Magical Autumn Light - Affinity Photo Masterclass | Olivio Sarikas | Skillshare

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Magical Autumn Light - Affinity Photo Masterclass

teacher avatar Olivio Sarikas, Artist & Designer

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

14 Lessons (56m)
    • 1. Intro - What to expect

    • 2. Composition and Concept

    • 3. Darken Sides + Warm Colors

    • 4. Hair Tone Adjustment

    • 5. Skin Tones

    • 6. Lip and Cheek Tones

    • 7. Naming Layers

    • 8. 3D Effect on Hair and Clothing

    • 9. Warm Sun Burst

    • 10. Adding additional Leaves

    • 11. Blend and blur Leaves

    • 12. Fine tune and Sharpening

    • 13. Bonus: Next Day Edit and Eyes

    • 14. Final Thoughts

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About This Class

You will learn how to create cozy, warm tons, add whimsical leaves and light effects for a magical Autumn Atmosphere. 

This easy to follow Course is perfect for Beginners and Intermediate Photographers. Step-by-Step I will show you professional photo editing tricks. I will reveal to you techniques to creatively plan your editing, add creamy, soft lights and bring your image alive with special effects. This start-to-finish course is filled with awesome tips and pro tricks to turn any Autumn photo into a marvelous piece of art. 


You will learn how to create:

  • A editing Concept
  • Lovely, dreamy Autumn Tones
  • Warm Skin Tones
  • Powerful 3D Effect on Hair and Clothing
  • Add and blending in whimsical Leaves
  • Creamy Sun Burst
  • Fine-tune and sharpen your image
  • Bonus: Stunning Eyes
  • and more...

This Course uses a Software called Affinity Photo, which is a cheaper alternative to Photoshop. It is available for Windows, Mac and iOS. If you don't own it, you can download a 30 days free trail (win/mac only) to still do everything in this course. 

Meet Your Teacher

Teacher Profile Image

Olivio Sarikas

Artist & Designer


Mag. Olivio Sarikas is a professional Designer from Vienna Austria. He has been a passionate Artist for over 26 Years, starting at the age of 16 with his creative education. He studied at the University for fine Arts in Vienna and Munich and holds a Masters Degree in Fine Arts.

He works as a self-employed Web & Print Designer. Occasionally he also gives Lectures on Marketing and Community Building at the local University.

His Skillshare Courses and Youtube Channel focuses around tutorials for Affinity Photo, Affinity Designer, Affinity Publisher and occasionally other Software tools like Krita, Corel Software, the NIK Collection and more.

Olivio is famous for his "Secret Sauce", always trying to introduces some Pro Tricks into his tutorials and give a bit more ba... See full profile

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1. Intro - What to expect: Hello, my friends. How you doing? My name is Olivia. I am a professionally signer from Vienna, Austria, And you probably know me from YouTube where also do tutorials. But today I'm gonna show you a very easy way how to give this image here. An amazing warm autumn atmosphere. This course is perfect for beginners in affinity photo, which is the name off the software. Not Photoshopped, not light room affinity photo, and I will guide you step by step from the very start to the finished image. And along the way you will learn a lot off professional tricks. How to make your pictures look amazing. And you will be surprised how easy all off them are. So you will learn how to pop up the image, adjust the skin colors. It's warm light, and a very nice warm sun burst to the image Kobe over falling leaves from other images and blend them into the image. So they really fit in there and feel like they're actually, they're so bringing everything to life at the same time, finding your own artistic wise. And by the way, this is a very important part off this course. Please share your intermediate and final results give feedback to others and ask for feedback because this is a very important part off learning creative things and getting into the artistic process that you not only have to knowledge off how it works, but really understand it by discussing it with other people. OK and nothing to talk. Let's get started with the course. 2. Composition and Concept: here we are an affinity photo with a very nice picture that could use some improvement. So we will add it it together. But before you get started, it is always good to take a second and think about what kind off result you want to have and what kind of composition you're working with. So I will make a pixel layers, and I can draw on it and show you with my brush. What? I mean, so you can see here She's standing here bent a little bit back, welcoming the warm, nice autumn days. So we already have a dynamic in the picture, and we want to highlight that person in the center off our image. So that means we want to make the sights a little bit darker to take attention away from sites off the picture. And we also want to half let's change the color here real quick. We also want to have some nice, creamy light coming from up. Here's a nice warm life, so she actually is well coming the day the sun end, the nice autumn feeling right and another thing that you can see here is that we already have some leaves falling in our picture to enhance that. We're gonna add some other pictures. Sorry. We're gonna add some other leaves that we will extract from other pictures. I will show you the full process, so let's get started. 3. Darken Sides + Warm Colors: The first thing I'm going to show you is a very nice and easy trick, and that is go over here to the right side to adjustments and select levels. And then when the level window has opened down here on the lower partisans blend mode, set that blend mode to multiply, and this will simply make the picture darker. In affinity photo. We have the benefit that every adjustment layer has a mosque built into it, so you don't have to create a mosque to adjust this. You we can use our brush, and I want you to set the brush Hartness to zero and the opacity to 25% and make it really nice and big. It depends on the resolution of your image. What kind of size the brush has so like this, and I will set it to black and black means that in that area where I paint now with my brush, their level adjustment will not affect the picture. So let's paint over her. As you can see, she's getting brighter again, a bit, and you can see the reason why I use this big and very soft brush is so it blends NYSE, with the other areas off the picture off course. Now the sites are a little bit too dark, but no problem, because with the levels adjustment, we can set opacity down until we are happy with it. So my case, I said it to 50% good. Okay, The next thing we are going to do is to make the picture a lot warmer. And you can again do this with levels adjustments. So let's create another levels adjustment here, and I want to show you something that is really cool. You can up here where says master selects that different channels. So you have off course in a RGB picture, the red, green and blue channels now observe what's happening when I select red and you have thes levers here. So when I move in the black lever, you can see the pictures getting blue. And when I moved in the white lever, you can see that the picture is getting red. But down here with his output black level, the opposite is happening. So why is that exactly happening? Well, the reason for that is that when you push this in, the shadows are getting cooler and when you push this in the highlights of getting warmer while on the other hand, when you push this in down here, you limits the ability off having read values in your highlights. So the picture is getting more blue. And when you move this in here, the output black levels, you limited the ability off the darker values to be blue. So the picture is getting a red. Okay, we can use this, of course, by moving in the white level a little bit to the side here, like this. Let's see, with the gamma moved the Gummer a little bit to the left and then we're going over to our blue channel. And here we have a similar effect with all of the adjustments we can do. But now the Collis R yellow and blue. So, of course, we can also use this for our benefit. Again, let's play with our gamma setting and you can see our picture is becoming really nice. Let's make the shadows a little bit warmer here, just a touch. And also the highlights. Just a little bit and off course. You set this to taste, so don't go by the numbers that I am setting go by your eyes and if it feels right, and by the way, another thing, that what I would suggest to you is when you do all of the settings and adjustments, half the navigator window opened down here can see because it gives you a smaller prevue. And the smaller preview will enable you to see the complete picture, but in a smaller way. So you get a better impression if the settings are too strong or maybe not strong enough. OK, good. Not only have adjusted that you can see that the picture has become a lot warmer and a lot more friendly. I want to add one more adjustment to make it warmer and make the blacks a little bit darker in our image. So for this, we're going to use selective color. So again, down here, click on this little I can for your adjustment layers and select selective color good. When this window opens, set the color to neutrals and then move over the blacks just a little bit. In this case, like I said in your case to your taste and make it a little bit warmer by moving the yellows over bitch and magenta. Also moving in a bit to the right, Just a tiny bit and say yen, I want to remove it a little bit because these are the cold blue color is. So let's remove that A Chinese bid like this. Okay, that's good. Good. So now you can see when I turn this on and off. Very small chest, man, but very big effect as very nice. 4. Hair Tone Adjustment: The next thing we're gonna do is to pay attention to the hair where it's maybe a little bit too bright. And for that we're gonna use another really cool trick we're going to create up here with, says Layer, a new film layer can see here new film layer and first we have to uncheck it over here on the right side. So it's not visible anymore and in the color attemps. Or you can also go here to the physical. Maybe that's a bit more intuitive. Click on the fill color here for your fill layer and click and drag on this little circle up here because this is your color selector and select a medium brown color from the hair like that. Click again, and now this is the fill color off that layer. If we turn it on again, you can see everything in the picture has now this color. So we want, first of all, to set the blend mode too soft light. That's important. So here in that list, said it toe soft light and then create a mosque. So with your film layers selected, click on the mosque symbol and then click on this little triangle here and make sure that the mosque is selected so it iss highlighted in blue and over here on the left side, in the layer menu, click on inward, so mask is inverted. So now we're going to use a brush. Make it a small size so you can paint nicely on the hair and set it toe white as the color . This is an inverted mosque, so the mosque is completely black and we have to paint with white on the mask to effect the area off the picture. Let's zoom in here a little bit and paint onto the areas where we think the hair could be a bit darker. And it's big, maybe too overexposed like that. And like this and down here, maybe also a little bit good. I think that's good enough. Let's zoom out again, and you can see if I turn this often on that. This makes quite a change to the hair and also because now the colors darker and the exposure is all the doctor on the hair. It looks fuller, looks thicker. It's all altogether of much nicer hair 5. Skin Tones: in the next steps, we're gonna adjust the skin color and the lips and a little bit the cheeks to make it look nicer and warmer. So, as you can see, the face is a little bit blown out by the lights. So for that I want to create a dodge and burn layer. So to do that, we're gonna go up here to layers and again create another fill air. So click a new Phil there and you want to set this to medium grey the way you can do that, it's click here on the fill color, then select grayness and set this to 50 because that's exactly the medium great. Good. When we have done that, go over to your filet er right click on it and select Rasta rise because it needs to be a pixel layer to work. The next thing you need to do is to set the blend mode off this layer too soft light. Good. Okay, so when we have done this now we want to go over to the left side and select our burn brush tool. Okay, this one's a little flame here. If you don't see the flame, click and hold, and you get this little menu where can see Dutch burn and sponge toe. We want to select the burn tool. Of course again, you can set your capacity. In this case, let's set it to 50%. Around 50% is good hardness again? 20 a smaller brush so it fits the size on details off the face. And now you can simply brush on the areas that aren't too bright to make them a little bit darker. Not too much, not too intense. Just a little bit. You can see down here how it gets into a area where it's not that blown out from the colors , and it's everything is getting a little bit darker. Is that is very nice. It's exactly what we need here. Good. Okay, okay. That should be good enough. Let's do also love it down here and neck. Good. The next thing we want to do is to adjust the skin color, especially follicly in the face. But also, we have a little bit skin here down on the hand so we can include that Do. But the main focus for us is on the face. So again, we're going to create a levels adjustments. So click here on adjustments and levels. And for this we want to play around again with the values and see that we get a nice, warm and soft skin color. So I play a real bitch around here with the Gamma on our master channel. You can see, and first I'm doing it for all off the picture. Afterwards, I'm adjusting the mosque for us, so let's go to the Red Channel and adjust here. Also, let's play around and see what kind of settings work best for us. Make the shed is a little bit cooler. Move the gamma a little bit to the left. Let's go to blue. Move the gum A a bit to the right. Let's see. Move the blacks in a little bit over here. Nope, that's not good in this case, but we want tohave. Um, the output white levels a little bit lower, and like I said, this will influence and make give more yellow to the highlight areas you can see here the face is getting a lot better. Let's see green play around with the gamma values, set them a little bit higher and this already looks pretty good. Okay, cool. So now what we want to do because we don't want to have this overall off. The picture is with our levels, adjustments selected, go to layer and invert again as we have done before. So it's not apply to any area off the picture and then make sure that you select your brush . This is important because we're still in the burn tour. And if you review pain now, it will not work. So go to your paint brush and set it up. In this case, the white set it up toe white as a color. You can go with the opacity to about 70% and start to paint this onto the face and a little bit also onto the neck. So in the areas where we own was half that where we need that, actually. Ah, little bit that year down here. So everywhere where you see skin, you can put it on. Okay, good. So we have done the face. Let's go down here to the hint painted on here also a little bit. So they have a similar color and warmness to them. Off course. We don't want them to be completely different than the rest of the bunny. And down here we have the fingers, too. So really look for the details painted here and made my brush a little bit smaller here, painted a little bit over the hands, simply switched the color to black and paint again over that area to remove the effect from the area. Okay, let's zoom out here and you can see that this did quite a good effect to adjust our colors for the face. 6. Lip and Cheek Tones: The next thing is, let's adjust the lips a little bit and again, we're going to create our levels, adjustment like that for the lips. And let's go to the red values here, play around with them a bit and see what kind of calls we want for our lipson eyes pink. That's very warm. Also. It's good, so let's go down to blue play a little bit. With that. It can also turn the effect on and off to see the before and after. So this is a nice a live pink, warm pink again like before, go to layer and invert to make it invisible overall off the picture and then use your brush to paint on the effect. Let's go here and set this toe white and let's make our brush a little bit smaller and paint it softly onto the lips. It's a very subtle effect, but still visible in the picture, and it still makes a huge impact on how the picture feels. So there we go. OK, we've added this. Now let's zoom out, and if you turn it often on, you can see tiny difference, but it really makes the picture feel more alive. Okay, By the way, we can also assume in here again and paint. Let's make our brush a little bit bigger and reduce the capacity to about 30% and brush it a little bit onto our cheeks to get them. Also more alive like this started often on. It's a very soft difference. That's paint on a little bit more here like that and let's zoom out. You can see it's a very tiny difference, but it really makes the picture more alive. 7. Naming Layers: The next step is very, very important, and that is to name the layers. So at some point you have to do that to be a lot more organized. So let's go through the layers we have created so far. The 1st 1 is our dark sites than the 2nd 1 is warm one and the 3rd 1 is warm to There we go . Then we have our hair burn, ham burn. There we go. And the next one is our face burn. And after that comes our adjustment for the skin and for the lips. So skin tone and lip color. Good. Now we're organized. 8. 3D Effect on Hair and Clothing: Let's go on to add a nice three D effect for our hair and a little bit for the closing again. We're going to do that with a dodge and burn, so let's again create a layer filled layer. So go to new Phil layer like this and again set it up to be a medium grey. So click here on the fill color. Select grayness and set greatness to 50 like that. Good right, click on the layer and select rust Arise. Then, with that done, set the layer blend mode too soft light, and now we can go ahead and use our burn tool and dodge tool, so the burn tool makes areas darker. The Dodge tool makes areas brighter. So we want to do with that is we want to use the burn toe on the darker parts on the shadow parts to make them a little bit darker. So let's set our brush up Capacity for around 50 is good hardness. Zero again, and you can, of course, a chance your brush throughout the burning off the different areas. So let's go in the hair, especially through the darker areas, and make them a little bit darker. Everywhere you see where it's getting decisively darker. Let's burn that a little bit. And then also let's make up brush a little bit bigger Now we can also go over the shadow areas in our clothing and make that a little bit darker like that. And down here a little bit holds a here where is closing and on the scarf. We have some areas here by the neck. Good. OK, so now let's switch over to our Dodge tool to work out and bring out the highlights a little bit. So I will make let's keep the brush size and make the clothing first. Let's maybe make it a little bit smaller like that, and go over the areas where you have highlight that you want to bring out a little bit. Not all off the light areas, just the areas where you feel like. OK, I want to touch this up a little bit to make it come out a little bit more, okay, and now we do the same thing here on the areas in the hair that we want to make a little bit brighter like this. I think that's good enough. I think we have touched everything we need to. So again, the good old trick. Let's turn our layer off and on by clicking on the check mark over here and you can see that this quiet brings more off a three D look to the clothing to the hair, makes everything look a bit more interesting and come to life. 9. Warm Sun Burst: Now it's time for a nice creamy warm burst of sunlight is coming from the upper left in the image. And for that I'm going to use a rectangle that is covering all of the image as a reason for that. But first, let's click over here in the left side, and if you don't see the rectangle, click and hold. So you have the list of all of this and select a rectangle tool. So now draw a rectangle that is covering all off the picture. The reason why we need a rectangle is because we want to put a Grady int inside off the rectangle as a fill, and with the rectangle, you can always come back to adjust that radiant with the pixel air. You cannot do that, Okay, so the first thing you want to do is to switch the blend mode off the layer to screen like this and then on the left side, selected the Grady and Tool click and drag to paint to the Grady int onto your picture. And now we have to do all off the needed adjustments to turn this into a nice burst off warm sunlight. So first of all switch the type to radio, so it's a circular Grady int and then click here onto the fill color and you can see we are in the greedy in so we can set multiple calls. So the left side I want to set to completely white and the right side I will set to completely black like this. Now we want to add some war colors to make it nice and warm. So on the left side's click again to create another point and set a nice, warm, yellowish light. It should be pretty bright, and you can see in the background already what you're doing and how it will effect the pictures. So nice looks pretty good. It's a bit oranges you can see to make it warmer. And on the left side we again also create another point. And we want to set this in the red area and have it very like dark reddish grey like this. Okay, so with this, adjust it. We can now also adjust our Grady, and one thing you can do off course before that is click here on the most right button for the color choice and reduce your capacity Let's set this, for example, to 30%. And let's click on this that the 2nd 1 And let's see if we reduce that a little bit. Set this to 60%. Okay, that's good. Good. So now you have these points over your picture, and you can move them around to adjust where your Grady and should go. So I want this to come from up here the light, and then, um, remove this in So it's not too much that set it up to here. And the main part of the light is going to go over the landscape in the background, not the person, because we're also going to create a mosque. Let's pull this out here a little bit, and I want this to actually be a darker orange. So it's warmer from the light. Said it is pretty Okay. You also have thes lines here, and they decide how far out um, the color goes. So how it's mixes with the color that is sitting on the next point. So let's go like this. That is pretty good. Okay, lets a justice size here again. When you click and drag, um, you will redraw the Grady A. But it's not a problem. Ah, let's just move this up here again. Pull this out a little bit. Okay? I think this is good. So the next thing like I said, is to create a mosque. So over here, with the layers selected, click here on the mosque. So the masks put onto that layer. And now we want to use our brush, set it to a good size. Maybe a little bit bigger, like that. Hardness to zero opacity around 50 again. Set the color to black as it is over here, and then paint a little bit over her and over her body. So we don't have all this kind of bursting light on her face because we want to see her. Clearly. Another thing we're going to do is because it's a burst off sunlight. We want the sites still to be darker, so I will create a new pixel air. First of all, let's rename this layer to sunburst. Okay? Then create a new pixel layer on top of it. I will call this darker science good. And for this I'm going to use a really big brush, like, even bigger like that That's okay. Good. Um, let's set this. Actually, there is pretty good. Like this. Okay, good. Okay. Lets assume out for that. So we have a nice overview and then simply brush down here. Brooke wants, and on the other side also wants you can also reduce your, um, capacity from the brush. So you have more strokes that you can put on the picture. Let's reduce your pass ity here a little bit to 20%. Make another brush stroke here. Okay, Let's zoom in again. And let's a chance to our blend mode. Too soft lines gets You can see now the sites are darker again, but still, the image is very nice and swarm from the colors and behalf this nice sunburst here. 10. Adding additional Leaves: the next thing we're going to do is tow at some additional Leafs from other pictures, have selected two photos from the Internet with leaves. So this one here and this one with actual falling leaves, I will link both off them in my materials. And what we want to do is to select them and co p them over to the other picture. One thing to note here is when you go to the original picture, you can see that the leaves that we have that are falling in the picture are all blurred, so we don't have to be super precise with making selections on these leaves. Also, this will save you a lot of time, but just knowing that. So let's zoom in here and we have a leave here and let's simply go and use our selection brush tool. Make sure that you are on the layer off your image and then just click and you can see this already made a very nice selection. Maybe we don't need that area here so we can go and click here to substructure and click, and this area is removed and maybe down here also click. And now we have only the leaf, so we can already go controls C on your keyboard and then switch over to our image and control the two co p it in there. There's the leaf. It's a little bit small, but don't worry. It still has a good resolution. Sometimes it's cope it in a little bit smaller is actually its end again. Like I said, we're going to blur it. Let's select some more pictures, so go over to the other picture again. Control de to de select and let's find another leave that we want to use this down here looks pretty good, so let's click on that to make a selection. As you can see, I'm still in sub struck mode, so no selections made. Click on at and then with your selection brush tool, click on the leaf and Boom. It's selected with one click Super easy, like a set, because we don't need a super precise selection for this. So here we have our second leave, make it a little bit bigger, and let's see what else we want to select to the rest of the process is basically the same . There's another leaf that I want to catch book. There we go. Control, See to cope. E switch over to the other picture. Control we to put it in here. Rece ice it a bit and there we have it. Good. So let's go to our second picture. We have thes falling leaves and they will also additionally give as the benefit that we have some different colors of leave. Not all of them are going to be yellow. What you can see here in this picture is that they are a little bit blown out. So we want to create an adjustment layer, so click here and adjustment and select levels and then simply move the gum a over. So it's getting a little bit darker in here, and that is already pretty good. We can leave it like that. One thing I'm gonna do right now is right. Click on our levels layer and say merch. Risible merch visible will simply make a CO p, and it also has the effect applied. So when I select something now in copious over its with our levels adjustment, apply to it. That's pretty important to know. So here's a nice leave that we want tohave again. Use your selection brush and brush over it a little bit. Like I said, we don't need to be too careful. In this case, we don't want to have this middle part. So I clicked on sub strict and brushed in that area and then control, See and go over here. Control we So we have this nicely. Fears you can see as is really quick and fun. And you can have a very nice effect here. So it's also take this one and control C control. We you already know the routine. So here we have a nice leaf, which is already blurred, but we will blur it some more. Don't worry about that. Ah, what else do we wanna have? Let's use this one issues. This one looks fun. So let's select that up here and over there and click on sub strapped. We edit some parts that shouldn't be there. Okay, cool. So thou control. See again and switch over to the other picture and control we again. Good. Maybe one war. Um, Just to have a bit more variation in here. Um, what we wanna use now? Do we already have this one here? Because That's very nice. No, we don't. So let's use this one click here. Move over it by dragging your mouse. Likely you would use your brush. Select the areas that you need to this down here we don't need. So click on sub strapped brush over this a little bit. And we have basically selected what we need here. So, control, See? Switch over to the other picture and control we good. So now we have a selection off our leaves. What are we going to do with that? Well, first of all, let's move them around a bit and see if we maybe half already enough. Maybe I want to add some war. This leaf could move over. Here's a bit more balance. Maybe move this down here. So it's not too extreme. And I think I wanna half a co p of this. So hold control, click and drag. And this will create a CO p. I will move it over here and now I will click down here on my perspective tool. And you can click on this little check box here to hide the grit and just move this in a little bit. So this is basically in perspective. There is just very small adjustments were doing here. I want to make a copy of this one again. Hold control. Click and drag to make a CO P real quick. Move. This may be over here. And what else do we want? 1/2. Let's make another copy of this one. Put this here. Make it a little bit smaller. Okay, Cool. So now that we have created that, I actually want to have one more over here. Um maybe he used this one. Put it over here again. Control, click and drag to make a CO p good. I think those are enough leafs for us. 11. Blend and blur Leaves: The next thing we're going to do is to give them different values off. Blur. Okay. The way we're doing this is click on effects. Step over here and open up the gauze in blur setting. And then you click on the individual leafs and apply a bit off blur to them. And the bigger they are, the less blur you apply. But you still apply. Blurred in them. So here, a little bit more this also. Maybe there's a little bit more because it's not the nicest leave here. We have a lot off blur in there to make it like that. This can also use a lot off blur less maybe here in the middle area. Good. A little bit here. And this can take a lot off blur. And this also a bit more maybe like that. Okay, that's pretty cool. This could use a little bit more blur, maybe. Okay, it looks pretty good. Let's assume out a little bit. So we have a good overview, Um, as actually not bad. Okay. Cool. So maybe I want to cope e this one up here and rotated a little bit. Make it a bit smaller. Like that's because this corner here seems a little bit empty. Good. The next step is pretty important. Go over two layers again and select all off the leaf layers. So click on the oppressed, leave flair and then hold shift and click on the lowest leaf layer. Which one is the lowest? This one is the lows. Okay, so we have all the Leafs selected now Press controlled CI on your keyboard to create a group so we can call this group leaves leaves. Okay, good. There we go. And now, right click and duplicate on my leafs. And then I'm clicking on the lower leaves. Layer the check mark to hide it. And on the upper one, I click right click and rust arise, so this will become a pixelated. The reason for this because I want to apply some filters to its on. This works better if it's just the pixel air. OK, good. So what we want to do is because the leaves are falling. I want to apply emotion, blur to them, so go up here to filters and blur and select motion blur and set this to 90 degrees because , of course, the leaves are falling down and then you can see how strong how fast are they falling? So maybe this seems similar to what we already have here in this effect. So this is okay like that. The next thing I want to do is to adjust the colors off the leaves, click here on your adjustments and select H S L Adjustment beliefs that we added half a little bit too much color. So let's reduce the saturation. I'm just a tiny bit here, just a tiny touch like that. And let's play around with our callers. By the way, I'm seeing red. Now that my age is L adjustment is not trust on the leaf, so click and drag it onto the layer. So it's like this. You have this little triangle and this is underneath the leaves layer. Let's go back to our adjustments and let's see what we want to do Here I moved. There's a little bit you aside. Just a tiny touch. Good. Okay, cool. Another thing we're going to Dio to give the lease a little bit more personality is that we're going to create a pixel layer, and this picks layer also sits inside the Leafs layers, which only affecting the leaves. And I will set this too soft light and then take my paintbrush. Actually make it a little smaller. Okay, that's a good size. Good. And now let's double click here on the color chooser and select some different colors, and I can paint on them. As you can see, you can paint here on the Leafs to give them a little bit different, uh, callers than they originally had, so they each get a little bit more different personality to them and more personalized, especially when we have co pays off them. It's a slight effect, as you can see, but it's still really making an impact. Good. Maybe try some yellow here. No, there on this site here, little bits, they're a little bit okay. I think that's enough. Good. You can see here. It's a slight change, but it really gives the leaves a bit more personality. We can actually reduce. There's a little bit so we don't have too much caller again in our picture. One thing to do now with the leaves is holes to apply. A little bit of ambient light. I have a very nice trick for that. So turn off the leaf. So they're hidden again, right? Click and select merch visible. And this will create a CO p off all of the image on top off our other layers. Then go to filter, blur and average, and this will blur all the colors together. So we get the average color off all the colors that in here I will set this too soft light , and then I will direct this into my leafs layer. So it's also setting in. Here is an adjustment. If we turn this on again now, you can see that this will give the Leafs on ambient light touch that has the light off the surrounding off our image. So that's a pretty important step to blend it in a little bit better. You can, of course, adjust the ambient light. So I was set this that your capacity of 75%? Okay, 12. Fine tune and Sharpening: we're almost done. I'm going to show you some nice tricks to find you on the colors to make the image pop and sharpen. It's with a very nice trick. So the first thing is that we're going to create an adjustment for Grady int map and looks a bit strange right now. Select the middle point and click here to the Leeds and then select the left point and set this to Ah, pretty dark reddish brown like that ends the right side. You set to, ah, warm, but very bright or rather, brides color. So it looks like a s a p A picture. Basically good with that, a just man set the blend mode too soft, light like this and you can see we get some really beautiful colors in our picture. It's a bit too intense, so let's reduce the capacity on that a little bit. Bring it down to around, let's say 60%. In that case. Good. Okay. The next thing to make it pop a bit mawr is to create an adjustment for brightness and contrast like that. So I want to bring the brightness, slow it down, and I want to bring the contrast a bit up. Okay, that looks pretty good. Move this in a little bit. Okay, Nice. So to readjust the colors a bit, what I want to do is to adjust our light sunlight up here. It's has this kind of greenish yellow that I don't quite like. And this is also why I made the rectangle. So we can now go back here and click on our Grady and Tool. We still have our Grady in in here. Click up here on this fill color, and on the second point, I want to re adjust the color of our light. So let's make this a bit more orange. Maybe a bit darker. Ah, like that. That's pretty OK. And this is I'm looking right now down here on our navigator like we have this smaller overview gives me a better impression of what's actually happening. The picture. I think I'm happy with that. Um, the last thing I want to do is go down here where we have set our dark sides and make them a bit darker. So the person comes out even better in the center. Okay? And the last thing we're gonna do is to sharpen the image of a very nice trick for that For you. So right. Click on the most upper layer and select Merge visible. And this will create a CO p off all of the layers below, compressed into one pixel layer. Select that layer, go to filters and sharpen and high pass. So you have this little reno, he everything turns great. I will soon in a little bit. And what you want to do is to set it up. So you see the details a little bit that you want to sharp. And so in that case, I think I'm gonna go with about three pixels. Click applying. And now they are two different ways you can go. Most people would suggested you go with soft light to sharpen the image. So let's go in here and you can see that the image is a little bit sharper. I was a chess the method that you select linear light and you can see that this sharpened see image quite a bit more, and you have the benefit that now you can use your rapacity off that layer to select how much off the sharpening you actually want. to have in your picture on a set it to 60% here. Okay, lets assume out. And I will. Kobe, our original player, put it on top so you can see the difference that we have actually achieved with all these steps. You will be amazed. This actually is our original picture. And this is how it looks now. And I think we did a great shop. And I'm looking for about two what you have created with your own pictures with the help off my online course. Thank you very much. And see you in the next course by 13. Bonus: Next Day Edit and Eyes: Hello, my friends. It's a day later, and this is actually the most important part of every creative pro checks that you rest your senses and then come back the next day and have a look. If you still like the results. Also in this video, I want to show you how to a chance the eyes, because the picture I selected doesn't have open eyes. First, let's do some tweaks on this. As you can see here, the shadows they are a little bit to read. I want to reduce them just by the tiniest bit, and there is a very easy way to do that. So I will create an adjustment layer over here for color balance that sits on top off all the other layers and then set the tonal arrange to shadows and the balance between science and red. I will move it a little bit into the direction off SCI minus 2% to this is a really a tiny a chance min. But the benefit it has is that it makes the shadows a little bit colder, so the attention is even more sucked into the middle with a warm light and the nice atmospheres, and also we get a better balance between the colder parts and the warmer parts off the picture. Another thing that I don't like at the second look is that the cheeks are a bit to read, and here I also want you to see a very nice trick. So the good thing is that we have named all our layers so we can go down here to lip, and we know that the lips also are the cheek adjustment. As you remember, we painted in a mosque to make the effect visible. So when you hold your old key on Mac, it's the option key and click on the layer. This will show you chance the mask and you can see where you use your brush. You can see that we have quite a lot off mask on here on this cheek. So basically, we would need a black brush with a low opacity to paint over these areas. To get back to the normal view, just click on any other layer and then I click back to the lip color layer. Now I'm gonna take my brush. Set the color to black, reduce your capacities already a 25%. That's good. Hardness at zero. Make my brush bigger. That's a good size. And then I want to paint over this. Maybe once or twice. That seems scoot. Reduce it over here also a little bit. Then again, Out. Click on my layer. Now it looks like that That looks actually okay. And when I look at the overall picture, I now like the results that I have. So I would say this is the finished version. I like their results now really much here we have a picture where we have just eyes and we want to adjust the iris off the ice. So it's not about the skin. It's just about making the iris off the I look better. So let's zoom in here. I'm going to create a new pixel air, and I'm going to set this too soft light, and I will use my brush paint tool. So over here, the brush set it to a smaller size is a little bit too big. That is okay. Capacity. 25% Hartness zero. And in this case, I wanna select a nice blue color. Mm. Like this looks good. Let's paint this in here little bit. Okay. You can see we become nice blue eyes here. So nice thes, ice colored blue eyes that it's very, very nice. Make it a little bit smaller overhears we can paint on that and down here also a little bit . If you go over, you can use your razor, of course, to remove some parts of. Maybe I paid it a little bit too much on here. Let's remove that. If you think that the eyes are a bit too extreme, you can off course use your A pass iti to reduce that or try to paint on another color until you're satisfied with that. So I will set mine like this. Okay, the next thing I'm going to do is, as we have done before, a little bit off Dauch. I will create a fillet er go to layer new film layer and set it to a medium grey. So click here on the fill color, set it to grayness, and here enter 50. So this is a medium grey, Then set the layer too soft light and use her dodge tool over here on the left side. See Dutch brush to Let's zoom in a little bit and what I want to do. Let's maybe reduced capacity to 50% on that again. Hartness zero the with we can make a little bit bigger our brush. And first what I want to do. Oh, by the way, and this is very important. Almost forgot about that. You have to, right click and rust arise the layer because it has to be a pixel layer toe work. Good. So now that we've done that, I want to brush over this lower area here, off the eyes. You can see I do it once and twice to make this area a little bit brighter. And then I will make my brush smaller. Not too much smaller, maybe Like this. Okay. And bring in maybe a little bit of a highlight. So an area as a little bit brighter like that. Okay, that should be good enough. Good. So you can see now the eye has a lot more William than before. Another thing I want to do is to bring out the I'm or with some contrasts on that. So I'm going to create an adjustment layer for brightness and contrast, and we can adjust this here bring up our contrasts like that looks good at the moment. It's all over the picture, with the brightness and contrast adjustment layer is selected. We go to layer in Werth and then assume in here again. Use our paint brush. That's important. Not the Dodge Tool, the paintbrush and set that toe white. And now we can paint the effect onto our picture. Let's make the capacity 100 and the brush a little bit bigger, so we don't have to do this for too long. There we go. This is applying it to the I. We can, of course, again out click on our layer to see where the mosque is. I miss some parts here in the middle, okay, so that should be good. Let's click on another layer so we get back and you can see now that this I looks a lot better, has nicer color, has nice reflections in it, compared through the eye on the right side. And let's turn off all of these layers. You can see how much we have changed that. So this is how you adjust ice 14. Final Thoughts: Hello, my friends here, Some final thoughts. First of all, thank you for watching my online course. And now the most important part about learning a new creative skill is to exchange with others. The reason for that is that art and creativity are very personal, individual forms off expression. And this means that just knowing the information isn't enough exchanging with other people giving them feedback. Asking them four feet back will bring this alive and make you find your own personal notes . So please share your intermediate and also your final results with others so they can get feedback. I can also get feedback and feel free to experiment and find your own solutions based on this course so you can grow your skills and formulated into something that it's your own style, because this is really important for any form of creativity. Again, thank you for watching the course and have a nice day. Bye.