Fantasy Manipulation Photoshop Workflow | Andrei Oprinca | Skillshare

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Fantasy Manipulation Photoshop Workflow

teacher avatar Andrei Oprinca, Graphic designer

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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

7 Lessons (1h 57m)
    • 1. Balance Intro

      3:39
    • 2. Create the main composition

      17:03
    • 3. Add details to the scene

      21:08
    • 4. Create ambiental details

      19:51
    • 5. Blending everything togetter

      29:53
    • 6. Making the light effects

      15:04
    • 7. Final Coloring effects

      9:58
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About This Class

In this class I will show you my workflow when creating fantasy manipulations in Photoshop using a single model. I will show you my process and divide it into several parts:

  1. Creating the main composition by combining stock images
  2. Adding details (filling in the scene with more elements)
  3. Creating ambient using particles and depth of field
  4. Blending all elements using adjustments and correcting color and contrast
  5. Shading and blending of all the elements to create a seamless scene
  6. Final effects and post-production (you'll learn how to create your own color look for the final result)

This class is for advanced Photoshop users!!!

The basic tasks will be performed without in depth explanation so you need at least basic Photoshop skills in order to follow this tutorial.

Some tasks needed to create this sort of manipulations includes:

  • Basic masking and mask refining
  • Making selections with various tools (mainly Quick Selection Tool, Magic Wand Tool)
  • Layer management (Grouping, Smart Filters, Layer orders...)
  • Layer styles to create shadows or light effects
  • Dodging and burning
  • Painting shadows and light glows
  • Camera RAW editing

Download the resources and enjoy. Don't forget to post your outcome and don't be afraid to make your own version with different concepts.

Meet Your Teacher

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Andrei Oprinca

Graphic designer

Teacher

I'm Andrei. I'm a graphic designer with 10 years of Photoshop experience specialized in photo manipulation.

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Transcripts

1. Balance Intro: Hello and welcome to this Photoshop tutorial on how to make an advanced fantasy art work in Photoshop. My name is Andre, and I've been teaching photo manipulation techniques since 2009. The objective of this tutorial is to show you the workflow that I follow in most manipulations that I make. And I used this manipulation to show you the entire workflow that I'm following when creating. And manipulations like the one we're going to create in this tutorial. So this is an advanced tutorial. I broke down this workflow into six parts. And this is the, as I said, this is the workflow that I'm following in 99% of the cases when I make what emulation. So I'm using the same principles. So on the first part I'm going to show how to create the main composition. We will use stock images. And we'll just make the basic composition like the model, the background, and the main elements that will make our, that will make up our composition. On the second part, we're going to populate the scene with more detail. So we will add things like props or whatever detail we can add to enhance our main composition. On the third part, I will show you how to create ambient by using particles and out-of-focus elements. This will help us create more depth of field and create a much more interesting manipulation. On the fourth part, we will integrate everything. We will blend everything together using Adjustment layer. So we will use a few adjustment layers to make corrections in terms of color contrast. And also we will make some shadows to make everything look more seamless. On the fifth bar, we're going to make the light effects, which is something you will need most manipulations. And I'm going to show you what blend modes are used to make that we're going to create a globes of light. We will enhance some elements of the scene and also some illuminated objects. And I will show the blend modes that I used and the techniques that are used. And then on the final step, on Part six, I will show you how to create the final color effects. For that, we will use some blend modes and then we will use Camera Raw in Photoshop to achieve the final a color tones for our manipulation. So in this stage, you will learn how to give pretty much any color you want to your manipulation. I'm using Photoshop CC 2019 for this for this tutorial, but you can use any Photoshop CC version. If you're an advanced user, you will be able to achieve these evenly in previous versions of Photoshop. But my advice is to use Photoshop CC you will get some advantages. I, for example, using clipping masks on groups and things like that. I would really like to see your final result after following this tutorial. So please make sure to submit your result and if you have any problems, post a comment and I'll try to help you, you will have all the resources needed for this and just follow tutorial. And I encourage you to also experiment and use different elements and different details on your manipulation and experiment with different colors to see what you can end up with. So I hope you will enjoy it. And let's get started. 2. Create the main composition : So we're going to start this project by first creating the background and adding the main elements. And then we will continue forward use adding the rest of the elements, shading, lining, and all of that. So the first thing we want to do is create our canvas. I'm going to press Control or Command N. And for this tutorial, I'm going to use 2 thousand by 3 thousand. And I'm going to, I'm going to as a resolution of 72 pixels per inch because I'm recording the video. But if you want to print this, you should use 300 here and use any dimensions you want. And I'll choose a Quick Create for this kind of manipulations. I like to use really simple backgrounds because I don't want the focus to be on the background. Instead, I wanted to be on the model and the details that I am going to add. So let's start by placing our first image, which is going to be our floor, our ground here, but I'll make it just a little bigger and drag it down. You see this part over here, more or less. Here. This will be our ground. And I will rasterize this because as I said, I want to, I want to reduce a little bit the size of my file. So let's leave that there. And the next thing we want to do is place our skies and let's place the sky here. And let's make it bigger. Make sure it covers everything in here. You can see it's bigger than, than our canvas, which is, which is OK because after you add the model, you can move this around and see where these spots of light and darkness can stay to enhance a little bit the composition. And let's fade this. So using the gradient tool, you can create a Layer Mask there on the sky and blend this with your foreground. Let's name this sky and this one. Name it round and delete the diagram because we no longer needed. Now, this is really the basic background that I made for this. I didn't need anything else. Before continuing with the composition, I want to add my model and that kind of pit or whatever that thing is in here. Because those will be the main elements that will determine how I add the rest of the details here on the, on the composition. So I wanted to have those that focus here, the model and that thing over here in front. And then I added some other detail. So let's, let's open that file. So we need to crop this part from the background. Cropping, Aldus cropping parts. I'm going to fast forward here. I'm just going to show you what to do. So you get the pen tool makes you select the Path option. Zooming on your image and start creating a path around your object if you want to select a UTI is another selection method. Go ahead. I think this is the most precise one. And if you have some practice, you can do it pretty quick. And I am going to do here is just fast-forward and continue when I'm done. Notice that I skipped the top part because we don't need it. We have to create a hole in here so we don't need that part. And here on the bottom, I just let some space so I can blend it a little better with the new background. So once the path is created, right-click with the pen tool still selected and select, make Selection. Click OK with the settings. Click the Layer Mask icon that we have to invert it by pressing control i or command i. And this is our object of nano, apply the Layer Mask and crop it and news go to my canvas here, m put it right over here. I'm going to turn it into a Smart Object and I will name this bit. I will just make it a little smaller amplitude over here. Let me just watch my finished manipulation just to have some, some reference more or less about the size of it. A little smaller. Actually, this should touch and the pet should touch here the base of the manipulation of the canvas. We are not going to create any kind of Shadows or lights. Now we're just going to add all the elements that make up our main composition here. So the next thing I want to do is add my model here. So let's open the modal image. And here I will use exactly the same technique. I will use the pen tool. So press the P key on the keyboard and start tracing a path around the woman. Don't worry too much about the here because we're going to replace it. So just make a rough selection around the Feather series, leave some space because we want to, we will use a brush tool tomb to paint this out's the mask, the feathers. And we're done. And we're gonna use any selection method that you like. I just like the pencil and Batswana use, but you can use the Quick Selection Tool if you want, or even channels or whatever metric ie like. Now I'm gonna move this with the move tool to my canvas because I want to keep the Layer Mask. And while actually, since this is very big from a canvas, I'm going to turn it into smart object just in case I need to refine something, I want to be able to add it the original mask. I'm going to make the model smaller and I will drag underneath my pit layer and this layer model. Now the next thing I want to do is. Fix the spot of the pit layer. So I'm going to hide the model for a second. And I will select the lasso tool, and I will select this bottom part, like so. So I'm gonna grab this shadow over here to just grab the whole part over here like so. And right-click and choose Layer via copy. Because I want to duplicate this part over here. I will drag it underneath the peat layer and I will actually just flip it vertically, like so. And there we go. Now I'm going to create a layer of us. We're actually, I'm just gonna use the eraser tool to get rid of the of the other part over there. And now I will just fix this part over here. I'm going to use a almost 100% hardness brush. Like so. Anyways, this part over here will, will be hidden at bit by those arms that we're going to put there. So don't worry too much, just fix that part to get something like this if you want, if you're happy with it, what you can do, select Bold layers, convert them into smart object, or just simply merge them. And that's pretty much it. And let's reveal the model again. And I will make her just a touch smaller. I think it's too big compared to the pit over there. About there. Now let's add a few more details here on the background and then add the brain and the heart over there. You can use other elements. For example, you can use as call or book or whatever you actually want to put in there. So let me open this image. And I will use the Quick Selection Tool for this one. Let me close this image now and let's add the brain and the heart here. Let's open this image. So pretty bad quality image, but it will do so. Let's select the magic wand and try it with a tolerance of 37, continuous option checked. Click on the black background. And that will select the whole thing here and don't forget about that area. And create the layer mask and I will refine it or right-click and choose, select and mask or Refine Edge depending on the Photoshop version that you're using. And I will increase the feather a bit to just smoothing this, shift the edge to shrink the selection of it. And now with the contrast, you can sharpen those edge back. So this is the result. I'm going to apply the Layer Mask, crop this and place it over here since the hands of the model are not too big, we can make the heart a little smaller, which again will increase the quality on the edges a little bit. And let me just maybe flipped this vertically because we have this light over here, which, which is nice to have an atop and smaller about that big, maybe. Now we have to use the model edges to mask this. I'm gonna control click on the model. And this will load the selection and create a Layer Mask. On the heart. I'll have to invert it. We control I. And let's name this heart. And I will unlink the mask and the hard, because if I want to move the hard now we'll both things will move will move at the same time, and I don't want that. So I will unlink the object from the Layer Mask. And now I can use the move tool to freely move this around. So it's just like having the heart behind the model. I will select this Layer Mask. Yet the brush tool use maybe 90% hardness and paint with white to reveal the mass. Can hide that finger over there and create the illusion that the heart is actually in in her, in her hand. Actually she's holding she's holding it. Now. Maybe it's kinda big, but I will leave it like that. And next I will add the brain and close this and open the brain image like that. So now I have both things here added. We have the main elements. And the next thing we wanna do is add that crowd on the woman's head. So let's go ahead and drag that to our image. It's a PNG image so you don't have to extract it from the background, just place it over there. And that's it. About that begetting will do. Now have the grit, the layer mask for this because we want to delete parts of it just a little higher hikes. Now make sure the hair, the MT does not stick out on the top. So you can go to the model layer, create a Layer Mask as well, and paying out with black any parts that are sticking out. And I think we're done with the, this is the main composition. Then I also added some details there on the background, but we will deal with that when we create the ambient. The next thing I want to do is, and we're done with this first part is add those hands sticking out from here. So let's open those images. You'll find three stock images in stop folder. And I will fast forward here. I will just do it with this four 1's and then continue with that. I will use the magic wand. I think it's going to create a good enough selection for us to use and create a Layer Mask and probably refine the mask and click OK. I will apply the layer mass that way I can copy the images while the arms individually. So I'm gonna select. One of them, and we have to start organizing things here. So the first thing I want to do is select everything that belongs to the model and group everything. So I'm gonna select the crowned heart, the model and the brain, which I forgot to rename. And I will group everything so that I have everything inside one group. So select all of them. Control G, And let's name this model. Now this will be rock left and this one will be rock, right. And everything in here will be selected. And I will name this ground, or BG for background. Now, the pit, I'll put those hand underneath so I have to make them smaller. You can use the models arms as a as a guide. Now, you can see right now that I made a mistake, which is on the bit I merged while actually converted this into a Smart Object, which I shouldn't, because now I have to create a mask. So what I will do is select the pit, double-click to open it and apply this layer mask here. And actually, I will crop this part here. I pressed Control a to select everything, control C to copy, and I'm going to hide it now. Press S to save it. Go back here. Now you can see it updated that part there. And now I will place that part here again and drag it down. So I need this to be honest, separate layer. Drag it down like that. And now this will be the and this should be underneath my arm. The arm. So I'm going to put them into a group whose name I will make them just a little smaller. Okay, so I think you've got the idea. Just make a few hands sticking out from there and try to have as much variation as possible. Now, I have all of them inside of this group which I can now minimize. And actually let's group everything in here named this fit or well or whatever you wanna call it. So this is our main manipulation, the main composition. The next thing we're going to do on the next part is add the details. So we're going to fill in the scene with some more details. And then we will continue from there. 3. Add details to the scene: So after you decided how your main competition is going to be and you placed the main elements of your manipulation. Start decorating it a little bit. Add more details to fill in the scene like props or I don't know, whatever you want to add. In my case, I added branches around here, so let's do that. And I also added some magic texts in here on this rocks, but we're going to do that a little later on when we create the lighting effects because we still have to integrate all of this and make it look more similar in terms of color contrast and, and lighting. So let's add the rest of the elements that will feel are seen as open stock folder. Again, because here we have everything we need for that. Now, I will start with this image. You can see it's pretty easy to select from the wealth extraction and background just using magic 12. So i will use a tolerance of about 30 and uncheck the continuous setting and just click on the white background. This will select it all clicked molar mass to create an inverted layer mask. You can refine the edge if you won by right-clicking and choose, select and mask, and just use the Shift Edge. But instead I want to try something else. I will move this with Vicky. I will select the move tool and just move it right over here. You can see it's pretty big. Which is okay because I'm going to make it smaller. And I will add this. I think I will leave it that for now. I will put it underneath the pit between the model and the pit group. Actually just drop it. It's kinda difficult to place it there now. And we're gonna make it even smaller. And I think I will rotate it like that. I flipped it horizontally, actually like that and just rotate it like that. And I will make it just a touch smaller. First, on the layer mascot will paint with black on this to get rid of this line here, which is something that is always visible when you make a Layer Mask smaller. And what I wanted to try is used the refined mask with setting to get rid of this, this white around the edges. So basically what you do is right-click on the layer mask, but you have to do this when your object is on the final background that you want to have. So I will right-click, choose, select, and mask. I don't know if it's going to work with, I think it will. And you basically use the decontaminate colors setting. When you said that, you can see that what Photoshop does is used. It is using the surrounding, the surroundings of this image to fill the edges there and get rid of that one pixels of white background there. So that is really, really cool. And just click OK. And it will create a copy of the original, which is just in case just to so that you have the original. And I'm learning this branch. Right. And I will apply the law remarks because I needed it looking okay. And now I'm going to add another one on the right, right over here, on the left, sorry, wherever here. So open my stop folder again, and I use this one. But you can use any of the branches you have in there if you want to. And just make a selection like that, just like we did before, right-click. And I'm not going to be the layer mask just yet. And just in case we need to make some refinements this time, this one has to be on top of the pit. So because I want to I wanted to make it from that hole over there. I think it looked cool for some recent and that's why I did so make it just a little smaller and put it right in there. Rotated a bit. And other details that you add in here are really up to you. I just chose to add this, but you can do pretty much whatever you want. Now in here I also added some dried roses. So open the stock folder and you'll see a folder called dat roses. And in here you can choose images and just, and I'll just use three for this, for this tutorial, but you can add as many as you want. Now the next thing I want to do is to add some petals here on the, on the ground. So inside the stock folder you will see another image, which is this one. And from here we also have to select the magic wand to click on the white background with the continuous option checked tolerance of about 30 sample. Select the background mascot. And now I can apply the linear mosque SO2 and just select a few random petals from here and place them right over there you can see a pretty big income, smaller, rotate. Okay. I think it's enough for those ones. If you actually have a few actual, if you have some actual dad rose petals, use those, but this one's will do. And of course we're going to have to change the saturation and add some shadows, but we will do that a bit later on. Let's add more details. Let's add the text here, and let's close this first. Adding the text is really simple because we have it on white background. I actually made this out of paint. Well, just painting on our paper. Minnesota elected. Drop it and go to my canvas. Before moving on, let's just group this petals and that roses. And the branch, left branch, left roses. And then that way we have everything in there. So it's kinda like creating a modular design here which have everything grouped in sets or in groups of objects. And now I'm going to create a new layer on top. Actually, this has to go with the pit group. So I'm going to go inside the pit group and paste that image right over here on top and sees prefix all had to make it way smaller. And before making It's even smaller, I want to change the blend mode to multiply. That way the white background goes away and now I can see what's going on here. I will zoom in and if you're not sure about the size, before moving on right, turn it into smart objects and that way you can make it bigger or smaller and not lose quality. So I put it right over there. And for the S, And I wanted to add dreams in here, so I have to use another stock image for that, which is this one. So basically what I did, I just got the S from here, copy it, and paste it right over here. Again, change Burma to multiply and we have to make it smaller. About their little smaller. I should have turned us into small object as well. At anyways, I know I'm not going to change the size, so it doesn't really matter for me. I'm going to multiply there. Now one thing you will notice here is that this dripping parts are not really realistic because that kind of fallen like not in a straight manner. And they're not following the shapes of this structure here. So what you can do is press Control Command T, right? We can choose warp and kinda modify this a little bit to make those ribs follow little more straight down. And that's Vietnam. I also create a Layer Mask. I will quit order must be cuz I wanna get rid of this part of the normal brush and paint with black. Just to get rid of that part. We have the blood, the blood. Now have the texts there. We have the roses. Let's deal with we the woman's eyes because it's really simple to do this. So select the woman group, select the model, create a new layer on top. And inside the folder you will find this. I hear some PNG format is making smaller pulley right here on top. And I tried to have the same size as the woman's original eyes. Or you can leave these ones that if you want, change the color of them or just make this light pop up a little more so that you have something more interesting in there because the eyes really make, make the smallest stand out a little more. So I'm going to use this one for here, for this part. The layer mask, I'm going to get the brush tool. And I will brush like so. And now I'm going to use wife to just paint back wherever I need it. I will still have to create some shallow. It's too big. This iss to being solid me making smaller. So just look at this. And the pupil here you can see there it's way too big, so just disable the layer mask for a second. Shift clicking the little mass you can disable it. And now I will be able to see it better. And this is something more normal. Reactivate a liver mass can actually fill it with white and just repainted back. That looks a lot better. We still have to create some shadows. Now, I'm gonna duplicate that layer. Ok, and now I will create some shadows using layer styles. You can paint them, but I will use Layer Styles. So open the i layer styles and add a gradient overlay and use the reflected. You can see here on the miniature here, what I'm actually doing, adding a shadow on the bottom and on the top. You can paint it on if you want. And another layer, but I think I will use this technique is easier. One trick is if you cannot nail the scale or if it doesn't look really how you want, you can open this and add it to the gradient and you can see the changes right over there. And I will use multiply, add 100%. I think that's OK. Click OK and just duplicate this effect to the first copy option. Click on the Effects and drag it on the first i layer, and this will duplicate the effect. Maybe you have to make some changes like for example, dropping a little bit or something like that. Click OK, and let's zoom to 100%. And you can see the change that I think it's a pretty big change. I'm gonna group everything so I can disable. So before, after I think they made this model pop out a lot better and I think it looks great. Now one thing, one really important thing I forgot to add, which is not a detail, is actually part of the manipulation on the main competition is added the wings on the woman's back. So let's do that now. Inside the stock folder you will see this image. I will use the magic wand tool. Click on the white background with a tolerance of 30, continuous option checked. And just make sure you select all the areas and create a Layer Mask. Oops, I forgot to include these parts here. Filled in black. I will apply the layer mask now, right click apply their mosque. And with the lessor to level crop or the wing, Make sure we selected like so. And we have to go inside of the model Group and add these wings underneath her. So paste that part that you copied. This size will do actually let me let me check my reference here. Yeah. Well, smaller. Okay. Now we have to deal with the background, with the remaining white background, but we will see that in just a second. And let's crop the second part, which is this one. You can use the same one and just duplicated, but I think having some variation is a nice idea. Okay, something like that. Now, in order to get rid of this white bits here, what you can do that then this left and the other one. Right? Now, what you can do, for example, on the wing left you can see I still have part of the white background and also here. So what you can do is double-click on the layer to open the layer style panel and on the Blending Options where it says blend. If. When you choose this layer, you have to use this slider of here and start moving it towards the left. And you start to see that this white bit start to go away. Now, we want to have some transition, some smoother transition. So what we are going to do is press option and click on this. And you can see that it splits. If you're on windows, you have to use out and click here and should split. Move it to about here and then move also this one a little bit. And this one is you just move it until you're you're happy with a transition in here where we both of them until we get the result you want. I think it looks good. Same with the right wing. So double-click Blending Options. This layer out click, move that there, the first one and then just play with both controls until it gets something like that. And then that way you don't have to create a layer muscle, which really quick way of getting rid of white backgrounds. And one other thing I wanna do is the saturated, as you can see, has this reddish tint. So I can use hue saturation and just the saturate, the whole thing like so. And the same with this one with left. Okay. Now I have is a smart object. You can see two icons showing up here. The two squares indicate that we have touched something inside of here, which is this the blend if option. That's what those two squares are for. Or maybe if you change any setting in here, those squares show up and the circles are for the indicators have smart filters. In this case, we have a few saturation which we used to saturate the wings. Quick explanation of what those icons are in case you didn't know. And now have the wings. We have the eyes. Well, one of the things you have to, well, I added here is a detail you can or you can add or not if you don't want to. I I saw the spacing here, so I thought I would add like some sort of jam or something. So I found a heart by actually used the heart from with this custom shape tools. So just use that. Click on this cog icon and choose Show All. And you should find a heart in here or you can draw it yourself. I think I used this one. Let me go and locate the Crown right over here and put it on top of it and just draw a heart like so. And I wanted to make it a little well, not that tall. So I will select this and just move those points up and now make it just a little smaller. And the whole thing, pressing the shift key to keep the proportions and put it right over there. Now, we only, we will only use this as a container. So what I will do now is open the stock folder and open this image of here. And I will get the texture of this diamond over here, Lasso Tool, Control C, basically on top, on top of that heart. And you have to create it as a clipping mask so that it's only visible over the surface of the heart. The way you do that is you place the texture on top of it, on, on a newly on top of the hard layer. Press and hold the Option. And when you put the mouse between the two layers, you can see this arrow showing up, just click or right click and choose create clipping mask. And of course we have to make it a lot smaller, otherwise we will not see that texture. Maybe even smaller. And now you have to add color to it. And the way you do it is using layer styles. But before we do that, let's say in this heart and this one, heart texture. Now we have to use the heart, not the hard texture. So double-click to open the layer styles and what we'll use color overlay. I will use the Vivid Light. My mood, increased capacity to 100%, and I will use a red color. This one is too strong, so you have to just move around here until I find something that you like. Probably not that read something like this. You can see if you use it like this, if user is saturated and bright color, it's kind of burning out that effect. And something here in the middle. Like that click okay, and okay, the next thing I want to do is add some blood here on the ground. I have another blood image over here, which is this one. And I will make it smaller, about 11000 pixels. So that all control X to crop it. And I have to look for the pit group right over here and paste it on top and change the blend mode again to multiply just like we did with the text. And in order to make it lay flat here on the ground, what I will do is use the distort, so cross-country augments T, this will load the free transform so you can make it bigger, smaller and rotate it. And when you have this load loaded, right-click and choose this Stuart. And with this, you are able to change this pointer and make it flat. You can change the size now again, if you right-click and choose scale, you can actually scale it and then continue to, to distorted. We're good to go now have all the details of our manipulation. On the next stage, I will make the ambient. So I'll add some stuff here on the background, blur it, add some particles. And then we can move on from there. 4. Create ambiental details: Okay, now we are ready to start adding some ambient elements here that will make our scene look a little more interesting. One of the easiest ways you can create a bit more of depth of field and ambient is using particles and out-of-focus elements. At least this is the easiest things you can do. So let's open our stock folder. And I will open this three elements in here. And I will use the magic wand tool to just select the background and mascot. And I'm going to crop this and put it, let's see. We have the grid several layers here. One of them, while some of the out-of-focus elements will be in front of everything. So I will paste this read dry branch in here. I'm going to flip it horizontally, maybe there, maybe just make it a little smaller. I don't want to cover that rock because I still want to add that text there with the light effect and I will blur it. You can use the Gaussian blur, but I prefer to use the field blurry because it's a little more realistic. And 15 pixels, I think it's okay for this one. Now I'm going to add or do the same with this one. I'm going to uncheck continuous or the rights. It selects everything in there. I click Apply layer mass so we can see it's pretty quick, quick process. And I'm going to group this one. I'm gonna name it front from blur. Then here under, underneath the model on top of the background, I will create a new one, a new layer also, I'm gonna group it right away. I'm going to name it back and blur. And I will paste that right over here. Of course I have to make it smaller. And let's see where we can. Right over there sticking out from behind that. All those the woman's wings. Okay. And again, when it would filter, blur, Jews feel blur. And 15 for this one is too much of income going to drop it to about 979, something like that. It really depends on the canvas size that you have. And again, I'm going to use exactly the same amount of blur. And now the thing that the problem that we have here is that we through these two branches out of focus. But the background which this part of the Beckman is further away than. This branches should also be out of focus. So probably I will merge the background while the sky and the ground. I'm going to merge them or convert them into a Smart Object. And when a blurred. And so I'm going to hide everything for a second by pressing option and clicking or ALT and clicking on this icon and this on the smart object. And I will go to Filter Blur Gallery, but this time I'm going to use the tilt shift. Because with the tilt shift you're able to blur and different parts of the images of images. And basically you can see we have and a few lines here we have this two continuous lines. And what falls in between these two lines will be totally in focus. And from this continuous line to the dotted line is a transition zone. Okay, so you can modify this. And what I want to do is have everything here in-focus, but the background while this part of the sea and the sky to be out of focus. So I'm going to drag this down like so. This, everything I want to be in focus. Actually I'm going to drop this there. And my transition area will be right over there. 15. I think it's too much. I'm going to drop it to about seven or eight, just like I did with the branches. And let's drag this even. Lowered it. Probably like that, and click OK. And this will make things look a little more realistic in terms of flow algorithm, more consistent in terms of blurring. Okay? Now, we'll have that ready. Now you will see that here on my original manipulation, I have some some leaves there. You can add those leaves from the stock folder. You will find a folder called Greenleaf's pack. And you can open the PNG file. It's a transparent PNG and all you need to do is just select the leaves from here. Select ones that you think are appropriate, not these ones, they are not realistic. Maybe some of these ones over here, so just select the ones that have a more normal shape. Let's call it. And I'm going to fast forward here. What I'm going to do is just add some leaves here on the background. Just going to do with one, with one of them just to see what I'm doing. So I'm going to back blur, group, paste that in here, and position my leaf over here, just make it smaller and place it somewhere. Or I think it could go, for example there and now have two blurry it, now have to blur it with the same amount of blur that I used on the branch. I think it was seven pixels. And if I go to the board Gallery, filled blur will use seven pixels here. Click OK. And I also have to change the color of it to make it look dry. So I'm going to press Control menu. To open the hue saturation, saturation. And also I'm going to choose colorize, maybe. Just try changing the Hue. We're gonna continue adding a few ones. Okay, so as you can see, I added just a few Antoine are things you can do is you can use one of them to create more depth of field. So for example, I mean you just grab this one because I think it has a good shape. I will select it, copied and pasted right here and apply the Blur Gallery again while the fill Blur, Gaussian Blur or whatever you want. And I could increase the blurriness quite a lot. For example, 80 or 20. Again, with the blur and sharpening, it really depends on your canvas size. Of course, I will also change the hue of it to make it look like it's dry. Maybe something like that. And you could place it somewhere like that to create a sort of out of out of focus. Fact. Let me just also dropped a lightness of it so that it doesn't stand out that much. That is one thing you can do also, you will have in this stock folder, you will find some feathers. So I will just do it with this one, just copy and pasted a couple of times. So again, I'm not going to save this as either. And I will put it one of them here on the blur, on the Mac blur. And probably I'm going to change the size later, but I will apply the same amount of blur as they did with that with that leave there. And this serves as, and this will help create more depth of field is a said. Actually, this one should be on top. So I'm gonna go to the front blur and put it here because I want it to be on top of everything and cover some parts of the image. With this, we already have a lot of things going on. And the manipulation starts to be heavy here on the bottom. So having some sort of detail, haematobium will help balanced things. I will add a bit more of blur because when I made it smaller, the amount of blurry like cannon disappears when you make an object smaller after you blurred it and while something like that. So you can basically a couple of times and just make it stick out just a little bit. For example, this one here as well, Filter Blur Gallery and apply the Blur again. I'm going to show you the, my reference, which is this one. So you can see I added this feather here and this one over here. So let me just make this one smaller and just do the same. And reapply the Blur Gallery. Now you will have to be careful with me, just make it just a touch Pier. One thing I want to add again is some particles. And I created the brush myself. Here on the front blur. I will add that maybe or no. Actually let's just create a new layer, name it ambient particles. And it's actually really easy to create. Yet another layer on top, which will be just a little deleted. And select the rectangle marquee tool. Use a white foreground color and create a square or rectangle like this and fill it with white. It's important to be pure white. Once you created this square, you have to create the particles, each particle on a different layer we can, we're going to blur it, and this white square will only be used as a background for our brush. So select the lasso tool, set the foreground color to black and start drawing some random shapes, stuff like that. Okay, so we have three of them. Let's blurred them, will choose Blur and I will use the Gaussian birthdays. And let's see an arrow blur, maybe. Something like that, have something like this. Now I'm gonna create a new layer because the next particles will be more out-of-focus than these ones are maybe more sharper. It's really up to you how you make them. Well, actually I'm gonna make this one a little more. Our focus there and choose Gaussian Blur and something like that. Okay, really simple. Now I'm going to select the three layers, the background and the two layers that I created. I will press Control or Command E. Actually don't even have to merge them, but I think it's easier if you just merge them and control click the layer of the, select, the outline of the white square. If you don't merge them, you can do the same control. Click the layer of the square and this will select the edges of it and go to Edit and choose Define Brush. If this is greyed out like the defined custom shape, it means probably that your square is bigger than 5 thousand pixels, so make it smaller. Or maybe you have an image mode other than RGB eight bit. So try to keep it an RGB eight bit and create, Define Brush Preset. Anyway, I will include, will include this brush in the stock folder so you can use it. If you don't, if you're not able to create this, you can see that because the background was white, now, everything here is transparent and the only thing we have as a branch are those dots that we created there. So let's dust. As I said, I will include this under stuck folder. So. You cannot create it, or you need to do is select the brush, right-click and go to this wheel here and choose Load brushes. Somewhere here should be the load brushes, window, import brushes right over here, and select this file that I will include in the stock folder. And now with this bridging entity pretty big, I'm gonna make it smaller. What you have to do is edited. Now I am going to include two versions, one of them with the basic brush and one of them with the settings. And I'm going to add here. So all you need to do is just for example, in the Shape Dynamics includes the Size Jitter. This will randomly change the size of the particle that you are going to paint. Make sure the rest of the settings are set to off. We also want to activate scattering because we want to scatter this particles on the shape dynamics. I want to change the angle as well as will query randomly, rotate, random rotation. And what else? Maybe here on the tip, brush tip shape, I will increase the distance. Not too much because we still want them to be kind of together like so. And now you can start painting. Just start adding some particles like so. Rotis too big, just make it smaller and make some random strokes. This is what it does is say that, you know, you don't want to have something like this because I think it's too much. But definitely here on the sides you can you can add some random particles you can undo if you think they're not painted on the right, on the right spots, or after you paint them, you can get the eraser. And for example, let's say you cover the eye of the model when one particle. So again, you can just delete 11 by one those particles. And I think it really looks cool. This way you can try blend modes. You can try painting with white or gray or other colors instead of black, but I think Black looked great. Another thing that I did to add more Ambient here on this manipulation is add, feel like flying rocks. And again, you can find those on the stock folder. I will do it with this one. I will copy a couple of them and just duplicate them and see and show you what I did. But you can add more variation by using different lines instead of just duplicating, which is what I am going to do. So basically opened this images will try to use the magic wand and increase the tolerance. A bit continuous option checked, and just select the background really quickly like that. And with the Quick Selection and we'll get rid of that. And our Criddle Layer, Layer Mask here, let me just make the selection. And I'll create a Layer Mask with old click on the Layer Mask icon. I'm not going to refine them. Ask because I will blurred this. Oh, I don't really care about the edges. I will select this 1 first. It's going to be really big, I think. And this ones will go on the back. So I will go to the back blur group. Underneath everything prolly underneath these branches as well. So I'm gonna create a new layer underneath. And if I want to create a new layer underneath this layer, I have to press the command key on Mac or Control on Windows and create a new Layer icon. This would create it underneath. And I will paste my rock over there. And all I will do now is just rotated and put it maybe somewhere here. I'll make it just a little smaller and place one of them over there. Then as I said, I will duplicate it, just make it a little quicker, but you should copy different versions from there, put one there, duplicate it, and put yet another one over here. And you should probably add one sticking out from there. I don't know. You can check the reference. You can see how I added just a few ones. Don't overdo it. You don't want to add too many of them and also don't place them on really weird places like that. Try to keep things consistent. This is just to add more, just to fill in the scene. And that's pretty much it. That's why I think these ones in this case, they should go here just to fill in some of the gaps. And that's pretty much it now. I will blur them so that the filter I'll use exactly the same Gaussian blur. That's too much. Let me just use a filter because I like it more. Probably I'll add like 12. I know the branches were blurred at seven or eight pixels, but I will blur this one's just a little more. Let's do the same with the last one. And that's pretty much it. You don't want to blur them too much because you still want to tell that these are actually rock. So probably I should have used seven pixels as well because you can't last their features and their edges. Take a look here, you will see that. Here. You can actually tell that these are rocks. But anyways, so that's how I created more ambient on my image. That's everything that I did. Let me just show you. I'm going to take a snapshot just to show the before and after. So you can see, so you can see the difference. This is with the particles. I'm going to deactivate the particles from blur and also the back blur. And take another snapshot. So take a look before ambient and with just gives this more depth and fills in the senior makes it look more more pleasing to the eye because it's just decorating the whole thing and it adds more, more interest to the scene. Maybe I should change some things around here. Maybe add this one over here. Probably add some out-of-focus here because I think it can not empty this or maybe add some more particles around there, but this is how you can create ambient on your images. Never forget about particles, flying things, and throwing things out of focus will help you build more ambient on your images and create more interesting effects. 5. Blending everything togetter: Great. At this stage, we're pretty much done with adding all the elements on our manipulation. Our job now is to integrate all of these elements and made them look similar. So in this part, what I am going to do is start making the shadows and dealing with the saturation of the colors and with the lightness is not really that complicated. I'm gonna start with the model. So if you select the Move tool with the Vicky and you control click and element, you will select that layer on the Layers palette because right now we have quite decent amount of layers in here, even though there are groups, we have a lot of them and it's sometimes difficult to search for four layer. You can use the, you can use the filter to just type, for example, model and you can isolate that layer. That's why it's a good idea to name layers. But with the move tool you can also control click, as long as you don't have the auto select checked or the group, if you have the layer select on the Move tool I'm talking about, you will select the layer. So what I will do, I have this as a smart object. I'm not going to create an adjustment layer. Is I'm going to desaturate the model a little bit. About minus 30. When you're dealing with groups like for example, in the hands, you can on the arms group. In newer versions of Photoshop, you can use an adjustment layer on the whole group. Or another thing you can do is just merge everything so you could select everything inside that group. Right-click and choose Convert to Smart Object. I would never advise merging the group because you will lose those editing capabilities. So I usually use a Smart Object instead. That way, I still have one layer and I can apply an adjustment to that one layer. And on top of that I can use a Smart Object as mar filter, sorry. And I just could control command u and drop the saturation in here. That's with the arms. Let's name this arms. Now with the pit I'm gonna control click to select it. What I want to do here is probably drop a little bit the lightness. I'm going to select price control man and open the curves. You can use curves, levels or whatever you feel comfortable with. The objective here is to just drop the light on this a bit too much or something like that. So as long as you just make the thing look a little darker, it doesn't really matter what kind of adjustment years. I say this because sometimes people ask me, why do you use level instead of curves? Just read doesn't matter as long as you, you get to the effect that you want to achieve. It doesn't matter what adjustment you're using. Let's do the same with Iraq's control m. These are not smart objects, so this will be a destructive edit and I'm not going to turn it into a Smart Object because there's a minor minor details. So I made them a little darker and I will saturate them a little bit as well too by minus 30 again. And let's do the same with this one. This left rock, this one. We have to drop the light on this one a little more than on the other one because it's more illuminated. And something like that. We can come back after we desaturated if we need to. So I'm going to apply some desaturation, probably dropped the lightness from here as well. Okay, I think that looks a little better now, probably desaturate this one a little more, the one on the right. Now let's move on to this branch over here. F2, the saturated as well. And we will deal with the shadows just in just a second. One thing you will notice probably what I did here is that I kept these leaves green, and I did that with the hue saturation, which I drag on top as a clipping mask, of course. And I said this to colorize, And I just moved the hue until I got to the red bit and just saturated that. Tomorrow you don't want to burn the color. And then inverted the layer mask will control i. And then with the brush, with a normal brush, I just painted back with white over the leaves to make them green. The reason why I made these ones green is everything here. Light was like kinda dark and dark and mysterious. And I want to keep this green shade of hope, or at least that's what I was thinking when I made it. Just a detail that I personally liked. Now, let's start dealing with some of the shadows. But before we do that, let me just work a little bit here on the crown. I want to make it, I want to increase the contrast just a little bit so that it stands out a little more. I will use level that you can use curves as well and just increase the light on it, like so and dark and semitones. The wings here are very dark and I think this was kinda two. It had two little contrast compare with the rest of the elements around it. So also the I, so I wanted to just increase the contrast a little bit. Now, one thing I have to deal with now is these feathers. You could try using the same technique that we used with the wings, which is double-clicking and on the Blending Options, use the slider to get rid of those whites. I that it will work, but you will also lose whites. The y's here on the body. So what you could do, you could create a copy of them. And I'm just going to give you some alternatives. You can select the wings like this. Right-click and choose Layer via Copy. And do it on this because now I have a copy of them. I could hide the model for a second. Double-click on this copy layer to open the layer styles and do the same that I deal with the wings. Remember with the old key, you can separate this and have a better transition. Okay, now I can reveal the model again and use the selection of this to create a Layer Mask here and just hide the bottom part. So just grab a brush and mask out the bottom part. This is just one way of doing it. I think it's the quickest way. What I'd actually did on your original is just use a brush, soft brush and just painted with black with the lower passive living. Let's try 2030. And just paint like that. You will use more detail with this and it's more time-consuming. That's why I used this second technique, which is creating a copy of this newly or via copy. I'm going to hide the model for a second. And I will use levels on this one because I want to increase the lights while the whites in there. And now I will do that later style thing. And I also have to make sure that I that I get rid of the hand like that. And now I can mask the bottom one here on the model with a brush with black to get rid of, to get rid of that, who those edges underneath. Okay, now let's move on to, well, let's see here to the crown and start adding some shadows. The easiest way to add the shadow of the crown is using O'Leary style. So double-click, choose drop shadow, and I will use the black color. Multiplies. Ok, I'm going to increase the distance and increase the size of. The problem with this technique is that you will also add shadows around here, which is not what we want, but I'm going to show you how to, how to get rid of it. So I'm gonna probably also increase the spread. Not too much to about 5%. And I don't know, maybe reduce the distance to about eight or something like that. Now, the shed on the phase looks great to me. Maybe increase in size to 25. I will click OK. And what I have to do now is just turned this drop shadow into its own layer. And the way you do that is right-click known, this affects link and choose Create Layer. And it's going to get that drop shadow. And it's gonna put it on its own layer, which is why I want. And now with a brush, I could really eraser or with a Layer Mask and get, I can get rid of this, but let me. Uses soft eraser and just get rid of that shadow around the areas where you don't need it. We forgot to add 11 detail. Now that I'm here, I can see which is the here I wanted to replace the hair of the model. So let's do that really quick. You'll have some hair images here. There in PNG format. All you need to do is select them. Well actually I'm going to select this and deleted and just grab this part. And we have to put this inside the model groups. So let's locate the model group right over here and paste this underneath her. Locate her right over here. Or yeah, let's put them underneath the wings actually. Again. Okay. So this is one part of the here. I'll put it in there. And now I can duplicate this and just make it stick out from from behind right over there like that. And we'll have to mask this part over here, but we'll do that in just a second. And you can use the other image which is a PSD file. Or you can just search for other stock images on sites like for example, on Deviant Art, you'll find lots of artists that give you like, for example, this one. Make sure give credits. You can see the link to the artist's page on Deviant Art. To really great community to find stock images that you cannot find actually in any stock sidelight, for example, should restart or some other stock sides. They don't make this kind of stuff. This was made by artists for artists. So I could add this one here as well to just add a little more hair. Here. Press enter. And in this case I want to the saturated and of course I have to make it way darker. Probably will use curves for this. Because I have to make it as dark as the other one. Yeah. That looks better. Okay. And I could even duplicate that and just move it to the other side here. Well, actually not looking that good right over there, probably down there will look better. And let's flip it horizontally, maybe like that, and probably make it a little darker. Like so. And now we'll create a Layer Mask on the model. Well, we already had the Layer Mask. I just want to use a soft brush to get rid of those edges. M blend both hairs together, the original and the models here. While the original and the image that I just added uses soft lower passively like 5030. And you can gently paint out the original here and just leave that other one here on the left. We have to duplicate that. Well, actually I'm going to add this one. And just make it smaller and flip it horizontally. But I'm going to underneath the other one. Like this one is kind of I think it's still dark. I made it too dark with the levels. So I'm probably going to delete it because I don't like it. And voila, we have the hair of the model. I think it looks a lot better. This way. Let's stick with the pit here. I want to make some shadows on the ground and make an adjustment for it. So I'm going to add a color lookup adjustment as clipping mask. And I will load 3D lot. You should see a lot's folder in here. And I will use the keep reds for this. And I'm just going to drop the opacity to 50%. This will drop the light on it a little bit and you can see it changes the color slightly. And that way it resembles a little bit the rest of the rocks there on the background and on the ground. And let's make some shadows on the ground. Now, I will create a layer which will be useful for the rest of the elements like this rocks. So I will locate the model. It's called sky because I merge both layers where I'll turn them into smart object. Name is BGN. I will quit layer on top of it, which I will name ground shadow, and I will use a soft brush. So get your brush and flow, let's say 4020. And I will activate the transfer option because I'm also using graphic style with and I will use the pen pressure. If you, if you're using the mouse, you can drop the opacity to about 30 and flow to 20 and try that weight. And all I wanna do is just create some shadow right here underneath this. And gradually faded out as I move away. And here on the rocks as well. Now the masking on this rocket could have done a little better, but anyway, so I'll just darken that part. This part here as well. Notice how this blurred branch here makes it look like this rock is actually further away, so it creates depth of field, which is really nice. Now you have to abstain. Shadow is not really. You have to keep in mind that. Now each of these objects have their, their own shadow as well. So I cast a shadow on the ground, but now have to go, for example, to the Rock AR and create a layer on top of it as clipping mask. And create a shadow here as well. Because it just searching here to ground so it should be darkened as well. That before and after thinking looks a little deeper now it looks more three-dimensional. And let's do the same with Iraq L, with anywhere on top as a clipping mask. And create the shadow over here, especially where it touches the ground, it's important to, to darken that you could use layer styles and add the gradient overlay from black to white and use multiply. I think using a mouse is just more fun to paint. And maybe you can get a more precise results as well. Now let's go with the bits because we also have to create the same here. And just Samir, we don't have to make to bring as much here, but we definitely want to paint some shadows Specially right over here. That was not just a light touch of shadow right around there. And I think we're good to go for that now. We have to also bring some shadows, palm the wings. So let me select the wings. And again, I will create a couple of WASH-related group them. Let me just do that. So I will select the wing. Group them. I will name these wings and I'll create a layer on top and I'm going to clip it to the wings group that we only have to create one shadow. So both one layer. Now if you're using a really old version of Photoshop, you will not be able to do this because in photoshops, ES6 was not allowed to create clipping mask to clip other layers to groups, especially right over here. So I'm Cheryl traded out a little bit like that here as well. Okay. So shadow to create a little bit more depth, we could do the same on the model. So let's select the model Griffith nuclear clipped body shadows. I will drop the opacity to 20 and the flow to ten. And probably I would use the soft light for this because I want a more precise shadow. And with a soft light, you kinda respect a little bit the highlights. So it's not like a linear painting. I don't know if I know what I mean, but with the sulfide and overlay, When you paint, the highlights are not affected. Or at least not that much volume shadows that I created. And here on the arms we should do something similar with layer styles, but I will use gradient overlay. Now, I will use the linear style. I'm gonna reset the alignment. Enemies, see the scale, something like that. And just want to create some shadow on the bottom part of the hands. Arms here, or forums or whatever you wanna call them. I'm gonna leave it like that and click OK. I think I used some, yes, some curves though. I didn't only do some curves for this, since this is a smart object, I'll just press control of men em, and darken a little bit. Increase the contrast slightly by creating this sort of soft S around here. I think a little too dark, so let me just yeah, wrapping that now looks better. One other thing I want to do is hit the blood. I want to desaturate this exotic it's to read. I'm going to drop the saturation to about minus 35. Everything that looks on this branch probably darken it a little bit as well and drop the saturation as well. And what else we can do? Let's go with the heart and with the brain. On the heart, you could create a gradient overlay, if you like, and create this sort of shadow like that. Now you can see better, see that before and after probably lower scale. Rise it up just a little bit like that. The bigger the scale, the bigger the scale is softer and the transition will be. Or the brain we could do the same. We could add a Layer Style and add some gradient overlay. At 90 degrees. Rowley, just rotate the angle a little bit. And we have to saturate this because I think it looks to vibrate and use some curves I want to have like a server, like a rotting brain maybe. Okay? Notice that when you increase the contrast, when you lower the blacks and keep the whites or increase the wise, you also increase saturation. So you might want to lower the saturation after you increase the contrast. Okay, that looks better. Doubt, of course, for a much more realistic effect, you would like to pay in the shadows manually. I'm going to just do it here for the brain because it's more visible than on the heart. So create a new layer as a clipping mask and brain shadow or whatever you wanna call it. And just paint. Increase the capacity and the flow to 5030. And just paying like this. Just bring the shadow that the fingers and the actual hand casts right here. Because the shallow you paid here, it should be a little stronger than than on the rest of the of the object. Athena looks good enough. You can also print some dripping blood around here if you want or if you have stock images. But I will not do it. I think it looks really pretty satisfying to me. One thing I would like to do is this branches on the background. I think there are two vibrant and bright, so I will saturate and darken curves. Just like that. Probably do something like button by using this top point and just raising it like so. You're adding like light on the shadows. I'm still making them darker but not I don't wanna keep those black, so I wanna make it look like it's actually further away into the distance ligands or some sort of missed. And just creating this shape on the curves will give me that impression. The sky looks kinda saturated for me compared to the rest of the elements. So what I will have to do is go here to the Smart Object, double-click on it to open this on a new, on its new layer. Just the saturate the sky a little bit. Like so. I don't want to add more contrast. Saved. Don't forget to save and close. And now it's updated. The sky, the water actually it's to saturate to. So let me just do the same here. With, with the foreground, OK, and save again. And you see now it's updating a smart objects on this document. And actually if I go here you will see how the water gets the saturated gain. I can close the object while that that PSB file. Oh yeah, I forgot about the petals. Now what I will do is just invert all of them into a smart object because I don't want to work on them individually. So I selected all of them. By the way, the way I did it is using that trick I mentioned. Press Psych. The move to control-click one of them is going to select the layer. Hold the command or control key, and the shift gear as well. And you keep clicking the objects. You will select the layers on the Layers palette. And now I can right click and choose Convert the smart object. And now all of those petals are into one layer. That petals and hue saturation and the saturate them. And now I have to use also curves to dark Putnam. And now again, the hue saturation, I have it here, so double-click to edit it, and then just the saturate them even more. Can it too much, I think. And on the curves I would probably, you know, just lower this like that. Now, we also have to paint the shadows, but we can. Now we can, I use the ground shadow because the petals are actually on top of the pit layer. So we have to create a new layer right underneath that petals. Oh, actually, yeah, actually we can use the shadow that we created here for the because this shadow only shows up over this structure and the petals are on top of it so we can use it. The brush tool. There's a small brush and in this case we're going to use a bit of a bigger hardness on the brush. Just paint. This black color is not really the ideal colors. So I will actually sample a color from there and paint with this really dark red. Now, this branch over here, it's not standing out too much because it had almost the same color as the rocks behind. So I will use some curves to darken it because we're actually going to use hue saturation and just lower the darkness of it. I think it's going to look better now. And the same with this leaf. I think I already did it, but I think it's going to look better that way. Now, our objective here, as I said, was to have everything more or less the same tones and have the same amount of saturation and the same amount of light on all of the elements more or less. Because that will make it a lot easier for us. And at the final step, when we get to colorize this and use the final adjustments. Now, on the next step, on the next part, I will start creating the light effects. I will show you how I made this glowing line over here. We are, we will add some light over here. We will add the fire, some flying embers. And those letters over here on those rocks. 6. Making the light effects: So let's start making some light effects. As you can see now, we have at least in amount of layers here on the, on the Layers palette. And if you take a look, you can see how my layers palette is looking like. It doesn't matter if you're, if you're layers are not the same as mine or if you don't have the same groups or if you don't have the same orders, as long as you know what you have and how to find your things here and how to get the result you're looking for. It doesn't really matter if you have the same groups or the same order as I do, because things can be done differently in Photoshop and there are more than one, more than one ways of making manipulation. So that's really up to you. Let's start by creating this light here. And the reason why I created that is this is what I am talking about. The reason why I created this is because I wanted to balance things out a little bit. We have this hands here which are not particularly standing out. And I don't know, I wanted to draw the focus here so that the world will be more visible and kind of have some balance between the light over here and something down, down here. And that's why I think it looks cool. Mics, good contrast between the colors, the yellow and blue, which I knew I wanted to have at the end. So the way you do that is just looking at your peers layer or whatever you call it, and just create a new layer on top of it. And if you have any shadow or any adjustments, like for example, in this case I have the color lookup and this shadow. I want to create that layer on top of every layer that I have for the pit, clipped to the clip, to the, to the bit. And now I also clipped this one. I'm going to name it light ring and said the Blend Mode to Color Dodge. Now, getting a brush tool, may pressing the key on your keyboard, capacity and offload to 100% on the brush. And now it's time to see what color you choose from here. And yarn to deduce something orangey looking like. But the actual value of the color really depends on how dark or how bright your object is. Because this blend mode works differently depending on if you're bending on a light surface or a dark surface. So it's just a bit of trial and error in the beginning until you see what you get. This one looks nice, but I see a small problem on the highlights. When you reach the highlights, you can see kind of burning out. So I might want to use a darker tone because I can always build up the effect later on. But if you burn the effect at the beginning, you're not going to get really particularly great effect. And I forgot to uncheck I forgot to uncheck the transfer option on my on my panam. I'm gonna do it again. Ok, now, have that ring there. If you're on a retouched the color symbol, brass control command u. And play with the Hue. You can use other colors if you want. But you can see that some colors really, well. They're not looking bad, but they're burning out. That affects. So if that happens, just reduced the lightness. And the next thing I will do is double-click to open the, open the layer styles and I will add some Outer Glow. Maybe. You can use Outer Glow or drop shadow, really doesn't matter. And use something like that. Maybe instead of screen, I want to try some other blend modes. And also I want to increase the range. This size. It's enough for me pro increasing capacity and the range. So you can see it definitely adds some glow around there. And obviously we will paint some more glow on the last step on the last part of this class. Now, have that. Let's add the fire on the heart. That's really easy to do. Let's go to File Place Embedded. And from here I'm going to choose, I think I used this fire. You can download other ones from the internet or maybe actually this one. I think this one, it looks a little more wild. I got this from Paxos.com. So I will place that there. And because it has this black background, I can get rid of it by changing the blend mode to screen. Something really useful to know about Blend modes. And I'll place it right over there. They were, this is not the most realistic fire for, for this kind of object. But anyways, and I think, well actually let's locate the heart. I just dropped, dropped this here and whenever I wanted. But we actually have to find the hard because we want to keep things organized in here. Okay, here's the heart. Now, what I want to do is use the layer mask of the model to get rid of the fire right over those fingers there. Great. We have the firewall else. Let's add some flying embers. Those are also contributing to create more ambient. And I will open and I will not place imbedded. I will actually open this image because I only need a bits of it. So I'm going to crop, for example, this part. I'm gonna cut it. And I will add this actually right over here. Over the ambient particles. I will change the Obama to screen. And I will make this quite a bit bigger. Like so and put it right over here. Just to have some fire particles. Now if I zoom in I wanted to present, you will see that the lost a bit of quality. So in order to fix that, you can add some Gaussian blur, one or two pixels. You don't need more. Attune. And click OK. And actually I can duplicate this now and make it smaller and have some smaller particles around. Maybe here on the bottom. Sometimes just from this side, ok, you don't want to add too many because manipulation is already quite crowded with stuff here. So the next thing we want to do is add some styles for this heart over here. On the heart, I want to add, we already have some styles here. Have the color overlay, but I want to add some outer glory as well. Obviously, that's not the color. I want. Something like that. Maybe with a smaller size and bigger range. Okay, then the next thing I want to do is add that runic text in here. And I use the font which I will include unstuck folder. And the font is called stan, standard Celtic Rouen. And just type some random letter that has some fancy shape, like for example this one. And just put it right here. I'm going to make it smaller. For example, that side is okay. And let me actually try this color on Color Dodge. I think it looks good. And just I want to clip it to the rock, right? And the only reason I clip it is just so that I can visually quickly tell that this belongs to the, to this object. And I will double-click to open the layer styles and use the blend if but this time I will use the underlying layer. And I'm going to use the blacks. And move this to the right and then old clique or option click to move it like so to split it. And this way you can create a sort of a like a better bland. Let's try with the white as well and see what we get. Now, let me add some layer styles on Color Dodge. This bimodal is great for this kind of effect. But I want a bigger range. And I'm going to bring that layer style. From here by pressing option, click on the Effects and drag it to this layer, and that's it. Now, this rock is kinda maybe too bright, so I will make it even darker. The foreground here, it's kind of dark as well. So I will probably paints and more shadow on this shadow layer then already, I already have open with black, just a touch. 1-0. Okay, Alex Earlier better. I think one other thing I wanted to create a here on top before we move to the last step is create a couple of layers. One, this will be light effects as well. This one will be named go one. And we'll put this on screen. And you get the brush tool. And what I like to do in this layer is wherever have highlights. For example, you can see the big contrast between the wing and the bright spot of the sky there on the background. I want to add some glow. The way I do that is by sampling from the sky, but you can, you cannot sample the same color because it's going to be too bright. I will use a hardness of 0 on my brush and an ambassador of 50 and flow 40 maybe. And just make some clicks there. Now, I'm going to use the mouse. And in this case, but if I click, you can see that the sky's gonna get two bright maybe. So I will use a dark return sample from higher up there on the sky. And just make a few, maybe. You're gonna include the flow to 100% maybe. And I think we're pretty much down. I think that's enough. I even overdid it. I'm gonna use the brush to kinda get rid of some of that over there and paint it again with this molar brush and just barely touching that wing. Okay. Let's do the same here on this part of the of the heart. Obviously, you want to use really dark tones of this colors, otherwise you will. Let me just show you if I, if I were to paint with this, I will get something like that which is too strong. And that's because I have the capacity to 50%, but I want to have more control by clicking several times and probably hear on the fire as well. I would make a couple of clicks with something more towards orange, like that. Okay, now that was better and the same here. But this time I will use a really dark tone and just a few clicks there. And here on the letters as well. And now we'll create a new layer. And we'll name it glows. And this layer we will set it on Color Dodge. But this time we're only going to paint over surfaces. So not under sky, not on the ambient, just on hard surfaces, for example here. But you have to be careful because this blend mode is really sensitive. So you have to be careful with how bright your color is. For example, if I paint with this, you can see it's really going to light up that. So instead, you can use something a little darker. And also a really good tip is to use lower capacities and flow that where you can paint and build up the effect gradually. Now, I would not paint on this letters. All because we will enhance this with camera and we can do it better. But here you can make a couple of Greeks with a much darker tone. Maybe here on the heart, just light it up a little bit, especially here on the rise. But here we have to paint with gray because we don't want to affect the color. We just wanna brighten the whole thing here. So just light up the ice with the simple quick and the same over here on the heart. And probably that it, Let's try in here and it's not going to work here. I'm pretty much sure that's not bad. So let me just show you before the lighting effects and after. So we added another layer of interest on our manipulation. On the next step, and the final step, I will show you how I use adjustment layers to add the final color effects. And then we will use camera to get the final touch and have our final piece. 7. Final Coloring effects: So you'll reach the final step of this photo manipulation. Congratulations. This is the part I love the most on our photo manipulations because after all the hard work, we get to create the final touch and give it a file, color and contrast effects. So we're going to start by adding some adjustment layers. And then we will use camera wrong. This is the workflow that I usually follow. And for this, I used a color lookup. I'd been using color lookups lately a lot. Pretty much. It's the only adjustment that I use when making the final color effects. And I will use 3D lot. And I will use the epic ivory. This is the effect that you get with this. This is a custom lot created by me. And then I have a gradient map. So create the Gradient Map and I will change the blend mode to subtract. This is a really weird blend mode. But anyways, now the gradient that I will use, I will include it on the download. All you need to do is just click this. We'll choose Load gradients and look for this file called winter gradients. And I used the warm winter. So let me change this list. Small lists so I can see warm winter. I used this one and I dropped the opacity to 11%. This, what it does is just darkness the whole thing a little bit. You can try the reverse and see what it does if you like that, but I will leave it like this. Next, I'll add another column lookup. And I will use the poor fit Navy dot CSV. And I will leave it to normal, but I'm going to drop the capacity to 40%. Now, if you are asking yourself why I'm using this adjustment layers on this particular order is just trial and error. Stacked things up. I try blend modes, I try tried facilities. And I just went by one I could see based on the facts that I achieved and is not something that you just know. You just start adding stuff and when you see an effect that you lived, you just keep that and move on and add something else. See what combinations you can come up with. So that's theirs experimentation. That's why I said I really like this stage. And now I'm going to add a solid color. And here I'm going to use, I'm going to give it a color code. When the color picker opens here on this box, it can enter a value and the value is 0500. Okay, and change the blend mode to exclusion and leave it at 100%. This is the effect that you will get is going to light up the shadows and is going to give them this orangey. Okay, that's the purpose of this solid color. And now we're done. We can now move on to Camera Raw. I'm going to create a new layer on top of everything. On top of absolutely everything looks like a skipped that create a new layer and emit final. And now go to Edit. Sorry to select all or press control a or command. And now press Shift Option Command or shift control, ie, if you're on Windows, what this will do is it will blend all of the layers onto this new layer that you created. And now what you can do is select all of the layers of your manipulation, group them, call this manipulation, for example, and hide it that way. Photoshop will run a little smoother because it's not having to render anything except this snapshot. And we can turn this into a Smart Object. And now we can go to camera wrong. Now you will need at least Photoshop CS six, I think, in order to use the camera as a filter. So if you're going to feel it and you don't see camera in here is because you're using a very old version of Photoshop. There's a workaround for this. What you can do is you can go to File, Save As and save this image as a TIF file. So look on the format. Format, look for tiff, uncheck layers, because otherwise it will go in to save the image in a really huge format. It's gonna take a lot of space on your hard drive. So uncheck that, save it, and make sure that you keep a copy of your PSD file. And then open that file back in Photoshop. And it should open it by default in Camera Raw, because camera comes with full shot by default. So it's going to tell that this is a raw file and it's opening it in camera. At least that's what should happen. Now, depending on how you made this. I already gave you the settings. I saved the settings of the original artwork and you can load them. You can tweak here on this icon and choose a load settings. And you will see that on the folder you'll find kamara final dot XMP with the same values that I used. And getting this result really depends on how you ended up with the final result. To begin with. What I mean is that you can see that without the camera and forget the colors similar to mine, you will get a similar result in Camera Raw. Now, if you don't get this, don't worry, simply just tweet the settings in here, especially the temperature and the tent. And here also in the camera calibration, you can tweak the settings in here and you can change the colors also with the HSL. You can change the colors so you can, for example, the red, you can make them more magenta or you can move them more tours. Orange. And yet the effect that you want something that is not included in that preset filing, those settings, the settings that are used with the gradients. I really like to enhance parts of the image, for example, the head. I want to create something like this. Now I go here and choose Reset local correction settings so that everything comes to the fault. And here maybe I will increase the clarity and probably the exposure a little bit because I want to have more draw attention to her face because his reader, something really powerful here in this image. On the bottom part as well, I want to increase, maybe. Well, the clarity looks good but probably dropped the shadows. The dreams part here. Let me try and draw another circle in here. This part is not read that visible, so I want to Unpublish shadows and actually the whole exposure thing and the clarity as well. What else we could use a linear gradient, for example, to dark and part of the top part of the sky. Everytime you create this, you have to choose Reset local correction settings so that you set everything to the fault. Let's see, male can drop the shadows and exposure a little bit Bush, I'm not going to mess with the exposure, just dropped the shadows and relax. Not, not too much. And you can go here to the effects and add more vignetting if you want to darken the edges. And I will click okay. So you can see that with a camera just by tweaking a few settings here, you can really get a really cool effect. So I went from that to this, the color tones. I went with blues and yellows. But you can really change this and go with something like this if you want or use here on the camera calibration, you can change the settings here to change the tones. And I don't know, I'll get some really weird results, get rid of the loose and get something more yellowish If you want. So it's really up to you what you doing here. That's, that's how I created this photo manipulation. I hope you enjoyed it. And if you have any questions, just make sure you post the comment here and tried to divide you. Make reference to the layers if you liked it, and make sure give me a positive feedback and post your results so that anybody can see what you did and don't be afraid to experiment by using some other objects and some other details here on these artwork. Thanks for watching and hope to see you next time.