Smart Objects, our direct copies of this one that we updated, right? So if I change this one, we've already been over this. I don't need to do it again. If we change that one, it updates all of the exemption of files. Okay? So knowing that you can build into your templates an easy way to have multiple examples and doing the work once, okay? However, if you don't want it to make those changes, let's delete all of these samples here. We have the one here. And if I don't want it to update like the rest of them, like I showed you, right-click and say New Smart Object via Copy. We'll drag this over here. And now when I change one of them, will turn that greenback on. We'll save it and we'll close it. Just that one updated but the one that was a copy stays the same. Okay. Hopefully, you're tracking with me. Let's go ahead and put this to work. So let's just delete this layer for now. Yep, Delete it will come back in here. Close. That will turn out that layer and we'll save it. Alright, so the next thing we want to do is we want to scale this down. So it looks like it's part of this scene. Well, let's go ahead and get started to do that now because it is a smart object. When I get the free transform tool by hitting command t, I can hit the command key. Or if you're on a PC, hold down the Control key. And you'll notice my arrow when I hover over the corners changes from a double arrow to a single arrow with a white fill. And that's because I can now skew this into place. So I'm holding down the control. I'm sorry, I'm on I'm on a maxim hold down the command key. And I'm just going to grab these corners and click and drag them right into place. And by doing that, it makes it look like it's really in the scene. I'm going to zoom in a little bit and make sure I'm getting this as close to perfect as I can. Alright, really, really close here. Do that. Check the bottom. And I'm just letting other command key and then hold down the spacebar key to change to my hand tool real quick. As I scroll over here and then go back and hold down my command key to make sure these are all in place and as close to pixel perfect as I can get them now that that's in place, I'll hit the check box up here in the Options bar. And now it looks not bad, not bad for a first pass at this. And if I double-click on the smart object, you'll notice that it's still when I, when I'm inside the Smart Object, everything is how you'd expect it looks normal, it's squared up, it's not skewed at all. So I wanted to change his poster. I could come back into my rock band poster that we did and I can throw this in there instead. Hit return, will save it, will close it. And now that smart objects updates, ok, so that's the basis, the foundation of how to get things in place and to start skewing things, to get it to look like it's in the scene. Okay, so one more thing we could do, we could get even more advanced with this smart object. And we could click up here. So I went to the free transform. So edit data free transform command t.test. And with that selected in the Options bar at the top, notice this little toggle right here. We can click on that. And now I can start really bending things. So let's say you wanted to look like it was folding off the edge here. I'm just going to do that one for now. Doesn't need to get too crazy. And I hit return, double-click into my smart object and look the Smart Objects Still squared up. It didn't get skewed at all. So I can hit save changes back to the other version and close it. And now that one's skews as well, okay, really powerful stuff when you're working with Smart Objects. So now that you understand that, let me step back before I skewed it and we'll save it. Alright, so now that we have that, the next thing we need to do is basically recreate this template where we've got some filters over the top and maybe even a few different things that make it look real. In this case, this is a poster on a wall with no glass in front of it. So it makes sense that you'd have these paper textures. This version, this is more like a light box in the subway that wouldn't really have wrinkles in it. It would look really crisp and sharp. So let's go ahead and the next lesson, we're going to add some more elements to this to really try and put it in place. And then you guys will be able to follow along and finish your mockups. 23. Poster Mockups 7 Finishing Touches: All right, let's just add a few more finishing touches to this mock-ups. That way it looks incredibly real and looks like this poster is really sitting in this environment. So one thing I want to point out, this specific example, this looks like one of those glass cases, the backlit posters you see in the subway or in by bus stops and things like that. So instead of doing more of a PaperStyle mock-up like this one here where it's paper texture. This is going to look pretty clean and pretty crisp. But there's just a few more things we wanna do. We wanna just the lighting a little bit to fit this scene and we're going to add a reflection to make it look more like it's sitting in glass. So to show you an example and interesting note on trends as well. So I'm at the Apple website and the iPad right now. The screens, they no longer show their screens with a reflection over them, which I find really interesting because they used to do that on everything. Everything would have a reflection. And to show you what I mean, if I scroll down a little bit on the back of this camera, this effect, so see others is diagonal, faded overlay basically make it look like it's light reflecting off of a glass screen. So I find that really interesting. So they've obviously got this effect here on the mockup of the back where the camera is. But when you come to this screen itself, they no longer show that. They just let the artwork show through. So something to, something to pay attention to as far as trends, maybe we don't even want to do that on this mock-up, but I'm gonna show you how to do it just in case you want to. It's really straightforward. So what I'm gonna do is I'm gonna make a new layer right above our smart object. And I'm going to create basically just a white oval. So there's a couple ways we could do this. I could just get the pen tool to click and drag and really control the angle. Let me hold down the spacebar to change that. Went too far, went off the camera here, off the desktop. But anyway, control the angle here with these BCA curves, these handles to really dial in exactly where I want this to go. And then I can finish drawing my shape here. And then I can right-click make selection. And now I've got, and we'll set this to 0. For now on this feather radius, we'll click OK. And now I've got a selection that I could fill with white will reset my palette and will command Delete to fill it with the background color. Okay, well that looks terrible. I mean, obviously that's not what we're going for here. So how can we make this look better? Well, for starters, let's put down the option key and we'll click between these two layers and will mask it down. Then let's change the blend mode to screen. And let's change our opacity a little bit. Let's dial this down. And that's headed the right direction. We could probably leave it just like that and call it good. Another thing we could do is we could still on this layer come up here to filter down to Blur, Gaussian Blur. And we'll click on that. And we can blurt just a little bit, kinda soften up that edge. That's not bad. I could scrub this opacity down even further. I can even add a layer mass to this. We'll click on layer mask at the letter G to get my Gradient tool. And let's swap this gradient back from that gradient map we were playing with in the previous videos to the foreground, to transparent gradient. And we're going to be painting or drawing or filling with black Essentially. So we wanna make sure that our black is on top. And now when we click on our gradient, make sure, I'm sorry. And we click on our mask layer right here. Make sure on that mask layer, we'll click and drag kind of at an angle and it's going to fade that even more and that might be too much. But that's how you can make this look really, really subtle. That's one way to work. The only thing I would do differently if I didn't do it this way, let's make a new layer is maybe I use the, let's see. Let's grab this tool real quick. It's buried down here. And I've got a selected right now, but we want this Elliptical Marquee tool as hold down shift and M to get that. So I could I could maybe fill this whole thing with white. But now I can't see what I'm working with here. So let's hold down the option key and we'll just mascot with the layers below. And then I can click and drag with that marquee tool. And I'm, I need to zoom out a little bit to be able to see this better. And if you let go before you're done, you can actually right-click and then click on transform selection. So if you're looking for like a really perfect circular cut-out here, you could do it that way as well. You could scale this into place, get it kinda how you want it. You can even rotate it, hold down, shift to change the perspective or even let's see, well, let me do that. Yes, I call it command and I can actually skew that selection as well, well done command or control on a PC and grab a corner. So lots of ways to get to the same thing. All I'm trying to do is get to that. And then I could just delete it. So I've got the selection right here. Among this full white fill layer. I use with my delete key to delete that Command D to Deselect or come up here to select down, de-select. We'll zoom in. And now we've got a few things we gotta fix. Let's turn off this layer below it because it's kind of confusing what's happening. And the other thing I want to point out when I did that selection, notice how it's kind of blurry on the edges, not crisp. Well, that's because when I drew this, my settings from something in the past, up here in the Options bar. It was set to feather it to 20 pixels when I let go. So it's softens at edge if you want to be crispy, set it to 0, and now when I delete from that layer, it should be super crisp. Let me do it one more time because I hadn't changed the settings before I do that. So it'll de-select, it, will draw it one more time. Then when I hit delete. Now that line is super sharp and crispy. All right, so lots of ways to achieve the same thing. This might be a little confusing, but all I'm trying to do if I unmask this, I'm just being a little bit lazy. If I'm being totally honest, I just filled it with white. And then I let whatever the smart object is be what knocks out or masks it essentially. But the other thing I could do to, is I could command click on the layer below, on the actual Smart Object. I could click on this layer two and I could then click down here on the mask icon and I can mask it that way. So as in everything else we've done, right, there's a 100 different ways to do the same thing. So find your workflow, find what works best for you and. Ultimately all we're trying to do is just create some subtle effects here. So now that that's unmasked Again, I gotta hold down the option key and click between these two layers. There we go. And that looks a lot better. Something else we could do, let's click on the smart object and let's go to image adjustments down to levels or Command L. And let's go ahead and pull a with some of these levels is to kinda see if any of them make this feel like it's a little bit darker, maybe we'll bring all the white tones down completely. You don't wanna go too far. It's probably fine as is if this is really backlit like that. But we'll go down just a little bit. Maybe even bring the blacks, crush them just a little bit. We'll click OK. And now that lighting might match the scene a little bit better. The next thing I notice, if I look at the scene as a whole, you can see that there's obviously a light being cast from somewhere because we have this line right here where it's darker above and then lighter below. And we also see that reflecting here on the side of this box. So we might wanna do that in this image as well and mimic that. So I'm gonna do is hit command jaded jump, cut this layer. And then I'm going to grab my levels again. Adjustments as the image adjustments down to levels. And we're just going to darken the whole thing up quite a bit actually. There we go. We'll click OK. I'm going to add a layer mask to this. I'm going to fill it with a zymogen, my Gradient tool, the liturgy. I'm gonna change my gradient to a radio gradient right here in the top and the Options bar. And we're going to click in the middle and drag and just see what happens. So turn that on and off. It's just a really subtle effect. And I think it's backwards. Actually, we needed to be lighter down here so we could do one of a couple of things. I've got my mask right here. I get command i to invert that. Now let's see how that looks. Not quite what I'm looking for either command i to flip that back. Alright, so let's turn that back on. Let's scrub the opacity down a little bit. And basically what we did if I turn off this bottom layer, this top layer is just adding a little bit of kind of like a vignette. Okay? So what we're trying to do ultimately is just trying to get the lighting to match the scene. But what's cool about all of these changes because they're all in a smart object. We copied this instead of doing the Via COBie method where you right-click, remember, on the layer over here, there we go. Instead of doing the new smart object to be a copy, we just did a direct copy. So now if I change this and I decide I want this poster instead, and I save it and close it. Both of these layers updated in all of those FE_Q affects, stay with it. So that's super cool. All right, let's jump over into this poster mock-up. Let's come up here to these filters that they did. We could either recreate these ourself or we could add, grab this group. I'm going to right-click on it. And I'm gonna click duplicate group. And when this duplicate group dialog box opens, instead of duplicating it right inside of this current document, I'm gonna click on this twirl down, and I'm going to send it over to our poster mockup file. And I'll click OK. And now it'll throw it right into there. And if I throw this above everything else right now it put it in between layers. So I'm going to bring it to the top, turn on and off. And when it went in-between, it broke my link here somehow and the Option key and click between these two layers. There we go. So now this warming filter is being applied to the entire image and my poster. Now there's something weird going on. Let's take a look at this. Why is this edge here? Well, this vignette, obviously it was not created for the size of this poster, so let's click on that. Let's free transform it command t.test. We're just going to rotate it, hold down Shift, put it in the top corner and then we're just going to use scale it down here and then hit return. So mentioned that on an off that vignette plays nicely are warming filters work. The contrast filter works. And now this poster looks even more like it said in the scene by adding overlays in those colorings. So I hope you were able to stick with me on that. I hope that made sense. Quick reminder, guys, it's a video. If I missed you on anything, go ahead and rewind it, play it back again. And then when you're all done, post it to our Facebook group. I'd love to see what you're working on. Feel free to use this mock-up sense. We created this one. You can use it without the licensing issues and post it to social media posts on Instagram. Tag me at D. Mitchell design. I'd love to see what you guys are up to. And I hope you enjoyed this lesson.