Fun with Photos in GIMP | Brendon Schumacker | Skillshare
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11 Lessons (1h 42m)
    • 1. Promo Video

    • 2. Introduction

    • 3. Licensing and Copyrights

    • 4. Select Images and Get Creative

    • 5. Separate the Scene

    • 6. Cutting with Erase Tools

    • 7. Cutting with Masks

    • 8. Fixing Colors and Values

    • 9. Adjust Shading

    • 10. Drawing Techniques

    • 11. Adding Effects and Finishing Up

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About This Class

Photo Manipulation is an art form which enables us to take existing photos or images and collage them together to make beautiful new imagery. This course will walk you through the best practices for creating realistic and eye catching images using the free and open source software GIMP. The course's focus is not to teach you the software, but to give you the best artistic practices to making more realistic and beautiful images through Photo Manipulation, however better usage of GIMP can also be learned along the way.

We will cover how to use your eye to select the best images, manipulated images to work together in the scene better, and overall composition practices. We will also cover lighting and shading techniques, adding depth to the scene, drawing onto the image, and many tips and tricks along the way to improve the overall balance and beauty of your art.

The course is broken down into short and easy to follow demonstrational lessons with entertaining and informational dialogue. The instructor will be available to answer any questions you have, and as time allows there will be addition supplementary announcements regarding the topic of Photo Manipulation.

Meet Your Teacher

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Brendon Schumacker

Artist and Designer


Brendon Schumacker is an accomplished artist and illustrator with experience in many art forms. Having drawn since a young age, Brendon has a lifetime of educational background in freehand art from various schools in USA and has studied along side with artists of varied backgrounds, giving him a diverse understanding of many illustration styles and techniques. He has published comics and children's books, has done multiple gallery openings, and has been doing freelance illustration and design for over 10 years. His instruction style is casual and entertaining while also being detailed in his examination of varied art techniques.

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1. Promo Video: photo manipulation is the art of taking a photo or various voters and reworking them in a software to make a new image. Many people make the assumption that this is an easy skill to learn that the software dissolved work. In fact, this is not true. In order to make beautiful, unbelievable art and design photo manipulation, you have to pick up a few pointers in this course, voter manipulation and gim will cover all of the advanced techniques required to make a full fantasy image using Gibbs software. You can also use your software of choice and follow along as this lesson will give you the fundamental knowledge required to do great voter manipulation in any software. The techniques learned in this course when they were you to make any type of image that comes to your imagination with limited drawing skills and thus give you more flexibility with your creativity. So welcome aboard to this bun and exciting course. Now on, I look forward to seeing you in class 2. Introduction: how this is Brendon, and we're going to dive into this lesson here. This the introduction for my photo manipulation in gimp course and what we're gonna do here is go through a slide real quickly with some notes I haven't hear about what the course is all about. Just a quick introduction. And, um, right here this is the image that my overall plan with this is to basically recreate this image as I've made it here, I walk you through the whole process reason I did that is that I wanted to make sure that I had a good working image in something recent that I could share with you. And so I just did this one first before starting the course. And then, ah, what I'm gonna do is remake this from scratch. Or maybe in some cases, uh, I mean, I want to make sure that I demonstrate everything, but yes, in some cases, maybe I can reuse some of this because I don't wanna have to do each and every single thing . Some of these things air. Ah, very, uh, what you would call it a meticulous, difficult ah, term analysts or something like this just take takes a lot of work. So laborious, that's where does of work. Ah, excuse me. If I'm not too scripted, I personally don't like listening to scripted people. Uh, you know, announced things that they've written. So, uh, um, that this is how I do it. So, um yeah, but this is gonna be the image. I just want to give you a quick idea what we're aiming for here. These are all from photographs. It's a photograph of an animal. Ah, different animals. Horns that I placed onto this animal. And, um, this is, you know, a girl who was wearing, like, a fairy outfit and posing. And then I took image of wings. I have all of the's, which I'll show you. Ah, in the next lesson. And I did a little bit of drawing this stuff back here. What it is, this image is actually called very city. So it's supposed to be a city full of fairies, and you can see the castle in the background and all that stuff. I'll try and make sure I get this image up there so that you can download it and get a better look at it. yourself, Um, so that's what we'll be doing. We'll be covering that image, and then, uh, I just want to run through these notes right here that I made. So first of all, what is photo manipulation? Voter manipulation is, you know, like my a sample here. It's when you take some photos and you manipulate them, right? So that sounds easy. And the product that you have here would be pretty much a perfect example of what you can do with photo manipulation. Artistically, however, the sky is the limit. You can really just do all kinds of crazy things. It's popular in recent times to do something called Face Swap, where you, ah, take somebody's face and put it on someone else's body. Right? That's really funny sometimes. So you can. You can do funny things with photo manipulation. You could be artistic with it. You can take a picture of anyone and maybe try to make them look like they're made of wood or made of glass or something like this, using different techniques that would be a little bit more advanced, but basically the concept is that we're taking some photos. Um, mostly since it's called photo manipulation. Mostly photos. You can mix images you know any sort of images you have. But the idea is to mix different voters together and to make something. Ah, a new image out of existing images. And that's what I did here. In this image. I have a background was one image. Ah, the girl was one image the wings for the girl. I made them. She had wings, but I wasn't satisfied with him. I made new wings out of images, photos of a bird. And then, you know this animal here. We'll go over that in the in the next lesson in more details. But that's what photo manipulation is. It means to take some photos and manipulate them so that they look different. And the tools used in this case, generally speaking for photo manipulation, you could actually say that before. Software. I think a collage is also a type of photo manipulation, so technically you could use scissors and cut out photos or cut out magazines and put it together. But that would be called a collage, I think, for the manipulation, Um, look it up on Wikipedia to don't just go by what I said. But also on Wikipedia, they mention some tricks that photographers used to use before software. I think even where they could manipulate through the images, that that would be something I'm not familiar with. What I'm doing here is gonna be all using software. I'm using gimp software. You can use photo shop or CorelDraw or mango studio, probably as long as it has the ability to manipulate photos to be ableto cut and paste and crop out sections that you want and and read. Paste them Ah, in you know, different positions and to use drawing tools and basically the whole the common set of tools that you expect to see in any photo shop like software. As long as you have those tools in your software, you can use that to. However, I will not be covering any of those skills. If you want to, you can look up for my course called Learn Gimp. It's learned gimp l e a r n learn gimp and ah and learned gift. I do cover all the details of that if you want to. Ah, you know, if you want to learn that that lesson, uh, learned gimp and Also, I have a lesson called, uh, draw a kitchen. That's another lesson. I have these two lessons here in ah, draw a kitten is a free course. It's 100% free, so you can will. You definitely should sign up for that, since it's free anyway. And that will go over some drawing skills. We are going to do a little bit of drawing to get the results that I didn't this, um, so you might want to check that course out to and Gimpel show you all the techniques. If you decide to use this software, it will give you more detailed explanation that otherwise, I'm not really going to go into too much detail about how to use the software. But it's more about the techniques on why Gimp. The reason I'm using gimp software, which is it's an open source software, and it's also free. You can install it on any operating system, and it has all the tools that I need and it does the job. So in other words, I didn't have to pay $90 a month or, you know, maybe it's $9 a month. Whatever it is for this creative suite and all that they're doing. I don't have to pay that because I don't need it. And so even though $9 might not seem like a lot of money to somebody, it is a lot to some of us. And I just don't need the software when I have this one. So you skip and it's a very good softer, Um, last but not least here that have in the bottom, Maybe I should hide. The other parts is confusing. Select, cut, compose a. Just draw. You don't have to memorize that. I just want to write that down. Ah, just like this. As a reminder to me to explain the overall process that we're going to do for the lesson here, I should tell you, we're gonna have a I don't know exactly now, because this is the first lesson. And I haven't You know, even though I tried to script everything out perfectly sometimes, sometimes I need extra lessons. But generally speaking, this is what I'm trying to cover in this lesson. Select me and selecting the images you're going to use cut means to cut out the images because so, you know, if you have for example, a picture. The girl who became the ferry here. She was in a photo that had a background. But I didn't want that background, right, so had to cut her out. We're gonna go through some cutting techniques. I will cover that briefly, but not in detail. How I do that with a software and, um composed means making your composition right. Why did I decide to put the girl where she is and the animal where it is? And there is a lot of things to be considered with lighting and shading that has to do it also with e selection part here. When you're selecting your photos, how to get the good voters that are gonna work together. Well, ah, work well together. And then you have to make your composition, which means laying everything out. After that, you would just a lot of things. You can use the tools to change lighting and shading all this. So it looks weren't natural because it's easy for photos that come from obviously taken at different times of day in different locations. That might not look appropriate together, but we can do some tricks to make everything fit together a little bit better. It's hard to get it perfect, but we can, you know, make it a little bit better. And then some joint not necessary for every photo manipulation attempt or every every image that you're creating but in some cases may also want to do a little bit of drawing. I did do quite a bit of drawing in this, and drawing actually makes it easier whether or not you have a steady hand. It's It's definitely easier eso if you have a tablet, a drawing tablet such as a bamboo. Um, that would be highly recommended. I think it just makes life easier, but it's not completely necessary to follow this course. And, um, that's about it. For the introduction. I think that covers everything. Um, just review again. Here we have What is foot photo manipulation? The tools we're gonna use? I'll be using gimp, but you don't have to. And then these are all the things that we have to do here. Um, these are all things we wanna cover in order to make an image similar to this one. So thank you very much. Animal, go ahead and move right on to the next lesson. If you have any questions, make sure to go ahead and to the discussion area of the course and go ahead and ask any questions that you might have. Thanks. See you soon. 3. Licensing and Copyrights: Okay, so this is Brendon. And in this lesson, we're going to cover how to get your images. Make sure that they're free images, which you're allowed to use. Um, most of what we're doing here. Since it's called photo manipulation, we are, in fact, using photos for the most part. Now you can't just take someone else's famous photo at it to your image. And then, you know, start selling your image on liner or put it on your website and tell everybody it's yours, because that would be like stealing, right? So to make that simple Ah, that's what we'll call licenses and copyrights will just consider that, just like a painting of an artist makes a painting. Every photo that anyone takes is automatically their photo, not yours, even other so many images online these days, and you think that they shall be free. But actually, there's an original owner of that image, and they will tell you whether or not you're allowed to use it. Lucky for us, there's lots of images that we can use on websites such as deviant art, and I recently found this pixels dot com, which is really good. These are great resource is, but I got to show you how to use my Make sure that you're not breaking any rules here. So first we'll go to pixels dot com right here, and they claim to have over 3000 photos. I think they probably even have a lot more, but they haven't updated their text and you can just scroll and scroll and scroll here. And there's all types of photos which you can look at. There's an elephant there. Maybe you can get an idea out of that keys. Fruit. Just you can look through this stuff, maybe just get some ideas. And I thought they had a lot of great landscape photos here. Such as You can see these scenes here with the the bridge and the camping scene and all that. So I found a good background scene on this website, which worked out well for me and let me go back up here if you click the learned more. This pretty much explains everything that you need to know. Photo license And what the's license All the photos on this website lucky for us there under the Creative Commons zero license. Now that license, if you go to the Creative Commons licensing website, it explains. As it says here, you can copy the photo, modify, distribute and perform with it, or you can even use it for personal use. It's free for personal use and even for commercial use. So even if you're going to use one of the images on this Web site to, you know, make an advertisement for a company or something they have officially giving you, they have officially given you permission to do whatever you want with these photos. So this is a perfect website if you confined whatever you need here. In addition to that, we have, ah, deviant art, which, as you can see, already found a fish photo there. What I wanted to show you here on deviant art, which is a very popular website, probably already know about it. If we were toe. If we were looking for a fish and we searched for fish stock and make sure you use that extra keywords stock Strock, then you'll get a whole bunch of images here using, you know, fish. And as he noticed in all the titles underneath here, most of them have not all of them. But a lot of them have the words stock in it. And that's because stock is a key where that means it's, Ah, photo. That's kind of just, you know, intended to be reused. It's just ordinary stock. Regular photo, and lo and behold, right down here in the description of this image, it gives you some rules and something to consider. What he's saying is you're free to use this image, but please follow these two rules and he says, Comment on the stock. Ah, submission or note me with a link to your work, Which means down here you would just leave a link of the finished image that you made with this. And another one is give credit by linking back that means on your finished product. For example, if you were to make a Children's book with this somewhere in the book, you should give him credit and show the link to this website right here so that people want to see the original image. Uh, you know, just to give him credit for the original photographer, they can, you know, go basically find this length, follow this link and come back and see where the original image came from that way, everybody gets credit for their work. Okay, so there's two websites right there. Very good. You can search for all kinds of stuff here, Not deviant art. And also Ah, you have your pixels dot com and there's many more websites out there. But just make sure that you understand this creative Commons zero license if you're going to use it for commercial use, every using it. If you're just trying to make, you know, make some kind of picture for fun or something, you actually don't have to worry about any of this. But in the event that you're going to go ahead and do some professional work, then you definitely want to pay attention to all that stuff there. Okay, so let's just cut this lesson off here cause it's getting a little long. And in the next one, I'll show you real quick about the images I selected. Why? Selective and and where I got him and, uh, we'll see you real soon 4. Select Images and Get Creative: though this is Brendon. And now we're going to get into how to select your images and show you the process that I used to come out with the result like this one here. So, first of all, you're gonna want to get into a creative mode and you're gonna have to, ah, do whatever it is to open your mind a bit. You might want to turn on some music, do some writing, and I find that there's two different ways you can go about this. You can either think of an idea that you want to do. Think of some, you know, landscape or some kind of just, you know, be artistic. I was looking at some other works earlier. That's where they took a photo of a person and they made it look like the person was made out of wood or or glass or, you know, shattering into pieces. He's really, like fascinating things that you can do, and that's a bit more advanced. So I'm not going to cover that type of technique in this. But, um, you can do that. You can use your imagination to, and ah, do believe that after you go through this whole lesson, you pretty much be able to do about anything. But it's just a matter of, like any art form, you have to practice at it. Um, the the amount of skill, level and craftsmanship that you'll have in your first few images might not be so high. But with practice it will get better. And I hope to teach you as much as I can to help you get there. So, first of all, getting that creative mode and you can choose one of two options One is to just think of something or write something down and idea that you want to do and go find the images. Or you can just start flipping through all the images on different websites that offer free photos that you can use and maybe we'll get some ideas out of it. So either way, just get ready to do your work. You might even want to put some music on, relax or have TV in the background. That's what I usually do. And, ah, you kind of get into the zone and get artistic right. You've got to really get into the mood. So for all the photos that I have here, which I'll run you through real quickly. Um a Do you have to give credit for them and in order to save us time, I put all of it in this file. All of the images except for one, came from deviant art dot com, and I was very careful to make sure that they allowed me permission to use thes commercially. Or however I want. Ah, so I won't have to worry about, you know, any problems in the future and one of them. This background image came from pixels dot com, which we already covered in the last lesson. So that's that. And what I did is this background image here I got from pixels. I like this image because it actually looks like a photo, which means it's not too realistic to begin with. The more realistic of photo is gonna be more difficult CEO. It has sort of a high contrast to it, and it's not to say it doesn't look realistic. It's realistic, but it's just so vivid. You just tell by looking at it. It's a photo. So I thought that would be a bit easier to work with, and I was going to see the result. It just has that kind of Ah, I guess you might call it photo shopped type of quality. But I like that because the resulting image here is actually pretty much exactly what I was going for. Just sort of, ah, fantasy scene wasn't trying to be perfectly realistic, but just ah, you know, something that catch the eye and and allow you to to see the imagination coming through there. So I chose this image to start with, and then I looked at it and I started get creative. And I said, Well, for me, this would be really cool of this realistic type of scene was a fantasy scene. So I started flipping through other images and I saw this animal here, and, uh, I saw the girl where she at? She's well, she's in there somewhere. Yeah, actually, you know what? There's two images missing here. Have to bring up real quick. Hold on. Okay, there she is. And that was Theglobe image taking by deviant art called Peacock stock or No, that's Roman. It was Mickey by M. Geremi. I can't pronounce some of these names anyway. It'll be in the credits. I can see I took the girl. I cut out a lot of parts of her and she ended up fitting perfectly on that rock, which I just thought, Well, that's just too perfect not to use the way that she sits right upon that rock right there. That's a part of the creativity when you're flipping through and looking a different images , seeing which things will fit properly, right? So if I were to go grab a picture of a fish and maybe Ah, let's just say clues Excuse me? Close this very quickly. Maybe bring up a small image like this one and will make pretend that this Ah, this little fox like animal is actually a fish. And if he were to be or even this guy, you know, if he were to be like, floating up in the sky, If I wanted to have an animal and looked like it was floating in the sky, would this be an appropriate image? And the answer is probably no cause he comptel clearly that hiss feet are just standing flat on the ground. Right. However, he did work out perfectly to be standing down here in that location right there. So that's something that's really important. A step number one when you're choosing your images to make sure that they're going to fit properly now, as far as re sizing them goes, that's also a problem. If I were to take this again, going back to, ah, small image like this, if I were to take this guy here and if I wanted him to be bigger and I had to stretch him, such as making real big like this, let's see what happens. Actually, it wouldn't be too bad, because that image has has a lot of detail to it. But look at how when you zoom in, the closer you zoom and it starts to get blurry. Right? So the image was too small that when I stretched it, luckily in this case had actually worked out not, you know, not too bad. I think there was a very highly pixelated picture, Which is why, um, but in some cases, when you do that, you might come to find that it doesn't work so well. Maybe stretching image is going to get pixellated, such as when you zoom in very closely and can see all the pixels. You don't want that up. So you want to make sure that you have a nice big background. If you have a background in your image that it's ah, nice big background and that all of the the objects that you're gonna put into this scene or at least big enough that you don't have to stretch him too much or else you're gonna get a lot of blurring and stretching type of Look to it. Now, another thing to notice about these two characters right here is that one thing is very, very clear in this scene. Let me move him for a second. In this background seen here, we can see very clearly that I have The light is much stronger over here, and it's coming over in this direction. So that means the sun is over there, right? And the sun is shining its light strongly over this way. And you can even feel that such as in this area here you see more shadow on these trees, right? This area saw like the trees looked dark because the sun is on the other side and this area is all shaded as a result. You can also notice the's trees Over here they look more bright. You can see all like detail in the light flickering off of all of you know that Well, they're not leaves are there because their evergreen. But whatever you call the leaves of these types of evergreen trees, you can actually see the light reflecting off. So it's very clear in this image that the light is coming in this direction. Now, look at the two images that I selected here. That is actually also the case. It's very clear. Ah, that, uh, sorry have to make a new layer very clear that the light is hitting the girl here and here on her knee. And the other side over here is dark words where their shade. So that's a part of selecting your image, which is actually very important because it looks like the light, even though you might not think of it. But the human eyes very smart, and it notices these things. So if I were to have this girl selected and let's say flipper around, use a transformer quickly. If she were flipped around this way, you're I would probably notice that something is really wrong because everything else in the scene here is receiving the light from this right hand side over here. Why is she suddenly, you know, getting it on the wrong side? It just wouldn't make sense to your eye. Something would stand out and be weird. Also, with this animal that's called authentic. I didn't even know that before. I found this image sort of like a little fox. He also has the light coming on this side. You can see very clearly the light is hitting is back and on his stomach underneath and on this side, it's all shaded. So notice where your light sources and where shade is when you're selecting your images and it doesn't mean it's gonna limit you, you don't have to always find the perfect, uh, type of ah, lighting and shading just to match every image. And I might be cases where you're a piece of art or or the work that you're doing is going to be in a very dark scene. Or maybe the sun is directly above so you can't tell where the light is is just all over the place. You never know, and you can you can work with things, but just like I did with this girl here, if need be, maybe she would just be flipped over, and all I would have to do is, you know, flipper horizontally, and then it would work for a different scene as well. You can do that, but just keep it in mind that you might have to flip the image might have toe, you know, do some lighting work on it so that it looks like it actually fits into the scene. Uh, the lighting and shading appropriately that is coming with this. The scene that you're making that's a really important tip that's gonna help everything to look a lot more realistic. So after I found that, um, authentic, as it's called the animal, I thought I'm making a fantasy scene. So I have to do something to change him a little bit. Not just looked like a fox. And as I was looking around, I found these horns from this goat and said, Yep, that'll work. And, as you can see, obviously made him into this type of animal, which I don't believe exists. It's like a fox with giant, uh, go corns Ram horns or something like that. And so that's where that came from. Now, for the castle in the background. I didn't actually find an image that was perfect for a giant like sort of fairy Castle does . The name of this is actually called very city. That's the name of this image. So it's supposed to be a city where you have fairies and stuff, and I imagine they'd all be up in, like, this giant castle in the background. But I couldn't find a giant castle photo cause giant castles like this one don't actually exist in real life. And I didn't want to steal someone else's artwork. So I got these two little castles here, and I just broke them down into pieces and put them together and build him up like, you know, almost like Legos or building blocks. Until I made this big giant castle and we'll review how did that coming up real soon. So those are the main tips so far. This Ah, I didn't know I was gonna choose this bird. But later on, when I realized that the the girl who was posing here is the ferry, I realized that those wings were just not going to do it for me. You know, when it's something a lot more amazing and spectacular than that. So, um, I actually just drew the wind wings in with the tablet using a wack, um, bamboo. You can also have into us or whatever. And I just drew him in. And then I realized that that my hand drawing didn't fit with the rest of the scene so much at all. I had to get something more realistic. So I just want to grab these wings and I cut him out in the pieces and paste them, pasted them over and over again. Actually spent a lot of time on that until I got this effect here which when you zoom out, I think it works just fine. It's, you know, it's doable. I could even do a little bit more work on Thea on the coloring with that one, actually, um, down here later on a Well, from the very beginning, I knew this road was gonna be a problem because that's a like a cement pavement road and appear in some very fantasy kind of fiction seen like this. Obviously, there shouldn't be any cement paved roads, right? So I just found this beach scene or I don't know if it's a sand dune or whatever it is, but something to make it look a bit more natural. And if you zoom and now you can see that it's covered up with a more dirt natural type of route. Ah, what, have you like that to be a little bit different. But, um, that was that was one challenge I had to face. And I just dealt with it like that. I think it looks OK. And I think that's about it. Yeah, we went through all of these images, um, recovered. This is yet the animal authentic. And this and that the wings. And then you have these guys up here because I wanted to at first actually just had the girl and this guy here, and I just didn't feel like it was done. So suddenly I realized I would have its Ah, you know, there's a whole bunch of fairies in the background flying around that would make it seem much more fantastic, right? So I actually just hand drew these in by selecting colors from her with the color selector and then drawing inappropriately as I saw fit. And then there's a lot of blur effects and and the shading and lighting that I added along the way. And I'm gonna go in that the I'm gonna go into detail with that and the subsequent lessons . But for now, that's all we need to know for this one. And I need to take a breath because that was too much. I feel like a having a breathed in a few minutes here. Okay, I hope that wasn't too long, but that just to give you some tips for when you're going to select your images, how to select him toe keep in consideration all of the lighting in the shade and things fitting into the scene correctly and the sizes and all that, and noticed nothing is chopped off her cropped off. If you have some bad photos, they would like, maybe crop off her leg or or you wouldn't see the whole animal and you don't want that to happen. You wanna make sure you get the whole body, all of the feet and the legs and details when you're selecting any kind of objects that you want to go. The the whole object. The whole subject matters a lot better. You can decide. Decide to crop it off later if you need to. But for starters, it's better to have everything there. Yep, that's it for this lesson. We'll see in the next one will start going into detail about how I actually put all this stuff together. Okay, See you soon. 5. Separate the Scene: this is Brendon. And in this lesson, we're going to cover some advanced selection techniques which I'm going to call separate a scene because that's basically what it boils down to is taking one image and splitting it into multiple layers. So what happens is when you have a situation like this, you look at the image and zoom in. The background is blurred intentionally for ah, you know, missed effect. But we zoom in. You can see that these Ah, these trees, they kind of there in the foreground, there, in front of the castle. Pretty nicely. I mean, keep in mind this image is only meant to be viewed this big, so that's kind of far away. But it was zoom in. I see it kind of fits in rather nicely. That wasn't the case originally, because the castle which I have to find right here, is a separate image which I made and installed to that area. So if you look originally, you know, how are we going to make this castle fit in the background and have the trees cover it up? Ah, you know perfectly like that. It's kind of a complicated thing because you want to make a selection of all the this very , very intricate detail of all these trees and even like the space between the leaves and stuff like that, how do you make it? So I could just put something behind their right. And so one technique that might be, ah, beginner idea which would work in many situations, would be to lower the a passage of the castle and go in here and just a race out. All the stuff that I don't want, right, they're gonna race this. Use Ah, bigger Racer. Do this quickly. Sorry if this is taking time, but you get the general idea is just to race out the stuff that I don't want. So it looks like that tree or I mean, that castle is behind those trees. And, you know, technically, if you zoom back enough, it actually kind of works, right. But it's not really artistic. It's not fine. It's not detailed. It's leaving a lot of spaces around there. And we don't want that. We want to be able to do is to be ableto actually slipped the castle right behind the trees . There. Now, how did I do that? because this image was originally one image. What I had to do with this background image was to split it in half. So I have The background is gone now, right? That's one layer. And on this other layer, this is, uh this is the background, or that was the foreground. Okay, let me say that again. Here is the background. And then here is the foreground. On a separate layer you have on two separate layers. And then I put the castle in between both of those layers so it will fit right in, and you can even just slide it around and play with it. Do I want it over here? That one over there, and it constantly consistently stays behind all of that stuff. Okay, so let me undo this. A whole bunch of steps to get back toe where we were with it. Um, you have to go back many more steps. Right? Okay, So here is where I originally had a, uh, this black mask that I made. This is where you start to get into making masks and layer masks. And what I had here when I looked at the original image, I said One thing you could do is maybe use a color selector or a magic wand. That's beginner stuff, but the colors are different all over here. So I did that. It would only select. As you can see. It's not selecting everything. It's selecting like bits and pieces all over. Even if I used Ah, the magic wand and, you know, held down the shift key and kept clicking again and again is just not going to select that whole area perfectly. So what I did is I made another layer and I filled in all of that. All of the parts of everything that I want to cut the layer they want to cut. I filled that all in black. And how do I get that so perfectly? Well, that's the trick. So here's the original image I'm going to copy and paste it on a new layer. Then I'm going to take all the colors out of it. And depending on which software you're using, this will differ. I'm using ah gimp here, so I just go up to colors de saturate and click. OK, and now I have a black and white version. Now they have that I'll go to colors again. Go to brightness. Contrast. I'm just gonna put the contrast all the way up and look at that. It did half the work for me already. Now they have that done. Now I can use Thea color selection tool or the magic wand. And this case, I'm going to use a magic wand because I don't want to. Ah, select that. Actually, let me take that back. What I can do is use White because there's some parts here. You can see there's just, like some dusty stuff back there. I don't want to select all of that. Okay, so I select. Yeah, just like this. That would be good enough to have all that stuff out away. Big, clear, perfect sky up here. Now I can take the color selection tool and select all of the black or actually, before even do that. Why not use black? I mean, there's different ways to do this. So excuse me if I'm a, you know, stumbling around and all this stuff up here I'll just painted in using a tablet where he could use the selection box and paint bucket tool. Just filling all that part that you want to. Ah, you want to be black? Select all this stuff here. Just colored in. And now, actually, that pretty much does the trick. That's good enough. Depending on what your situation is, you might use different techniques. Now for this here, I think this is actually a background mountain. So I'm going to go back, toe white and take out some of this. It doesn't look perfect, but you get it in there. At any rate, you do what you have to do to get it to look perfect. Now that I have this, I can use a color selection tool or the Magic one, and I'm just going to select all of that rips. I see a Mr Spot down here has black, Right. Okay. And now you see, I get a perfect selection. Turn off that layer. I was only the only reason I made this layer. This is what we might call a mask. It's a layer mask that I put over my original there. So I'm gonna turn that one off, because I only used it to get that perfect selection. Now I'll go down to my original image here, and I can cut out that whole part and paste it back in, and that is basically the trick. So now you can see I have the foreground on one layer and the background on another layer. So now I can go get my castle right here, slide it down in between those two layers, and there you go. Just Azizi. Is that so? Using an extra layer de saturating it, coloring in the parts that you wanna separate and then go back to the original image and cut out the part that you want to separate. It's basically three or four steps with a little bit of work in between. And here I can move the castle wherever I want to. And it stays perfectly in the background with the foreground separating itself very nicely . Even in this very complicated area here, where you have all the leaves and the and the light shining through. I can put the castle back there and it fits in writing perfectly, just like that. Okay, so that's Ah, the end of this lesson. If you have any questions, let me know. Hope you learned a lot. And oh, I want to mention if you Ah, a lot of techniques that were starting to use now might, if your new If you want to use the software I'm using called gimp, then go ahead to my other lesson. Just search in war wherever you happen to be for learned, gimp. And, ah, you know, look for the one by me. I think there's only one. And that's the name of the lesson by Brendan Schumacher and, ah, yeah, that that lesson of tell you all about all this fancy stuff I'm doing with layers and and you know, all the tools and and menus and everything I'm using here. So you might need that as a complimentary. Of course. If if you want to use this, if you're using photo shop or whatever, you know how to use already, then you're good to go. Okay, so that's it for now. See, in the next lesson, 6. Cutting with Erase Tools: though this is Brendon. And in this lesson, we're going to go over cutting out the characters and props how to cut and, um, thes different techniques we can use to put Oliver characters into the scene Now, in this scene is very clear. Cut and dry. Um, let me show. The finished product here is pretty clear. Cut and dry. We have ah, never all image seen. There's some Ah, uh, I guess I'd call this a prop. You know, architecture, the castle in the background. In the foreground, we have a couple characters and I drew in some extra characters, and that's it. You might be doing something more artistic, such as, you know, taking your friends image and making them look like, you know, demon or or a beautiful on a magical character. Just whatever your imagination comes up with, right, So it's not always going to be very clear cut and dry like it is with this situation. So I just want to explain that when I say characters and props, this going all depend on whatever it is you're doing, and you're gonna have to find different techniques for different situations. You might even have Ah, a surreal kind of situation where you have, like, one type of background blending into another type of background, and you can use all the different tools and tips. And I'm gonna teach you in this lesson for that as well. Um, first off, how to cut many ways to go about this. Let's bring out some of our characters. Um, which we have prepared in advance, I believe of the find. The, uh, the girl she's in here. Yeah. Sorry. Didn't have that pared already. There she is. Yeah. Okay, so, um, here is one of the characters, so I had to fit perfectly in place toe sit on that rock, and obviously she was like, a great fit for that situation. Is that that little rock? That little boulder just happened to be there. Now I can't see when I put her over there. You know exactly where she fits. But there's one thing I know for sure is that I'm not going to use all of this stuff here. Now look at what happens when I start erasing on her. This is in this particular software. This is just gonna be a quick tip for those of you who are using the gimp that happened Sometimes that a layer which you imported, we'll have some background color to it. So even though you're erasing, it's not going to give you a proper transparent erase. It just gives you the background color that you race off of it. There is a tip somewhere up here. I'm sure to change that. But I don't know where it is at the moment because I have a cheap trick for that. Whenever you get that situation that you can't erase and see the layer behind it, just copy and paste it real quick and turn into a new layer. The new layer will be able to, um it will solve that problem. So let me just hide this layer now in this new layer, which I just pasted. Now you see, I can erase everything, and it just makes the the underneath layer show up better. Okay, so, um, since I have that, they're gonna get rid of this one. Make sure to name my layers. So this is like the most fundamental easiest trick is to just go ahead and erase everything you have here and be sure that you zoom in. You could if you don't have a tablet. Doing this with the mouse would be a little troublesome, but you could also do something such as take out the lasso tool and just go a point by point. Around here, you can start off being very rough like this. Just go around and get, you know, a vague idea. I know in advance I'm not using these wings this time, so I'm gonna cut them out this the second time I've done this. Now, after you have selected her, you can go to selection and invert the selection again. That'll work in any software and just delete that, right? But it'll just be different, you know, depending on which software you're using Now, I don't think, or I guess I should say pretty much know for a fact there is no the magic wand I want to say. There actually is a magic wand, right? That's this tool up here in the toolbox. But the magic wand isn't is magic as we'd like it to be, Um, it doesn't just magically select a human. Um, or at least not yet. I, you know, with modern tools that they have out there. It's kind of funny. I guess they should have something because they can detect where a person's eyes are that they can have software that detects where persons faces and do face recognition. You'd wonder, why can't they just find the whole body for us and select that magically? But you know, even if they were to do that, then what's next? Then they'd have to make a new software to figure out where the whole dog's body is and etcetera, etcetera goes on and on. And for infinity, there's all different types of situations. So the best thing to do is basically to know how to use all of these tools and the software . Because even if we had a tool that saw that problem, then there's gonna be another problem after that. So you can't solve all the problems. So this is just one Ah, very basic way of going about this right here that I can use just to give ahead and erase out this stuff that I don't want in this image. Nothing too complicated for that. And I might even leave a little bit rough. Now if you're making a piece of art. You might as well take the time and go ahead in there. And you know, if you want this to be like, would you call a timeless piece of art or something like that? You get ahead in there and zoom in and get all the details and stuff like that. I'm not gonna worry too much about that right now. One thing you can do is make sure you have a nice soft edge on your racer. So when you're racing, it kind of blurs off Instead of making a sharp edge. Right that way, it will fit into the scene a little bit better. Hopefully it'll blend in to the scene. So I have her cut out Pretty much, I wonder. Put in a in a place here to see how it fits. It's not perfect. Where is it? I guess it's OK. I think I made her a little bit smaller every year. Yeah, she needs to be smaller anyway. So for this situation used to resize tool again, No advanced magic going on here, make you a little bit smaller and put her in a place. And that works just like that. I think That's almost about the same. You can see I made some changes with their hair and stuff in the later one. That's not important. I could even just leave that out is for now. So that's one basic tip another one. 7. Cutting with Masks: Okay. Sorry for the abrupt start and stop with these couple lessons. It was one big video run and I had to split it up into Ah, two parts. So it won't be too long and boring for you. And you can come back toe reference it. So in this one, we're going to do another technique for cutting out characters with a layer mask. And let's go ahead and get started on that. Now, another trick. We can do that. This one you might like this better. This just I'm just showing you different techniques. You could do this. What if I were to a race here? Sorry. Let me go back to the ferry. If I would erase the ferry here accidentally. What if this wasn't a ferry? What? It was something Not just a girl, but some big complicated thing. And so I erased there. And then I re server here, and I'm working. Working. Then suddenly I realized Oh, wait. I accidentally erased something over here many, many steps ago. And I go back, back, back, back. But it's back, like 50 steps. I don't wanna have to backtrack that much. Right. So there's another technique which you might prefer, and that's called a layer mask. Let's see what happens when we use a layer mask. If you make a mistake when you're using a layer mask, it's not as much of a problem. So I'm going to go. And I assume this is one thing I'm not 100% sure about in photo shop or the other Softwares . But if gimp has it, I mean, they must have it because those are technically more advanced. Software is they're expensive and all that. What you want to do is add a layer mask with white full a passage E. And I don't know why it says white. It should say black, because what happens when you add that layer mass to this image? Everything that color. If I'm on, I was on the wrong there. Sorry. Uh huh. Okay, one more time. That only takes a second. What happens when I color on this with black is it actually erases it, Okay, It does exactly the same thing as if you're erasing it. But what I'm doing is I'm using a brush and I'm coloring with black. So why does it do that? Well, it's a color mask, and what it's doing is it's adding an extra layer. You can even see it over here. There's a theory journal image layer, and as you see here in this part on the ah, on the other, the what is this called the layer selection area. Here it added a second layer, which is a mask, and what the mass does is it applies a certain type of trick to the original layer. So the trick that we apply this time is anything that I paint black, make it disappear. Let's make it go transparent, and that's what it does. And so the great thing about this is, if I make him a steak, I can flip back to white paint over here. I'll go back into the white color and actually bring it right back, right? And what if I want to bring all this back? I can bring the whole thing back. So if you have a very complicated, uh, little object or image that you know, you need to do a lot of detail work on and you're afraid you're gonna make mistakes and definitely you use this layer mask and so you can get rid of. I don't even just go like this real sloppy and say get rid of all that stuff like that. I'm not worried. Uh, lips I erased his ears. I don't care, because I'm just gonna flip back to the white now and we can bring that stuff right back. So you don't have to worry about mistakes as much. And you can flip back and forth with colors and say, you know, here, I'm gonna do a little. I went too far. Let me just flip back, brought it back. Take it away. Bring it back just like that. So the color mask used black and white to a race and bring back everything on the layer. You can take out anything. Maybe you even wanted to, like, erase his eyes for some reason and put other eyes in there. That's fine. Was erased all of this stuff like my brush. A little smaller going there and see. Here's a perfect example. Maybe I want to bring this back and get it perfect that come in here, flip the color back, make the brush little smaller. Zoom in on. There you go. You got here and do the hair make little like, you know, dashes as if you're racing the hair off. Now. Actually, I want his eyes back. I don't want to take his eyes away. There you go. Okay. So the layer mask is a great way to do some detailed you race. And I'm actually going to do this for this guy here right now as we speak, but I'm not gonna finish all of this right here. Um, let me get back to the right tool area. Okay, So I'm trying to say things that are useful, important while I'm doing this because I do need to get this done to I'm technically redoing the whole image. So now I can move him around. Whoops. This a good tip to one year painting on the layer. Mask the layer. It actually has two layers on it now. And you have to select the right one that this is if you're using the camp. I'm not sure it's the same. Look what happens. It actually, you can see that that layer it's moving around. I don't want to see Select that. I want to move the whole him. So I go back to the original layer and try and pull that one. And that'll work soon. Actually, that one around once I move him out here. Yeah, I can see. Now watch. If I start drawing on this layer, it actually draws the black. I have to go back to that mask layer and then I can do this. A recent. Yeah, there's a lot of little things to pick up with this software. I'm assuming it's equally is complicated in the photo shop. I do. I do know filter shop of used a lot, but I haven't done, um, layer masks with it, so I don't know the specifics. I don't exact specifics of of how it works, but I'm assuming is very similar. I think a lot of stuff they have in gimp, they probably ah, it was existing and other software such as Voter Shop or CorelDraw, already as well. And so they decided to implement it into this software. It's just common features of all these types of Softwares column imaging software. He stepped to Softwares have that there, and there's eso. That's two different techniques that we make sure it covered everything. We're cutting things out. We did layer mass selecting and blending. Now blending happens where we have, um I hope I brought that out. I want this guy because what happened is in the original image we have here. They hide that for a minute. This guy is way too white. It's not a good sky, and it doesn't really have much going on. Right. So I wanted to use this cloud sky, and that's why I ended up using every here. Where did I, um Oh, actually, this might be the wrong image. Let me use this one. Anyway. What I'll do is, uh, first of all, remember what I said about light. You can notice on this one that the light is definitely coming from that side. And, you know, the darkness is is shade is on the other side. So this definitely is one case where this layer needs to be flipped. Going to GOP to where is layer to about now? Transform. Flip. Okay. Something like that would be a little bit better, but I need this one back behind. Yeah, not only the castle, but also that one. So, in this situation, I don't wanna have to do that whole trick Where I separated everything again. And at least I have the foreground behind it. One thing I can do is well, I mean, first move it up someplace. I think this is this Is this the same image that you feel it might be? Yeah, I might have changed. I might have played with it. Enough we can do is put it up there. Ah, I think that's where it was. Not quite sure we'll see what happens that put up here. And then again with a layer mask. Let me go in here and at another. Let me copy. Paste it like I did before. Okay? Again with a layer mask and right, Their wrong one head layer mask. Yeah. So I get a little bit nervous sometimes and trying to get this done quickly. Now I can use Ah again. I want to paint black to a race, for example. Some of these areas here and reveal the mountains. But I want it to slowly gradually fade often mountains so I can do for that situation is used the radiant tool and make sure it's in linear mode. And make sure that here I have it from fade from foreground to transparent. So that means is gonna fade from black to transparent. And then your mood And while do is just hold it from the part where I wanted to start fading and hold down the shift in control key. And there, you see, it'll just gradually fade off like that, make it a little bit higher. Yeah, let me zoom in so you can see just grab it here, pulled up. And there you go. So it starts to reveal the mountains gradually. Like that. Okay, then. Something else I can do is lower the a passively on it just a bit. So there have a different cloudy type of scene, but I'm not convinced this is the same image that I had before. I think I might have used a different matter. Or maybe like, that is better. Yeah, that's why have to do is move it up a bit. Is that similar? Yeah, that was it. So now that move it, I had it up very high. This which actually looks better. That's more natural. Yeah, that's about it. And I think I must have played with the contrast on it or something, because obviously it's a little too dark, but I think for now I do believe that's good enough. My just over the a pass itty bit. Yeah, that's about it. Okay, so now we go back to just look at the role image we've done our castle, and we have our fox character here called Authentic. And the ferry. We've got everything cut out. And that was our goal for this lesson is to use layer, mask, select and blending techniques to, um, to get everything cut out. Put in a place. I didn't go over the castle, but I hope you did. See, I do believe I covered this in a earlier ah lesson. It couldn't be more simple. All I did was take, uh, this image here in this image here. And you can see I cut out this castle area this whole. Where am I on their this whole castle area here on this one. And you can see specifically this part right here matches up with that area over there. I just cut that out and stacked it on top of itself. Has really simple assume it's funny. And ah, these ones. I did the same thing, So excuse me if you look at the castle on the bottom here, bottom part of the castle was actually from there on. Let me just move it up so you can see it better. Right? So you see this? This castle was used on the bottom, and eventually that just got put behind the scenes there, so you don't even see it. So it was almost like a waste of work. But I think some of the top part of the castle still come out. It does something. It does something and that all eventually turns into this. So for this part of the lesson, and I'm glad that this was not too complicated, very simple just how to move things around and get rid of the backgrounds and fit him into place. And next, what we're gonna do is see, how did we take it from this? And get it into this where all the colors are working together better and you can feel the depth and space in the scene and stuff like that. So But for now, yeah, that's just cutting out your characters and moving everything in the place. Hope you learned a lot and we'll see in the next lesson 8. Fixing Colors and Values: No, this is Brendon, and in this lesson, we're going to cover fixing the colors and the values in the image is what happened is we copied and pasted basically a bunch of different images from a bunch of different places. And what that does is it brings a lot of in this situation. We're kind of lucky. It's not that bit, but it tends to bring a lot of, um, how to say value problems. And what I mean by value problems is the colors and one image might be a lot more sharper, brighter, more vivid than they are in another image. And also, in cases like this, where I built this castle, let me actually name that layer real quick. Uh, in that castle image, the original images of the castle were actually kind of close up. It's not that far off, but in this situation, the castle is supposed to be kind of way off there in the background, behind the trees and all that. This is really, really big. Um, you know, epic, the fantasy style of Castle, almost like Disney type of thing. And it's just, um, it might stand out a bit too much so some of this, I guess you kind of gotta have an eye fort. It doesn't all come out toe. Everybody doesn't stand out to everybody, this type of thing. But once I go through it with you real quickly, I think you'll see it's not too hard to figure out. And I'm gonna show you a trick real quick here to ah to see whether or not you have the correct values. Okay, so the first trick I want to do, I'm going to select the highest layer. As you can see, there's all these layers up here which I have hidden there, just kind of out of the way because, you know, trying to do the work. We're basically redoing the whole image, which I've already done. We already have the finished product here. It's kind of like a cooking show where they finish it first, and then they show you how to do it. Um, but let's go to the top most visible layer that I have ever here in a right click on it and have a really, really special tool over over here called New From Visible Right New from Visible, a click New from visible and it seems like nothing happens. So let's see what happened with new from visible. Actually what it did, I can demonstrate by using Thea move Tool here. What it did is it made a whole new layer with everything that's visible right And you can not, um, had to say you you cannot separate that. It's all one layer now, so I still have my other layers, right? I can hide that Fox character. I can hide the girl and and the foreground, these air all on separate layers. But the new one, the new from visible It emerged all of those layers for me. So I have all of those together and I have the old previous one. Now I have to go back step. A few steps actually might be easier for me to just delete that. Redo it, make sure it's in the right position. So why would I want to do that new from visible? Because what happens is with this new layer that I make. I can apply some tricks to it such as d saturation and let's do that right here. Image layer, never gonna colors de saturate. And now I have a black and white version of it. But look, I can hide it. And all of my previous work is still there. Untouched. Right. So now I have this black and white version. And why do we want a black might version? Well, this is my values. If you don't know what values are, take my previous courses, which I mentioned, um, draw a kitten or, um, there's I have a drawing course called from drawing to illustration. You confined my other courses, find my illustration course, and that I'll help you out a lot. But briefly, the values are gonna be the difference between ah different colors of the saturation of the colors. The best example here is look at the mountains, the mountains. But even when I zoom up on him, the shading on the mountains it's only a little bit gray and the light hitting the mountains is just a little bit white. But looking, we zoom up to these foreground objects, you'll get how dark that is. Right there you see really dark shadows and look at the light reflecting off that leaf there. It's almost pure white, so you get really sharp whites and really dark shadows in the foreground, but often the, uh in the background far, far away. It's totally different. That's just how the human eye works. That's just how things work. I don't go into detail on that in this lesson, But what I want to do is make sure that all of the objects that I've I copied and pasted in this image have the correct values. So one way to do that is to make it black and white, and things just stand out a little bit better this way, and it gives you sort of ah, different view on things. Another thing you might want to do because you've been playing with your image, you know, doing all kinds of copying, pacing and stuff. You might want to go ahead and flip it and okay, sorry. A video quality got choppy during that, Uh, probably used a lot of memory. Now, when I flip it around, I can get a new view on things because of your staring at an image for an hour, two hours doing all this work. You just get used to some mistakes and some flaws, so you flip it around. It gives you a new perspective on things helps you to see things you might not have seen previously. And they put it back to where it was. For now. Everything's okay. And of course, I've already This is my second time doing this image. So and I had a lot of stuff prepared already. So I know on this 1st 1 it took me quite a few hours to make sure everything was perfect. Okay, so anyway, that is, um that's what values are about. What am I going to do to change the values? One thing is using a good old fashioned. Let me make sure, foreground, using a good old fashioned color tools here, brightness and contrast. And to play with this, you know, do do I like it with more contrast or less contrast, you can make it real strong like this. It will start to get a little bit Disney or comic book E. I'm not sure if you like that, you know, make it real sharp like that. But if you do it to this layer, make sure you do it to all the other ones. I don't really like that, but I do think I want to make this little bit brighter. If we look at the other finished version I have here, it's Ah, it's a lot more soft in tone. It doesn't have this really sharp, vivid colors here. I think the contrast is is a bit too high. So on that layer, which is make sure I have the right one, the foreground. I might decide to lighten things up a bit with the brightness contrast and bring a brightness up just a little bit. Yeah, that works better. Now you can see the other two characters I have here. They're standing out a little bit more because that was faded out. So I want to go back to them to go to the very first. And colors also lighten her up just a little bit. So she fits in and just try and make it so this is obviously way too white is the best way to do it. That's way too dark. Let's find someplace where I just start to feel comfortable with it. And don't look at don't even look at the scale while you're sliding it. Look at her and let your, you know, let your eyes tell you where you think she belongs For me, it's right there. So you see, I did have to move it up 27 points. Now go over to the clinic. Creature the same thing. Brightness, contrast. Bring it down. Bring up. I'm on the wrong layer. I have to make sure remember, we have that layer mask on their ship. Make sure you select Thea the layer on the left. That's the original. Their brightness contrast. It's good. When I make those kind of mistakes, you learn something dark light, Dark light is trying to bring it back. The same thing it came up to about 19. So these were all you know. I think they're all relatively similar to begin with. Actually, that's okay. Yeah, I'm happy with that. Happy enough. Because we can go in and make more shading to which I am definitely going to do. Um that's that There Another thing is the castle in the background. The castle stands out way too much because it was intended to be in the foreground. This is where we start to get into drawing. I'm gonna go into my brush. I'm going to select the sky color right cause Notice the mountain. What color does it go? It's going blue. It's usually whatever particles the sky color is. That's what other things start to turn. So I made a layer just over the castle where I could go like this and just paint right over it. But I'm not gonna be that sloppy. You kind of go like this. I'm gonna bring the a pass ity of that layer down a lot and we just go in there. I don't have to be perfect with it. You can always erase it, too, right around the edges on the part that's hidden behind here. I can get sloppy, just filled in real quick, and they're ago. And now notice that huge difference that is made. Here's a castle resume in. It looks like it's just popping out. It's kind of awkward standing in middle of nowhere. And here when I add that layer of fog, which is a bit of blue mist on it, it kind of pushes it way back into the background a little bit more around here. Okay, any consume in and clean it up just to show you so it stands out better. Here is that layer of blue whoops and we can clean it up a little bit around here. Yeah, it's not super noticeable anyway. And we bring it down and you can play with this until it gets to again. Just go up and down without looking at it and kind of bring it to the point where we feel like it's at the right color and I definitely I'm not going to spend time. Well, you know, for order the lesson during less with this. But if you're making a piece of art than definitely going there to take the time to clean up all the little edges and stuff like that, so it looks like it belongs in that distance. Get it in the right distance. So that's it. With basically, with colors. It's a trick you can use, making the new visible layer to see two to double check your value, switching around looking at the light and stuff. And then, um, obviously shade is going to be another thing. I'm gonna put that in the next lesson. We don't have any shade under these characters. That's obviously not right. Let's fix that in the next lesson. That's it for this one. Hope you learned a lot season 9. Adjust Shading: though this Brendan and in this lesson we're going to cover the shading techniques to adjust shading to make sure that, uh oh, there's shadows and shade of all the things that you've added to the image are as they should be. So, um, I have here the Finnic creature and the ferry, and they're both missing things which I I might not do. For example, I've already showed you everything all the techniques about cutting and pasting, so I don't really need to show you how to add the's horns. I did a little drawing to help them, and, you know, you can see it wasn't too difficult. I just used a small brush and added some hair to make it blend in. Ah, not sure if I'll cover that. The wings I will cover cause that's complicated. Um, but yes, some of the things they're self explanatory, where I've already done techniques that should enable you to know how to do that so I won't cover them. But one thing that's very, very important, and you just need to make sure that you never forget it is to have shading now. I just added some characters here, right Let's start off with the girl. And when I add a layer under the two characters and I'll just call it Shadow what happens if you take a character from another scene and add them into this scene? Well, they're Shadow was in the other scene that we we cut out, cut them out of, but we had to cut her out perfectly in order to make her fit this scene right. But we still need a shadow, so the light is coming. As we've said many times, it's coming from over here, right? Yeah, that way the sun is over there on the right, coming down. So she she should be casting a shadow down over this way. But it's not very strong. I think the late is actually coming on a sharp angle like that because you don't see a lot of shadow in this area coming off the trees. So she should have some shade around here, and this guy should have some shade just around here, and it's not going to go very far off, and it's not going to stay very far behind. But just coming at that, like 45 degree angle kind of this way. So his head, if you have that angle, right, maybe it should come up to about here and think about what you have on this guy. He has two years coming up this way. Ah, shadow is like a mirror is kind of Ah, you know, it's not facing you the mirrors at a strange angle because everything's coming this way. So if his ear is here, then there should be another. Here comes there this year. Here is kind of like going that way because everything's coming down here. So you should have something kind of like that. His body's little bit bigger. You don't wanna make it so skinny here that it just touches his paws cause his whole body, it's going to cast a shadow. So there should be kind of ah circle there, but with perspective and all that, you know, and all the way up to the tail here. Now, obviously, this is a black, very dark black shadow, and it doesn't match everything else that we have here, but as you know. Have you been watching this far? Don't worry, because I have a trick for that. We're going to do you can probably guess already. Just go ahead and turn the a passage down on that layer. And there you go. Now the reason I did it like that, let me make a new layer and show you. Alternatively, something else you could do is turn on the A pass ity on the brush, right? And I think this will happen in other Softwares to what happens is if I turn the capacity on the brush. Each time I make a new stroke, it gets darker and darker is the first stroke is like that. The 2nd 1 comes over that intersecting point. It just makes it darker and darker. You don't want that to happen. You want the whole shadow toe. Have one solid color. Now that's not always true, but in this case it's true because it's sunlight. And so that's something I'm not covering in this lesson. Ah, you can go into my from drawing to illustration lesson if you want to get more tips on values and shading and stuff. I do believe I covered that very well where you can ask me if I didn't in. Ah, you know the lesson I might add Ah at something later You asking the announcements. So that's there. And, as usual, will go back to that layer, the shadow layer and just play with it a bit. See what looks best. This is not good. That's too dark. This is invisible. See where it starts look good. I slowly I do like it to be strong enough that it's noticeable. But sometimes just making a subtle change is really all you needed. Now that I have that shadow and I go and look at the Finnic, I see his feet are standing out too much because he has light on his feet there. So what do we need to do for that? Just bring this part up. One of his feet seems to be missing is not good. I think it was hidden behind something in there. Alternatively, I could bring this color back here and actually go on to his foot and and draw a little darker with the lower rapacity there. Yeah, that might help to blend it in a little. Okay. And back to that layer. I just want to take out these bright white spots where the sun was hitting on his feet because that doesn't work for this particular image. That is OK for now, right? So now he blends into the scene a little bit better. He's got his shadow there and everything else. And for this situation, that's really all we need. I think on this image I might have also did a little shading on the castle back there. I'm not sure, but the way I'm looking at it now, it seems OK. So compare the two. I know what there's a blur effect coming up, what you haven't covered yet. But for now, that's that. And we've got our shadows in there. Just remember of you. If you had more characters than you know, you add more shadow and you make it as dark as it needs to be. I need to be a little bit darker here. Another technique, since this doesn't look so natural going on here, make it a race around here, bring up some some little sharks, sharp spikes there, as if the grass were coming through the shadow and the shadow might also be, you know, hitting the blades of grass over here so it won't just look like some black lump is is falling on the ground behind her, right also on the ridges here like make it bumpy, come up and down and around because that's what shadows do. They tend to like wraparound things and stuff. Now, with that, let's bring the capacity down and might look a little bit more natural right again. Just play with it. So you get where you want it. That's it. Just remember to add some shadow is, uh, that's That's the whole point of this lesson. We learned a lot seeing the next lesson. 10. Drawing Techniques: No, this is Brendon. And in this lesson, we're gonna cover some drawing techniques. Actually, it's just one drawing technique, which is or it's a couple show you a couple, but it's for one object, which is the wing. As we have it here, I'm gonna show you how to draw one wing or at least how I did. You know, this wing that you see on the left, Um and that is what we're going to do. So I already started this because I needed to get I realized that this is gonna take a while, so I had to prepare some of it in advance. But I'm gonna take you back all the way to the very beginning. I just need this layer in the hidden in the background. So what I did with this is first you draw on the wing. Now, the situation that we're dealing with here withdrawing techniques and I'll talk about that while I'm drawing because there's a lot to do. Here is, uh let's ah, let's imagine that I had nothing on this layer basically, and I had to start from scratch, and I suddenly realized that I didn't like the wing that she had on her before. Or maybe she didn't have a wing on her. And I just wanted to make a new one and improved one. So in order to do that, the first thing to do, which I'm not sure if it's the best thing, but for me, what I do is just go ahead and draw it first because I have a tablet. We can do that in cases where you don't have a tablet. Well, firstly, I definitely recommend having one. If you're doing this type of work, it's good. But in cases where you don't have one, you can use some tools such as the path tool and, ah, you know, use the path will to do. Drawing techniques is very good. Need a darker or different color to separate the inside of the wing. Here have the inner wing outer wing. This isn't really intended to be a drawing exercise. It's just to show you how I do this. So I'm not gonna cover all of the drawing techniques, but you have to First Joleon, whatever it is that you're trying to do and what will happen is if you're trying to do this if your intention originally was just to go ahead and draw in whatever you think is missing Ah, you're gonna realize that there'd be a lot of work to that, right? Because there's Ah, excuse me. There's just too much detail in reality to try to draw out by hand. And it's one thing to be very realistic at drawing. But to make it lifelike or even to have it fit in with all the values and the colors of a photo, that's a completely different thing. That's the type of art that just takes so much time. And the reason that you know, we're doing photo manipulation to begin with, I think was to save that time, wasn't it? And we're hoping to do something that anyone could do without too much work, not to, ah, turn everybody in the world into an artist. So in cases like this, you can just draw in very crudely like that, something that will look like the object that you want and then you step back and say, Well, obviously that's not very realistic, right? So in order to make it more realistic, we're gonna take an object from a photo that has the details that we need, and we normally call this a texture. Right? So basically, what we're doing is we're adding at texture to a drawing that you did. And you don't have to be Picasso to do this or, you know, whether we say Picasso, Rembrandt, whatever. I know some people left when I say that because they don't know that because so is actually a very talented artist. They think he draws random weird things. He's actually very, very talented. And he could draw just about anything. Um, that was a side note. What we're gonna do is use your favorite selection tool, which we've covered already extensively, and cut out the part that you need for your object. We'll bring that down to my wing layer here and then, um, going to hide. Where is the other layers? I just copied and pasted? Uh, this there's the wing. Why does it? Sometimes I seem to torture myself. I can't find that one layer. Right. I had to hide that one. OK, One thing I do a trick for this is put on your move, tool, hold, shift and touch. The object that you're trying to find that should highlight it. So that was it, right? There should have done that sooner. Okay, so now back to my wing, which I just cut out there, I cut out the part that I needed. Here's my wing back, and we're gonna have to do a little bit of work now and have to spin it, resize it, shape it to get it to where it needs to be. That part's not too hard to understand. Ah, in this case, I think on the original one here it seems that I did in large, doing a little bit. I'll try that with the scale tool, Make a little bit bigger. So we had some nice big feathers there and try move it in a place. No, I want to deliver the a pastie. But first there's some ah details here and a workout so that it looks realistic. You wanna have it nice and clean? Just erase all those parts that you don't need this little bit of background erasing here. And since this is detailed, you could use the layer mass technique if you wanted to. And we're gonna cover a couple of things here. This is Ah just getting this into shape is one part of the problem. Another part of it is to be able to have the correct color, because maybe I found the perfect wing texture, but I don't really like the color of it. Well, you shouldn't have to worry about that. That's the whole point of the software here is that we can manipulate things. That's why it's called photo manipulation. Okay, you have to. These wings now have copied and pasted this one, and we're gonna movement a place, shape them in size and where I need it. And with a little bit of experience, I think I happen to know that should be enough for now. And just to race some of the parts on the 2nd 1 that might not fit make it smooth and a little bit. Yeah, but let's get back by, um, original drawing. And you do want to stick to the original drawing and not let the textures control you. Remember, these are just textures, and they're intended to be used to enhance your drawing and not to control your drawing. So I'm gonna make a backup of this wing just put aside for a moment, uh, doing that copy paste and I'll go back to these and I can merged them together. So they're one big layer now turning a pastie down a little and we'll just go to work. It might end up changing your original drawing a little bit, but you don't want to stray too far from the path. If that happens, you lose sight of your original goal and you do have happy accidents as they call them. Originally the swing. I wanted it to be a brown wing, and it ended up being this color. The reason I did that is because I really liked all of the colors that came out of it. There's all these like purples and blues and different cues of red and stuff hidden in there, which ended up being well, just looks good. I liked it, so I decided to keep it like that. And you can do that. You could make decisions like that along the way and that turn out not to bet. Now, keep in mind, I'm doing this for demonstration purposes. And on the original wing, where I was really in my art mood and taking my time. You just want things to look good. Ah, you should not rush. Of course, you should take your time and get everything looking really good. So there you can see this is with just two or three Copy and paste. Pretty much Got something in there that will work with this one. Did a lot more work. Um, it might even be a little muddy, but the job got done, right? So for the technique which I used here, remember this layer I'm going to make it a little bit transparent so that it blends in. It's only being used as a texture. It's not gonna be The full image is being used as a texture. And I wanted to blend in with the drawing that I did underneath it. So what I do for that is I lower the a pass iti a little bit, but see, when I lower the a pastie, you can see where the other drawing is is not matching up with the texture. I just added. So I'm going to since I can't control everything in Thea in that original texture, because I don't want to just chop off the leafs. Excuse me. Not leaves feathers Don't just chop them off. So I'm gonna lower the a pass ity and then come back in here with that original color that I used and draw in, basically filling in the blanks of where they're not matching up. So you can see here the wing is thes feathers are coming out here, but it doesn't match with the drawing underneath it. So I'm gonna fill in all that space there. I'm doing this on that on the original drawing there. Just make sure if they match up as best you can and where they can't If you find that you can't make it line up perfectly in some cases excuse me, then. Well, just erase it. Now go back to here in the opacity up a bit, and I can see it works out pretty well like that. So I'm just gonna go ahead and merge these two just like everything else we did. You know, I could play with this. Don't even look at it. Look at the image. See how when it's that full of passing, it doesn't work out so well. Looks kind of awkward. That's why I wanted to do the drawing and mix and blend it with here. So without looking at the slider, I'm just gonna look at the screen and get it to where I feel comfortable with where I think it looks realistic enough, or just where I feel happy with it and then merges two layers. Merge it down so there's a feathers for my wing. And obviously there's some detail work to do in here. Just a race over here. You can see right here some of the original green from the background. That was the grass in the background from the original bird image. And that's in there, right? So select a color nearby that I just feel that it fill that in like this because that green clearly just doesn't belong there. Over here for that in where I can erase in cases like this, basically just a lot of detail work, and the more detail work you do, the better it is. I guess one of the main goals of this type of work is not to waste too much time. You wanna work smarter, not harder. Ah, the faster that you can get things done, the more time you have to focus on the beauty and creativity and other things like that. So it's always better if you get things done faster, and that's about that. So that was basically one technique that I used to do. These wings over here, these air obviously better cause I spent more time on it was more careful with it. But in addition to that, there was a lot more work. And this is why I prepared another layer in advance, this one here, cause that would take a lot of time for me to do. And luckily, it fits almost just in a place here. Yes, that's out to bed. Race out some of these spots here and again. If that works out well enough, go play with my pass ity on that. Get to everything it belongs on. Make sure the right layer here and we just merge it down there. We have one full wing, but it's not complete. We only got it in a position where I can add another layer, do a little bit of shading and lighting on it. And all I do is lower the a passage e on this until it feels like it looks unnatural and you can do this step by step at multiple layers. Various things you can do. I'm not doing anything perfect here. Just do a little bit of shading here so you can get a feeling of how easy it is. I'm noticing these areas and the leaves here, they cover over the other leaf. So there should probably be of keep calling them, leaves the feathers. Okay. Just remember, every time I said the word leaf, I meant feather under these feathers here, right, Wings, feathers, trees, leaves note to self to go back to grade school. Okay? And I think that looks pretty good, right? You got a little bit of shading in there. And we can also flip over to the white real quick and add that, but technically you see, emerged down. I'm not really happy with the color of this. Ah, the arm of the wing here. Right. That vetting some are so just merged that down. I should probably add another layer and do it carefully. Um, but although I do for that is, you change it to a more realistic color, something that fits in there, fill it in as such, Of course we're doing drawing in a situation like this would be a little bit dangerous to just draw directly over that wing layer. So it's much safer if you add another layer, draw on their first and then go back and ah, merge them. Let's do a little bit like this. I keep this very brief because this lesson not this ah, complicated thing to do. I just want to prove to you that could be done with relatively relatively painlessly within minutes, not hours. But to be perfectly honest, I actually did I believe the first time on this spent hours on it. Just so you know, it's not intended to be. I'm not saying this is easy. There we go. See that? That was just an extra minute of work. Um, and it kind of blends and it looks pretty good now for this one here. Obviously, I did a lot more work on it. There's more color, you know, spent more time. Ah, just making sure I had the perfect capacity and working on the details and stuff like that . And I also added some color to it just by using Ah, you know, going here, find some random colors and add a layer with very, very low capacity and go in there. That's just a drawing technique, right? And that just gives it some color like that, right? You do another random colors. It's always colors like reflecting off of different things so you can do something like that. Um, another technique with this I just want to go over very quickly is, um, get back to that original wing here. If I didn't like the color of this wing and let's say I did all the same work that did over there because already merged those feathers and there's wings, so I don't want to have to do that again. But let's imagine. I put that in the place and cut and paste it all the pieces I needed, and I just wanted to change the color. So what it can do is go into the de saturate mode here and make it black and white. They might not notice, but if I zoom in here, I've just taken all the color out of it by going into colors and de saturate. After that, going to cull, arise and let's say I want to make the wing the original brown color that I was drawing over there. That's sort of like tan color, So I move this over into the orange brownish area. If you you have all the colors in a queue, here is red purple, though every color you could want. If you want brown, then you go for, ah, the orange yellowish color and just make it a bit darker. And now, obviously, that still looks kind of. It's too bright, a little bit too comic ear. Disney like so, turned down a saturation until you get to a more realistic you. And there you get have a nice, brownish, tan ish kind of you, but it's all gonna be one flat color. If you do it like this, right there's like flat, green or aqua. There's flat blue. So after you do that, you might want to go over it with some other colors little bit. But just to get you started, that's another technique is to use Thea First de saturate, make it black and white and then color. Rise it and it can change the colors. But in this case, I really like the colors that came out of that original image side. Just send it up using that, and that's all for this lesson who collect it and we'll see in the next one. 11. Adding Effects and Finishing Up: though this is Brendon, and in this lesson, we're going to cover some different effects. I guess you could call them special effects to make the overall scene look a little bit better. And these air basically like finishing techniques. So, um, at this point, you see, I've brought us along very far in ah, making remaking this whole image from scratch. And I don't want to have to continue if you can imagine how painful it is to redraw. Ah, something that and this one. It is actually like a piece of art, right? And to have to redraw this entire thing from scratch for demonstration purposes. But I did go through a lot of that effort to make sure that we had a good finished piece for you to look at, right. So at this point, we're very, very close to that. And I'm just going to go ahead and moved back to this thing actual original, um, file here, the original piece of work so that I can basically close out this one. We've covered everything here, including ah, you know, some techniques for lighting shading, splitting the scene, adding your characters lighting, shading and even some drawing techniques with texture. There's a summary. Okay, so close that one and move on here. Um, yeah, I hate to rush, but actually, it's for your benefit. A lot of people really dislike, um, long lessons with too much talking and stuff. So let's some move into This is the original file here, and I just closed out one. I just hit one layer, which had one of the techniques which I want to show you. And it's right here. It's called Blur. This is one of the effects that you might have noticed makes it look zoom in a bit here makes things look a bit more magical and mystical and what that is, it's, um, basically just a blur effect that I added, and I used layer Mass to to clean it up for the parts where I don't wanna let me demonstrate that for you very quickly. Does that technique also leads to other techniques with the the same with the same effect? Um, what I'm gonna do first here is go all the way to the top, as you can see, have many visible layers, and that's where all of my effects are basically starting from and weaken G o. Um, there's a couple of different ways to do this. I think, Yeah, I'm going to do it this way. This this won't be too hard. I'm gonna go new from visible, which we've done many times now. And, you know, it just makes a copy of the whole layer and mergers them into one layer or, ah, excuse me. It makes a copy of the whole image with all of its visible layers and makes ah new layer out of it. Now, with that new visible there, I can go ahead and go into a filter here and use the blur effect. I'm going to use a Gaussian blur, as they call it. G a U S s I A n don't know what that means or where it came from, but I use it all the time. It's a gorge in blur, and I'm sure you can look up in Wikipedia. If you went into the history of that. I just want to know what it does. And what it does here is it makes a blur, as you can see when I zoom in. Now, when I used the gold and blur it just blurs everything. Now this, for me is a useful effect If you're trying to make things look like they're far away and your focus is on the foreground objects because that's what happens in reality. I cannot look at the background in the foreground all at the same time. The things that I'm not looking at, our usually kind of blurred out in my vision. So this kind of effect helps you to see where the focus of the images and did that wrong. OK, but I'm gonna do it again with a stronger blur. The higher you make, this number right here gonna go up to, ah, 20 ish 21 and I may get more blurred How you make the number of the more blurted this. So now that I have that blurred, obviously we don't want everything blurred. Right. So, um, how do we take out those parts and will use the same technique we use before? And that is to use a layer mask? Because, remember, we just made a new layer out of this, and we saved all of the things that have been beneath it. So if I hide this layer, you see, it goes back to the original there, So the original image and all of the layers air underneath this one blurred layer. Therefore, all I need to do is go add a layer mask, as we've done many times before, and make sure that I'm set up in black and white here and we'll go to the black color and start erasing out. Make sure on the right part here something isn't working up capacity of my brush was left. Okay, Now zoom in here and you see her face is all blurred until right. I draw in that black part there and we'll have to switch and two white, sometimes to bring back the Blur as we already know. Okay, so that's what we're gonna do for that. This is one effect that I have used a lot and people, How should I say The kids all love it. People rave about it. As you can see here, when I just bring her into view, let's let's see what happens. It's a really cool effect, too. So everything else is gonna be blurred out a vision except for this girl and her wings. And that's it, For starters, anyway, And he can choose what you want people to focus on. So I could actually leave it like that. I mean, it be really weird that why is he blurted out? But you know, it's worth consideration. Maybe you could just leave it like that. So now you can see she isn't perfect vision because she is still the original, um, character from the original drawing underneath. But everything else says a blur on it. So using that kind of idea what we're actually going to do, it's just bringing the whole foreground and to focus here. And you can get creative with this. There's a lot of different ways to go about it. This is gonna be my way of doing it right here. And when I decided to do any other one is to reveal all of the trees and everything. It depends on how much of that mysterious kind of effect that you want to get. You leave things blurred off in the background. Um, what I decided to do, as I was saying in the other one, was to bring out a lot of Ah, this. Ah, this area here. I did keep the that what you call him The fairies, The flying fairies in the background There I did keep them blurred out. But I brought in some of these foreground trees and the sky, which should be closer to us. That part of the sky I brought in. Let me see. I got this part here. Looks little weird. Yeah, bring that in. And so just like that, even you already see it's a little bit more natural. Just so the back area there looks like it's far off in the distance. Now, if it seems a little bit too blurred as it does now, there's our age old trick, which we use over never of just lowering the transparency. So you're kind of blending in the blurred image with the with the Knobler original part and that, you see, it helps a lot with the castle in everything. If you get adjusted, the rate of passage E then you get that kind of effect. So anyway, I'm not even going to keep that image. I'm going to hide that because I did a lot more work on the original blur layer here. So I want to use that one. That's just how I like it and we'll get rid of this one for now. Another effect. You see, I have many layers here on the on the top foreground area. You can play with the color, such as I did with this one. I gave it sort of a cp effect. So you might think that it was kind of like a ancient photo or something like that in order to do that, The same effect that we've done a couple of times before. But I just wanted you to realize that, you know, for educational purposes will do the same thing new from visible. And we've done this many times. You'll know where I'm going with it. We're gonna de saturate it and then guess what's next. We'll go to color rise. In case you haven't seen this before, what happens in the colorized area is you can choose a Hugh. It has all of the the same colors that are in this color wheel here, where you have from top to bottom. It's the sort of ah, red, ah, purple blue, light blue to green, yellow. It has all those colors in here in the same row. I don't know why they don't show him. But that's what the Hewes and you can choose a color such as, well, choose any color. I was going for that c p a kind of look last time, maybe there in some alien planet. And for some reason everything is just green has green tint to it. Or maybe there's like some kind of fog, every doing a science fiction type of look, and it's all green, right? And then you can just lower the A pass it e a bit. Have it blend in with the original colors just like that, so it will have a little bit of a hue to it. And that, aside from being a cool color effect, it also helps to balance out all of those weird colors that you have coming from what is just a lot of different photos and drawing and all these things that you did. You mixed it all together, and what happens in the end is you just have, you know, these weird values and stronger and lighters colors. Different saturation is and stuff all mixed together. But if you do this kind of technique, it helps to balance it out a little bit. In this case, I'm not going to use that. But it is a technique which you can use so again I'm going to go ahead and race that one for now. And we'll look at some of the other techniques. Another one again. I'll make a new from visible and in the filters. This is where you have to do some exploration and have a field day. But this is specifically what I've found for this type of work, this type of photo manipulation. You might want to go check out this cartoon effect. Weapons and cartoon effect is it attempts to make it look like a cartoon by drawing lines around everything so you can see what happened there. If we zoom in, see how it added a lot of black all around the edges of everything. And that's just kind of a cool effect effect, which again will help to balance out a lot of the oddity and the colors and stuff. But I don't really like Ah, I don't want to make everything I do cartoony right. But in certain cases it might be helpful if you try that effect and again lower the a pass it just a little bit and you'll notice that, uh, overall, it helps a little bit. It makes it a bit more artsy, a bit more cartoony. But I'd rather have that and have a nice finished product over. You know, having a lot of weird Photoshopped copied image kind of look right? I don't want to have that kind of look. I want it to look like everything works together. Everything is harmonious and and stuff like that within the one image. And if you ever the a pastie, though enough, it's almost unnoticeable. Just balances things out of it. So there is there a couple of techniques which, in the end can help you to make a nice, finished product and let me get back to where it was. I actually did use this one, which is a little bit of Thea. What do you call it? Not the CPI effect, but the cartoon effect. I can't remember exactly which ones I used for. I'll have to get a look at the finished one, which I upload it. Okay. And last but not least, I think this might actually be the less lesson that I might do a one more summary lesson. But in case this is the last lesson, I just want to say, Don't be afraid to add a signature layer, as I did here, and one more layer and you go in with the pen at a little signature and a date there. That's always a nice thing to have. You can use that if you're using a tablet or if you're not using a tablet, you can go in and just use the text tool and put your name and who it's by and that's how you know that it's really done and to let people know who made it. And so you can feel proud of your work. And, uh, yeah, if there's any more lessons than it will be after this by do feelers. I've covered everything at this point. This is all I had in my outline for this course was bringing up to this point. And if you have any questions, of course, please do ask me. I am available in our adolescence as needed. But for now I did cover everything that I intended to cover, and I know confidently that give you all the techniques that you need toe Macon image just like this or any other image you might want to make. And, uh, Or if you feel like you need more techniques, just let me know and we'll cover it. The whole concept here is to understand photo manipulation, and that's what we did. This lesson. Hope you enjoyed it and have fun making your images have a good day.