Photoshop Advanced Training — WHITE Belt Level (The Dojo Masterclass) | The Dojo | Skillshare

Photoshop Advanced Training — WHITE Belt Level (The Dojo Masterclass)

The Dojo, Photoshop Grandmaster

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8 Lessons (2h 2m)
    • 1. Intro

    • 2. Set up

    • 3. Flat Greyscale

    • 4. Smoothing Technique

    • 5. Lighting Technique

    • 6. Color Grading & Texturing

    • 7. Adding The Basement

    • 8. Realistic Shadow

15 students are watching this class

About This Class

Welcome to The Dojo, if you want to bring your Photoshop skills to the next level, this class is for you!

WHITE is the first level of The Dojo Masterclass.
In this class you’ll learn:

  • How to convert your ideas into digital artworks
  • How to turn any image into a flat greyscale
  • How to properly control and create light
  • Advanced smoothing techniques
  • Perfectly applying colours and textures
  • Create realistic shadows

You’ll be creating the artwork THE WHITE ROCK using the tips and techniques from this class.


Our grandmasters have over 10 years of experience with the tools, you’ll learn tips and tricks they use in their masterpieces that you can incorporate into your workflow to give you more control and upgrade your skills. 

The method of The Dojo is very practical, we directly apply concepts and techniques to a project and explain while doing. It makes every lesson fun and entertaining, and allows you to create something from the very first minute.

This photoshop class is part of The Dojo Masterclass, a complete course designed like a martial art training.
Each class has a colour theme, starting from white and finishing with black, slowly increasing in difficulty. Every video will show you the process of creating a specific artwork, teaching you methods and techniques while doing.



1. Intro: 2. Set up: welcome to the door. So today we're going to take a look on how to create this effect inside of followership. My name is Sandy and is the What, Rach first thing we want to do is to create a new file so good to file. We call this the White Rock, and we decide is a weight 1600 its high 2000. We're to keep pixel was, um top of dimension is a former. I will keep the resolution to 72. Marjorie caller. All the rest is quite right. So quickly, eight. And here we have our new file. We see that we have this background that is locked. This system locate with double quick on first we want to do is to import our starting pictures. So we go to our set folder and we have how we're portrait. So let's struggled into for a shop. And the best way to import a picture inside for a shopper inside your file eyes to open it as a separate image press common A to selected hope. Common. See the copy and then Condi to place it in the other picture where we did this. Because if we drag and drop our image directly from our funder inside. For Russia, it automatically creates a smart object. The probably the smart object is that it's directly connected to our original picture. There is in our computer, and then it goes some problems later. So let's let this and just keep going with this version. So now that we have pasted this picture in we converting toe a smart object, this will next things very easy when we need to, um, change dimension of the picture without losing any quality. So now we just reduce the size just to the side was the best donation for our project. You hear this? Quite good. Maybe a little smaller. Very good. So first thing we want to do is to cut out this portrait on how we do that. We use our quick selection too. So we go inside our smart object. We select our quick selection to on a bigger brush. We just go around and select Aled image. Okay. Perfect, Saleem. All right, then we use this selective mosque to refine our mosque is a very quick and nice still to use, because within selecting our refine edge brush we can simply user brush to go around the edges and have a perfect cut out of the image. So we tried to go to precise on the air explaining why a little later Ah, but what we want to have is a really clean cut around the body of the subject. But that's the wrong here. It was quite good. Would you find a spark? Quite nice. And I see that this edges are a little blur faces out. So what I want to do is simply to increase the contrast here in the right. Yeah, looks quite good to me. They're not perfect, but they're fine for now, So just click, OK, and now with this selection are active would just create in the mosque and hear this web, our image cut out. Now what I want to do is create a new layer 90 layer under net and feel it with I'm feeling with black and we wiped. To see if there are some imperfections is an easy way to check if everything is all right. So as they see here, the hearing was going in the way. So I just go in the mosque, selecting the mask and would, ah, with a simple circle brush with hard edges and with the black color selective. I just being here to refund the mask. Perfect. If there is anything else, it looks quite all right. No, we want to do with this image is not to have such a detail cut out of the air. Why is this? Because when you want, when you see a statue, it doesn't have like single hair there, Well defined. It's mainly like a big block. So to convert this type of picture into, ah, marble statues want to have a simple our version of her hair. So what I want to do now is to cut the hair in a way there, they could be kind of a hard surface. So how do we do that? We just basically get rid of this strings over there that are coming out so still again, using the our brush with black color selected. We just got out what we think could be the leader from this picture. So let's say we want to simplify this on. I want to do like this, like this nice wave that the hair creates on, and here maybe want to simply fight even more and live his whole part. Three. I would clean itself and some here. Perfect. And we can kind of do the same thing in here. All right, we are already in a good place for or marble statue. So next thing I want to do, because marble statue doesn't have holes in it, we need to simplify even more to her, because at the moment yeah, I wouldn't have any string that comes out. But still, we have these holes in here, and this could be very annoying. So hard we fix them, we'll create a new layer and some in and, um, simply using our work clone stamp bigger brush, which is select clothes, parts of the hair. And you go, we just extend that and we can do the same fame for this part over here. Oh, maybe actually here because it's really dark. We can simply use off brush in vain with the star Kohler. It doesn't really matter cool and same thing in here. Perfect. So we got to speak bloke affair. Now that look more, we look more believable when we do. We can convert this image in tow statue. So let's delete background, save this marked object and close it. And so we're backing Thought were men come and here were named this layer, uh, girl. And with let this and we use a new solid color as a back room. Just keep it white. It's fine. Like the mosque. Well, it is called this background. All right, now, to make it even easier to then create the marble statue at the end we want to do is to simplify even more so, as we said, where the simplified the hair so they have ah, easier shape and an easier structure to then convert into a statue. But then there are lots of other things that can be annoying off the word. So, for example, hearings these hearings here there will less look less believable for Statue. So what I want to do is just get rid of them. So go back inside. I were smart object, and then what I usually do for, ah, removing these things. They're quite simple. Instead of using such a detail things Klong stamp or ah, healing brush, I just go with my brush to so very simple. Really. Um, low hardness, Braasch, like really soft on picking a color that is nearby and just paint on top. It doesn't matter in this case if it's not super precise just because at the end went to still converting in tow Um, Marvel Tattoo. And it was a lot of this skin quality and it will will also out some marble texture again. So what a matter. Too much. So with a couple clicks, we basically got rid of Ah Deering, weaken. Do something for this one. Uh, or maybe if you just wanna have go with the close down look and it's even better for this case, So just copy from here. It's all right. So the best option just because sometimes colors don't quite match good. So, yeah, I just perfected the wind brush. It's just my my preference. But then you can a recent however you want. I just find it really easy. And yeah, it's really also easy to for shop Humanities. Um, tool rather than the corn stacks sometimes can make it things. Really? Ah, slow. So come off this other hearing too. I just say I'm always picking a new Kohler from nearby and how I do that. I just click the option or all bottom with my brush selected. Second, simply pick a color that is nearby on a play that this feels a little bit like painting. But maybe it's what it is, but it's quite fun for me. Thetis. So this is another case where maybe instead of the brush, we can use our healing brush toe. And the best way to use this is, um, select in a rigorous nearby here. And we try to match this starting part of their over shirt. So we just clicking here and we can already see will be the result. So a tractor lined the yellow part and now that we found a place that feels good, yeah, just go up. That was clear. We conclude that a little bit more. You see, we had a clean, very clean cut with Harris weather. You can do the same thing with this other sites. Salutary, select another. There may be one of his more flatly here, and yeah, we can even go down here, Tom. Perfect. Now we can keep refining, and again this will be converted into a marble kind of effect. So it's I think it's quite good as it is a right. Ah, let's see what else e think really good. At this point, we will do after work is also to remove this growing in her in a dress. But that's something we can think about a little later. So we say this marked object a 1,000,000,000. Close it. And here we have our clean image of a girl. 3. Flat Greyscale: Our next step is to turn this image into a grayscale version of it. It may seem like a simple stuff, but actually it's more complicated that it seems. Why is that? Because the first thing that everyone is mine is just to go to you saturation and just revealed celebration. Cool. This makes a great skill version damage, but it's not we were looking for. That's because we need to turn this image into a marble statue. Ah, property of a marble statue. Is that the whole surface as one single material. That means that the whole material reacts to light in the same way. Well, you see that when we changed, the name is to a great school version. In this way, what we get is lighter colors on the skin, more white and are in the eye and clothes. It's way darker, and we also see those black lines that wouldn't be visible if this was an actual statue. And same thing with the hair, the hair really dark here while they need to be a slightest the whole rest of the statue. So how do we solve this problem? We remove this layer first wing. I want to do it, said. This is a little trick, but I think it's really useful. So we need to duplicate our girl layer. We rest. Arise it on. Then we apply image adjustment, shuddering highlights. So we're shadowing highlights. Thus it's basically like a fake HDR basically analyzed this. You can like the shadow parts of the image and darkened the highlights parts of the image on If you see the result this way doesn't really look that nice. It almost looks like it's 30 or bed retouched. But believe me, when you doing this, you're actually balancing the lightness off. The whole image so literally we were doing is making the life shadow the light portion starker and making the shadow portions lighter. That is exactly what we need, because they need to have more or less the same level of luminosity. Um, so we can adjust from this first section, all the shutters. So we pull up this slider and we just play with these sliders to see what works. Best failure seems fine and same thing with the highlights. We just want them darker and see how much we can do it. All right. Seems all right to me and then with this final panel here with the adjustments where we can change color and mittens, baby with the stars it the mittens basically works on the sharpness of the image. That's more, um, clarity basically adds a little bit of contrasts. So you see the difference, and callers basically accentuates the whole colors and makes it more saturated. Or you can remove them oberyn just now the colors just because you can already kind of the saturate. But you see, it's not really removing the color from the whole image. So let's keep it in at in a place where it could be useful for us. Let's say 11 it's fine and meet owns again. We try to not having to Contra State and No. Two plane we need to have, like a balance were like a normal kind of looking a mission. I would say that like this is fine, So press OK, and if you and check this layer, you see the big difference. Now the 1st 1 almost looks quite strange. Um, so what I do now? We I click the image to the Wonder knit, so everything that is done in this layer is just visible inside the see like of the girl. Now there were applied this we can go to where, um, I know here and select black and white. Why, you and situation no black and white Because black and white gives us more options. We can actually control the lightness off each single colors. So already from start click this to you can see that the over a look off the image is way better. So the whole image as the same luminosity, more or less. Ah, we still have to work a little bit on it, but it's a good start. We can fix it even more using this slider in the black and white. So, for example, if you move the red that is basically color, there is in the skin tones and in the dress we can adjust like this. Red colors are. Ah, let's say that I like it like this ongoing Fix the yellow that is in the, uh, sweater and a little bit the face. And still it'll become clothes. Um, we need to find a balance. It's more. There's no specific number. We just need to user sensibility and try to to find a value that can work well for what we want to achieve. So let's say that this is fine. And if we changed this other force lighter is probably not gonna change much because there was no much green or blue or magenta in the picture. Mary Bill Magenta. Yeah, Just a little bit on the clothes on the hair. Been impolite. All right, Seal. It looks before and after. Maybe we can even really is a little bit of this layer, because was a little bit too flat, so it can simply just go down in a past city. You see how everything reacts? Um, it already looks quite good. Yep. Um, what I want to do now, it's first to get rid of this black spots because, as I said, starches doesn't really don't really show if there is spending on the surface. It just shows the surface itself would know. Um, we know, except stuff in it. Eso these drawings and close wouldn't be visible. So how do we get rid of it? We can We have several methods. Whatever. What I like to use. He's eyes we did before on the hearing. Just a simple brush tool. So we put it in your layer on top with grabber brush tool. Uh, he's ah, Norma brush, um, quite heart, and we just paint them talk. I will start with the brush first in these areas where the image is a bit more blurt without the focus and maybe hear what it's more defined. We can go with a different tool so we can preserve a little bit of the texture. So we start from here and again, clicking the bulk or option keep. We can select the cooler in your body and that proper brush just simply pain control. This is very fast, where your retouching, uh, and sometimes I find it way easier and more manageable than using other complicated tools. And in this case, we can just go really rough. It's mainly because at the end we're gonna use a different we're gonna play a different texture to the whole image. Wait a second was going really slow, probably to change something like little tablets. My brother. This I would just go and pained under space, really relaxing because it's literally just going with your rush, and it's a little bit like playing as a kid. I'm living the junctions for now I'll show you a quick tip how to fix the on the street. Now this issue stays healing brush tool. So if we use the healing Bristol Onda, we click out and select it s spot that we want to replicate. The best way to do that it's pick a spot that is already there was already the junction in it like a clean junction. And when we do that, you can actually see with the result and life, it should be applied pretty Nathalie on a prudent to repeat it because you're is a rain. Um, but as you can see, it already cleaned the junction pretty clearly. And then we But then simply no cleaning with with our brush tool strata , get them small just because it's fine ruling, texture. But like strategy with clean as well. Alright, let's try again with the healing brush tool here to preserve a little bit of the texture. Um, guys turning such a proper right here. Okay, Quick, dude, something here. Nice. I just brush here, Scrushy it out. Eso We can already see the big difference on this part. So it's pretty clean. Thesis part is a little dirty, but like overall bureau, look, it's really nice. And trust me at the end, you wouldn't even notice all this. 30 patches would done with the with a brush. - Theo . Healing brush tool sometimes isn't really work properly just because maybe we don't have enough area to Copei, so it just makes it even more dirty. That's why you like it's not always my favorite. Go to a tool most of the time works, but like there so many small cases What? It's just better to go with a normal brush just makes everyone foster. See, here is a little bit 30. I don't know. You think just really makes meat snack more eating brush. Then it's studio with how Oops. What happened here? Okay. And all rights, almost up. Okay, here we are. We clean the whole dress is going to see it before and after. It's what clean Think it can work? No, we need to do a thing is doing the same exact thing for a couple more parts. So the 1st 1 would be de ice and, um, and the eyebrows, because again we will still see the highbrows in the sculpture, but we will not see a difference in color. So what I would do it stood on a separate layer. So you keep it clean. We would just go again with a brush. Just speaking of color in here, boy and slightly color on top, we don't want to remove it completely. We just want to make it way lighter, because shouldn't really have a difference in Lewin Austere. No, you will look a little bit creepy now, but trust me at the end is gonna be It's gonna look a and same thing. We need to do it for the ice. We literally to clean up the I. So again, the speaker cooler there is nearby. Just paint on top. We just didn't really fast and easy way to do this. Then we trails to replicate a little bit of the shadow like a natural shadow just because a bit darker color in here. So and the good finger book you working on a different layers that we can always use aware you razor and the sarees. Whether we didn't like with you, he's a little back because in the brush Shinto, so 30 Yes, Carol is whole park. All right, so the same here, or And if we want to make it look even more realistic when it to re integrate a little bit of this shadow on the top with a small, very small brush and just re kind of recreate this little girl from the I do together said to like a nice technique to make you look more like, uh, statue or experiment work if you want to build sort of the robot just redefining the the structure. Now, if you feel that it looks a little too flat after we do this, we can still out a little bit off shadowing highlights. Just picker. A bigger brush with a dark cooler and re created are caress. I really like this. And then we can just erased bar with really like or just to reduce the the intensity of it . Um, and this will just help. We're basically just pain. Don't open shaving it however we wanted. So this is a little you weren't off. Terrible. Can even, um, in light spots, we pick a white brush a little little like throwing here for me too much, but we just reduced capacity is gonna be all right. So, uh, merge together these three layers. So where When? Only one thing. I can do it also with the colts patch to call it Scarlett Patch. Um, service penalties with shall do my lights along this layer mask. All right. So we can see and gay then before and after You already is going toward the statue direction way more. Now, the last part that I want to focus on is the hair. This is because the hair again, they're areas where they're way too dark to be believable. So weaken do these in several ways. First thing I will try to do is again to use shadow highlights when a new layer and just top flight on the hair. So let's see how it works. Let's just merge this whole part. So selected, all with common option ship. You. We just created a new hope. Sorry. Common option. Here we create emerge layer with all the selected ones. Put it on top again. Reply. Image adjustment. Shuddering highlights. Now don't I don't think off the whole rest of the human. Just focus on the hair and see what happened there. We want to do is literally having a slider. It's possible in the dark part. So let's say that this is fine. And then we put the reverse mosque. So keeping, pushing the option or out bottom and we click on the mask. We carry the reverse mosque and then we're paying in it with white brush and we just do it on the areas where there really dark. I stay here and here, and this is just again to bring same level luminosity where we can. We can even do it in other areas of the image that maybe a little too dark. We have a layer. Just use it. All right, let's see what happens. It's definitely much better. And I think we also need to get rid of a bit of this life points on there so we can add a new layer and using ah, an average gray color because fix for the, uh, the rest of the image. We can just paint on top this way with both removed the white park. But we also dark and a little bit sorry. We'd like a little bit black part, but also to the council with this on the some other parts. Statements over example. The the year it look a little bit too light. I guess we can race if we went too far with that. But it looks quite good. So if now we'll check this whole before a doctor. So this is where we started, Norma. Seal it. And this is where we're now clean, great scale version of the same image. 4. Smoothing Technique: now that we have a great version off this image, Next thing we need to do is to having a little more Smoove. What's that? Because, as we say, there are some property of marble statue that we need to get the mind. We were already solved is the colors. So we tried to have, ah, to keep a constant level off luminosity and color for the whole image. And now the next step is the surface of the statue at the moment because this was originally an image. We will have textile on the clothes, different kind of textile, depending on the clothes. And we have the skin texture, a little different leaps. And then we have the hair and all those little imperfection like moles or freckles. All those things would never be visible if this was a statue. So we need to get rid of them. How do we do them? We do it. We need to smoke it out somehow. So first thing I would like to do is to create a unified copy of oldest layer. So again we keep common option year control all and we created a new layer. There is exactly the copy of Old One was selected. And now that we have this layer, we can start smooth things out the way I like to do that. He's using this martial so this much, too, is a really strange too, because it's used for very different things on a smudging things out seems like the simplest thing to do with it, but it could be used for more. In this case, what we really want to do is to, as you see, smooth things out to do this, I would say to use ah, very high level of strength here. Up here, I usually go with 80% and then because I'm using ah, walking tablet, it's really easy to control the strength with the pressure. And another important thing is you need to use this thing. Ah, but try to no music too much because it can completely destroyed the image. If you if you go like this is gonna be horrible, the best way to use it is following the direction of how the lines need to normally work. So we don't become just go here and smooth it out this way because it's not gonna be realistic. We need to follow the natural lives full of the structure that is already present in the image. And if we do that at the end, the result will weigh much nicer. And so even if you have some first line, that could be a little strange. Then we can still go again on and slipped them a little bit more. So we tried to do it everywhere without this string parts of the image. I would do it here, too, because those hair will never be there at the end. It's probably been a bit too strong. I can go a little lighter since 70. For now, you went with write Leah Rush. Yeah, looks nicer and has to be careful because it was your really destroy the holy night. Still strong for 50? Yeah, And you see how this helps to remove all the little single hair that we have because, as was said, we'll never see them. Can you find a result? So this is a very, um, it's a very powerful way to do this thing, and I also think that gives us laws off control because we can literally go for each single portion of damage everyone can really move it in the direction win it. And even if we want to create some different, let's say volumes, we can do it with this. So, for example, we want to extend this whole around party sort of going in this direction. We could just small things out this way, and it's gonna look nice, But yeah, I'm not sure in this case, let's see how it goes. Still, it's to look like a whole block, so we will never see this little hairs here. Then we cannot be better fixed after work for like, it looks already like a nice start. If you see the before a doctor with this layer, you can see it almost looks like a more of painting paintbrush. But then at the end, when we will have, like older right lies in shallows and the right on Dexter on top, it's gonna look much more like a on actual start you. So with it this for the hair. We can keep going a little bit more here, and we also need to do it on the face because we want to get great off all the a little skin texture. So for the face, I would say to just cool way lighter. So a good technique is to let this if you click on the spot and move the spot up on down very quickly. What it does is literally smudging the same spot over and over without actually moving it too much. So we get at the end is like a blurt version of it. But these technique, it's a little more powerful than just using a blur tool. Just because we have more control on how much we're blurring and in which direction we're moving. Also the texture. Because again remember that we need to keep the same the same kind of direction that the natural image us because the more we keep that more realistic is gonna look at the end. Oops. See all this really nice texture here in the ice there Really nice, but like we don't need them. So we trekked to smart them out. You see there some places like, for example, this little, um well, you call it like this start part over die. There's a really quick natural, so we don't really need to smarts that or fix. It just started working and even like the border of the nose that's already perfect. It doesn't need to be fixed. We just need to use this technique for portions that really need to be different of what they are at the moment and again try to not do it too much because the words were really lose the whole structure. We use the the natural shape of the face and even this parts on the left. I think what could even stay as they are because it's already with out of focus? Yeah, I don't really touch that just from all of this Dexter over here, it almost sounds like a paradox. Restructure tried to keep texters in. They were just marching. Everything else. Yeah, cool. Look a little before in Gaza as a job, but it's a mix of relaxing, and you really to keep attention to it because it's going off. If you if you don't put too much attention to it, it's gonna just look mass. You be careful with how much pressure your butts. See how nice this little point of light it's It's natural just needs to stay there so can already see what we did on the face. Certainly, why blur but could be a little bit more Just because this car is a little freckles, they really need to be council for as much as much as we can thank their parts. They're a little too dark We can't see. Use a different technique like we can again. Just use a brush and painting copy. If there are, Koehler said. We don't really like. For example, this little dark spot here can just speaker leather cooler with a soft brush. Just paint on top and see just worse. Or this one just bank until there's no one single way to make this whole image look nicer, we can use several techniques altogether. There's not even a right or wrong way to the things pretty simple reelect effect that I see this shadow off the eyebrows. It feels a bit more. Look at me state. You left this lifeline here and you try to use your sensibility. It's not There is no right or wrong way to the thing is just how a feel. It must be correct. Like I could be totally wrong. Do it as you feel. Well, look nice. You see it? We're even revealed a bit more. The eyebrows this quits moved Now, um other closely, maybe weakens. It's a little bit more here in the air. Oh, very nice. Probably tried to march Those eyelashes. Still, they really feel little to define because one here too. All right, let's do it here on the leads to slips are a little bit too again following the natural Chevron clips and keeping the natural lights Just mush that out. A stranger to remove the border Acosta The actual borders of the off the port freight are like the natural ones. And also keep in mind that the statues could even be hyper realistic. So we will have, like, a little cuts on the leaves that could even be possibly visible. It just depends. What's the final look you're looking for? Just because the more realistic it looks, the more questionable has Ah is really sick. Peace. It's gonna be I quite like her looks now let the leaps to quite smooth. They heard face um, everyone it looked brush more brush Justo smoking out just a big rush to removal the all the highlights because they're really nice. It's natural is they are to get the right callers. Better game. Our goal for now is just a smart things so smashed them. All right. It looks quite nice in the face. Now, we'll work a little bit on the close. Actually, the closer quite nice. I think we're gonna texture at the end. Just gonna look really good. Yeah. So everything is really smart stout, And we can see the difference from before and after. Just call this march, and it really looks like more like a three d printed thing. I like it like the result looks really good. 5. Lighting Technique: Now we need to work a little bit on the lights and actually shape the light to give more than I should toe the whole statue and just to make it a little more lighter and look a little bit nicer because we have also this gray version that is quite flat. We can kind of place their lives wherever we like, so we would probably need to start following the lighter is already present. So if you see this, let's put here or dislike the nose. They this spot story, tell us how their lives were acting. But we can still fake some secondary light that come from behind, for example. So how do we do that? We create a new group this time? This is because we're gonna use a lot off different, um, elements and techniques to try to ship the life that we want it eso best. Um, best way to do that and keeping the whole file organized is to create a group where we put inside all over layers so called this light lighting place is empty layer in, and we get to this group and the mosque, so we select the shape off the starting image and selecting the group we click on a mask, we create this mosque So anything we create we create inside here show you it's just gonna work inside this cell. So what do you want to dio? They stretch to just make it look nicer Straw you to bring a little bit of more. Ah, you know, crunchiness to the whole image. Eso would just start with a simple curb later. And Frederick everything lighter? Yes, the whole grave thing Look a little bit too dark to me. Ah, fill this one feels already more like, you know, like a flat three. The style image looks really nice. And now when it to, like emphasize the light wherever we think is best, Um, for example, again, good technique is using, uh, curves. So we create a new layer of curbs on a game. We put it really high to just define some more lighter parts. But then we will just invert this mosque so it's hidden. And with a soft what brush we can start painting this letter parts. And as you will see, just a little touches here and there. Already gifts more of ah define dimension damage. So, for example, just put a little bit here in the forehead. We have a little bit here in the nose here in the chick, Um maybe some here and lips. And I feel that these shoulder should be like her, too. I could see it. The hit by stronger lie it with you. Spurt to Aziz. You can see like already I would just couple of clicks. You can see how the image comes to life way more. It looks way more interesting And was that this is simply because we are putting more points of interest. So instead of just being a flat symbol image were saying, Yeah, this is actually a shape. This is how the ship is the fine and yeah, and we decide also where the I should be directed to. So my goal here would be to put a little more and presumed face because the the main element rather than the body. And to do that, we just need to emphasize lights and shadows. I don't think that I want to do first before adding even more lights is to remove some of the supposed are a little too dark like for example, I can see here on the I on the left side of the ice a little bit too dark. So to do that, we're describing you layer and we pain with a slight gray. I think this is already like a a little thing, but it's enough and we can do the same here on these part of the eye so you can see before enough. They were just moving things out where it is even before. But I think it's important toe cheap, doing things like we don't just need to stop at the first step. We need to keep improving and improving all the time because even if we feeling I looks good now, we could not be looking that good later too. So the whole creative process, it's an ongoing process. There is usually never hand. You just keep improving your creations, but you can see we can do small things out a little bit. Looks quite nice and we also what the's thing help us to do is to remove distractions because you see the darkest both in light of spot is usually the places where the eyes directed to. If we try to remove them from parts that were not interested in. We're just basically slightly directing the ice toe. Worse and more important element in the whole picture, so clean that up can keep going with reading lights and shadows. Start with the shuttle layer on soldiers go create a curve layer and this time will make it darker. And again. Don't look at the whole thing. We just got this dark areas where we want. So invert the mosque and we start painting darkness. So that's the amended. This side of the nose could be darker, and maybe this whole side of the face get a little bit darker. Yes, maybe here behind the year, this old welcome part. A little bit darker, Hoose. And it would say, here on the ship, he's also helps defining. Not only would I shall look, but even was the shape off the image again you can see before and after looks like small start, but if we see the whole the whole group of flighting you really see, it's starting to define. And we can keep going with this pain forever, like another lighter layer and sir painting. There's another little technique. There really like to use. What this does is using the natural fertilizer and darker parts. So exactly what we're doing is applying whatever can the effect we want with their kind off crude layer or adjustment layer to a specific area off the image. Let me show you what I mean. So we made this light Kruger layer. If we double click with this option down here, it's called Blend. If would blend, it does. It allows us to apply a specific layer or do to make a specifically are visible Onley in certain parts of the image we're going in. The first bar decides work, part of the layer are visible, so in this case, the whole range from black to white is visible, but we can shrink this range down. But what we're interested in now is the second bar that say's underlying layer. What this does it. This size decides, um, where this layer is visible compared to what's the level off brightness off the underneath layers. It seems really complicated, but let me show you. In this case, we just want to apply the lighter crude adjustment to lighter part of the image to make them even lighter. So how do we do that? We just removed moving this dark slider. We literally removing the light curve layer from the dark part of the image so you see how the image is changing. So we're Onley, applying the layer to the lights parts. It looks really harsh at the moment, and I want to keep it really hard. For now. Just decide exactly what's the level off the luminosity where we want to put this layer. So let's say this is a nice spot. And now keeping pushing the option or all bottom and clicking on the slider, I can split in house and basically smoothing out the whole range completely. It's a little bit more, and it's it's so if you click OK, you see that we only apply it. Our curve layer two lights part of the image, and this is a such a cool and useful technique because there will always be a case where you can use it, and also you want me to go, selecting moderately all the parts of the image that you think who work or you think that could not work. It's literally a scientific, away to toe place lights and shadows, and we can do this same thing for the shadow. So, for example, there's a little too strong for now. So I say this. Okay, let's make a new layer, and this case will make it darker. And we want to apply only the dark parts again. Double pick, blend lift this time will remove it from the light. And we only applied to the dark, Harris said. It won't apply here in a little bit on the face right here and now with both. Smooth it out. You see, this is now a little bit too strong. We can travel really life straight, 20%. You can see how it's just two layers. We are a little bit more contrast and they could really pop. Another thing we can do to shape lights is to actually define some portions of the or like some, um, elements will just charger that at the moment don't exist. What do you mean by that? For example, if we want you to find a little more the hair here because usually, yeah, we can see that there is a difference between the hair and the skin, but we kind of see just a difference in color. While if it was an actual statue, we would see a natural bump. Or like a change in the shape. Probably this part of the skin is gonna be, well, smooth. And then we're gonna have, like, a little bump here on that. But we can now it's gonna create ah, shadow like a pocket of shallow. So we don't really have this thing at the moment. But we can do is we can literally create it so we can literally redrow shapes and read role lights. So let's have a look on how we can do that. So show you first what I have in mind. Speaker, Purple color. What I want to do is use Read the fine this part here and this partier, because at the moment is not really two distinct. So how do we do that? We literally paint on top. And if you really want to go precise, you can use the pencil. Parental is really useful. So have we can actually start drawing with her pencil and the fine the shape That's it. These is for less. The ship that one here and here. I wanted to go like this are so we want to have a selection that allows us to pain inside it. Just Clinton like this. We can change a little bit of this. Busia curves. Let's say that Well, like it like this. We can simply coman return or control return to create on a selection from the puff, withdrawn with the pen. And now we can just bein inside the selection. So we select the brush tool Really smooth with a black cooler. We can literally growing here how we can growing here, too now. So with this elect, we'll see what we just done. This is actually defining the shape, but it's not really how we want it. So it's a good start. We can just use all the tools Web in our skill set and use it. So, for example, Kansas Marshal, now too clean those things up. Andi allow a lot is a smart stool, too. Two blurs things because it's a fit swimmer powerful than the blur till or ago. Schundler. Just because it literally gives it the whole, um, option two decide word. The the actual images kind of blur in which direction, Uh, so we quickly blurred it fine at spirits of strong. We can have a lighter, Um, and it's already like candle, defining a shape. I like them were defining it, but didn't really like that. It's everything getting darker. It's almost like the hair at the darker cooler. And as we said before, everything should have more or less the same luminosity. So let's try to fix that. The Stricken make just a little hair sectional either, Chris Hole that your mosque make. It'll either invert the mosque and just brush talk. So you see how everything is already kind of more natural. Now, this whole day, your things still to sharp, little bit realistic. So a little bit more and probably need some more pockets off darkness. But it just feels really, really old down straight to give a shape. That kind of feels natural. I'm just testing like you was not. They don't know what I'm doing. Just going with the floor, see what? It looks nice when it doesn't. And, uh, Emily is a little bit too much here. Sorry, A little better. You can see it's a little thing, but we're literally defining the shape. It looks more like it's been sculpted yet I don't have other words to describe that. That's what we're trying to achieve in. That's what we're actually achieving. So what I don't like is there is this really dark place here. This really there spoke. So your layer and again just go with a brush and smoke it out. 30 looking nice. And these are really bothers me. It really bothers me because it's looks like it's being painted on tops. We're just gonna raise it. Just go again with a brush. Select Colin, your boy just to raise it. Something doesn't work in your image. Don't try to make it work or, um, trying to hide it just for a movie. You have all the power to actually change whatever you want because we got all the tools. We know how they work, that just use them. And again the spark is too dark now. Same layer brush, lighter color. Just paint on top. It's that easy. So you see now the whole hair the way nicer and see what happens and see what this whole lightning people with, um would not only shape the light, you know, it was better for us But we're also kind of defined shapes with the find, the hair shape, and we removed all the elements that we didn't like. Now, another thing that I really love to do is are the secondary light, and what do you mean? Second relight in photography? On there is a speck typical lie that it's cold backlight, usually like that comes opposite from the from the main source of light. So let's say that the main source of light is straight. Corange, the main source of life, is like here, or maybe here on top. And it's been a flight to hear, hear oldest parts. I just want to light that comes from the back. In this case, I want to come from here, and it's actually and it's actually come from the part where the image is old. It's more dark. So you see how we're all at the shoveling here, and soldier starker will be nice to have just a lie that defines a little bit more this shape and makes it even pull way more. So how do we do that? We painted how it it's so far for old arrests. Which Spain light? It's screwing you curve layer and we crank it really high. Let's say like this. Okay, we invert the layer and with brush soft brush again. Just roll a line here on this side. This my cool look really strange. Looks like a kind of destroying the image. But trust me when you see the result of the ends go amazing. So we're just spending more. A little more so and within human help will be here with this life. At the moment, I just feel a little bit more of this part. You can already see big difference. That kind of looks like we place the spotlight behind it. If we don't really like, what do you have that just changed the colorful life and just your race? So you see already how it's looking and now another little trick instead of using a curve layer that helps us but it Sorry, it's only making the holy nature lighter, but he's never going too much for a wife. Color we just made with the actual brush is not gonna be, for example, if we use the what rush here, but can't be raising the image, so it kind of needs to make it more visible. So my suggestion is to duplicate the background color and try to make it in other Wallich. Let's go for a 50% brightness kind off, more or less. So you really see what the first there did. Story looks really nice. We could go even further and use this new anti layer to troll even more white. Understand what could be really strong and I really like it when it's so just fin and hitting a little bit a little bit off the side of damage. I think it's a really nice trip because it really makes the whole image pope, which just a few brushstrokes. It's really alive. It doesn't need to go everywhere sometimes is actually nicer if you make it more present of just bigger in a specific part of the area. And again, the way we shape the light, it's just it's not to make it look realistic or it is also make it look realistic. But it's mainly to draw the eyes, too. The areas there are more important for you, so if you want the face to be more visible, which is at the white on the face and that's it. You see how it pops and you focus less on the rest of the image. So I use a little bit off light big here to make a key feel still consistent and you see just a little bit what rushing in there are. The whole thing looks really amazing. It really looks like we're building any entreaty, and we're using realistic lights employees them in the scene. And another nice thing you can do, because sometimes it's not only the border of the image that can react to this backlight. For example, the knows the decides part of the nose could actually be affected by the light. So this gives a little bit more difficult because we don't have a must, too, to keep us in the range. But we go really slow, and then we can you win a race after work. It's not a big deal. We always at the power of changeable with done, control the shape of the nose and apply this simple backlight. Wouldn't go with Justin Eraser hard that one, just to remove six or more. And we could even smoke this co part out with its soft eraser and help just a simple lie on the nose makes Mexico up so much I can keep going. We can other life here in the lids where we're gonna look really nice. Oops, right. Couldn't really not just a simple line, but like a whole el spot of lights. Or maybe we can just keep it here on the excite off the off the lips. This is really nice, because you can Actually, we were doing were not just cleaning, but we have We're actually building more dimensions, and often it's gonna look amazing, like we're actually working in it. Like if we were in a three D environment. But just to get a photo show would just fuel paintbrushes. And it's such a simple technique we're not using any fancy tools, which is using a brush simple round brush, white not even crazy, whole or blending modes. And it's already giving such a great result. No. Another thing, it is important to do it. This stage is to define a little bit more the shades off the hair. So we we already fixed that a little bit so far, we can fix it even more so usually hair have, like big pockets off. Um, material called up. Um, so it's not just gonna be single strings that look really nice, but also, we'll have, like, a big, fluffy proportional bear, like a really big chunks. Um, but let me show you what I mean, because it's kind of hard to describe. For example, just place another color, huh? I want the hair to look more like they're different blocks. So let's say this is a big block. Well, maybe like this one. And then we got this one here. And then here it goes, here and here. And then maybe not that one here. So like if they're 45 big blocks of hair that then they're shaped a bit more in the in the Beatles inside. So this is like an actual sculpture could be could be doing. But then you will just start with a big chunk over to have, like, a structure. I think that's going to make it look when we're releasing at the end. So let's remember that in creating you layer and again, I think the best technique it's exactly well with it here in the area where we actually really define this portion. Um, but We just need to go a little more careful on the other parts. So let's say we're trying again with, uh, with the panto. So let's say our first book is this one and probably the best way to So this is to at shadow outside this layer. So I created the the selection, but I can invert that you clicking common shift I common or control shit guy. So now we have a reverse musk and then we complain with some black just a little bit just to make it look like it. So a block. Okay, so raced is ready. You look nice. Eso get that portion and then we can have a sweet say 2nd 1 Here, let's say it's like this, like shrinking Bert Week Wrangler here. Okay, it's a racist spark. And then this site to it is a block. First on, we go with blacks. All right, let's hear looks. It looks Harry horrible moment, But let's see if we can fix it. Let's go with this. Marshall, we love this much stool, huh? Really using it for everything. I was just much out this whole portions fix it here. I think it was a little too high and maybe should be more like here. Yeah, maybe that's you. So it goes. Okay, it's a little bit, a little bit better. I should probably will reduce a little bit. The intensity. And now she probably play with lights. So we just put dark with some more life. So let's go with a white brush. Now what? I hear I was a eyes over here. I would have like over here. Yeah, here. Here, too. There's guy. It's not really too good. It's interesting because it's always like a ongoing process. So where never know was the right thing to just try it? So it goes all right. That's already good to look. Too good. So many injured school alive her all right. That's one thing that's Mercies two layers and go with us Marshal home, both of them so kind of smart. Everything kind of smart. Everything hum Oh, I think it's also because we got this gray layer on their knees. I was useful for now. Let's get all right, all right, a little, and then I just don't think it's better. I just figure where some with some layers, some specific sports there are destructing like this gray area here and just remove it. I don't want this still, and now we need to emphasize a little bit of this. So as we did before, with backlight, we cannot a little more backlight like a sexy what we do in the nose. We can really here now. This little backlight is going to make it look good, I hope. Let's see over here, right? And now we raise with a are ditch brush because Monday as much. Everything all right, year to just extend that Baco useful is much little is alright, my favorite, too. It's really hard to control when you have a big file, but it kind of slows everything down, but usually very useful. So you see, we're already having more details. Make it look more defined. So now this is all too strongly thing, but it's already helping something a lot. And, yeah, really good. Let's see, let's go back to the white sacrum and see the difference between before and after delighting. See how it's way much better. Like it's incredibly better. It looks so nice, so we can still work a little bit more to make you look and more defined. I like to use the great under need to see a bit more on another week down. Oldest are we can restart doing with at the beginning. So again, like a a little bit more lights on, we can retreat with blend. If on the final want, it could be like a smaller portion looks quite good because strong for 50 I'll try to avoid putting too much dark because I really like it to keep it white. The whole point of this is to make a white rock, so it makes sense. All right, so let's see before and after really cool. 6. Color Grading & Texturing: this next step is gonna be the most fun Or is it the finest for me? Ah, we would need to do is to actually have a realistic texture to the image. And this simple step will really make it look like a completely other level of image. And it's really, really simple. So even show you. Let's open our assets folder and we have our marble a pack. So if we're journalism for shop and then selected old copy and pasted on top, we can actually use the really stick Dexter off a marble just a marble texture and applied to our image. So converted to a smart object. Call it marble and with places again inside the A group. And we put this group the same mask as we did in the lighting Group. So it's called this, um C c for color correction. Eso We're gonna do corporation and texture in it. So it's like the marble layer, and we put it into cooler burn six color prints, Probably the best man we frequents form. We can move it around and just place it in a way that it's actually looking nice for you. For me, it's probably like this black little portions here. I think they were really help us sell the whole idea and makes it look realistic. So the best is to place the texture in a position that is actually more meaningful for us. So it's for both drawing attention where we want. And also we really want to sell the idea that it looks like a marble statue so willing to place it in in specific areas where you will not sit and will think, Yeah, that's really sick Marble statue. So first place for me. It's here in the face, but we can do also duplicate our marble texture and moving around and place it again somewhere else so we can have one single position or we can have multiple Mr Instances of the same off the same layer to place where we think it's more appropriate. I also kind of light the Here it goes over the I didn't really like this parent talk so we can use a mask. Quit inverted musk keeping push the option or al que clicking musk. And now we can paint with white and apply the mask what we want. So these are the areas that were really liked. I kind of like this other side to because he makes it a little bit darker. And that's that, like nice, really stick texture to it. Too dark here. Well, so I think this is a really enough, Um and yeah, I think that's it for texture. It's really that simple. And search quite visible member can duplicate this. Um, we can duplicate this and only apply you on must to make more visible some part that could be a little darker, so slight that and I like it here. We like this dark partier. It makes it look like it's a natural marble statue, and I really like this Balkan part. It really makes it. Yeah, just makes it work. You know what to say. It's a little destroying its cool 50% and it's it, like it's simply with a couple of clicks Meggett already more defined, and you see how the inside the great let's see you see how the marble texture as a specific color to it you can see from here. So in one, from a more Gresh to a more like blue violet come that seems a little slightly uh, just like, kind of change, but I think it's important to make it to make it feel more realistic. So we can do it's literally that. A color balance. So I think the color bars we can actually shrink, shift the overall colors of the image. And, as we say, we want a little bit more blue. Remove this blue slider in the science lighter to the left and they a tiny bit of magenta still soon minus street on this is too much and several look before and after. It's slight, but removing that yellow tailed and making you look this blue I think it really it really works. I think it's too much for dark. Blue should be probably more science or killed. Cool more towards the science. Um, Congo looks a bit more called. It's kind of a cold statue. Right? Look cold, my dear old the marble. So I really think it He makes it look really nice. So it white before and after much, much better 7. Adding The Basement: the basic retouch on our model. It's mainly done now for the next step, we need to, um, out. An extra element in this case is the basement of the statue. So we're going off, cut our model around this heart and replace the bottom part with an actual basement. To do that, we're gonna use a next ray image. So if we go to our site folder, we have statuette. We open this touch around we want to do is use the basement off the start you and applied to our statue. So to select it, use our quick selection toe. It's gonna be really easy with this this image, because as a clean, flat background and we select mask Wiegand wife you So it's cut. I looks pretty nice already. So click OK and I would copy and we paste it on our layer and close this and now turn it into a smart tub trick and we call it basement a circle. Place it in ah, correct position. So as you see this basement that we took, it's actually pretty small. Let's say it's with It's literally a little bit bigger than just the next off the statue. But that doesn't matter, because we can just use it for our whole body basement. Andi, that's not gonna be strange just because we're gonna raise completely the the neck of the previous statue. So first finger we just want to do is try to find right a size and proportion, so we can also squeeze it because we don't really need it. Exactly. Proportional Well, we want to do is having it fitting asbestos. It works for our for our image. Um, so let's say for another thing I would like to do is cut it here at some point. So we probably cannot know Take this whole part. Eso With all this in mind, tractable in a position that seems fine for us. Let's say like this I don't know. Seems all right now because we are using this basement and wanted to remove the whole bottom part. Well, what we're girl. The best way to do that is to keep all the layers that were created so far embolism inside the group so coldly um, girl. So this one is gonna be useful because now we can apply a mask to a group, this man instead we can simply erase whether we don't like off the group and keep present. Only what we like and since is altogether we come so moving around quite easily. So let's see the basement. It's remote part of the basement, so let's make a nice to try to make it fit. Let's say probably maybe like this is a nice boots on a trip. This sort of clean it. So first, I will not raise on the girl this side corner to be visible and with the basement and try to race part of the basement that we don't like. Let's go with this Move brush. Remove this part over here. Kick that, Um yeah, and even if we do this, that it's in a way mistake. But we kind of need to get that part of the girl. We can still go in the mask with a girl and show the game, and it's just the bill, um, a crying and error and try to find the best. The best option for this. I feel that the basement and left this part of the basement in the way could next to the rest of the body kinda feels natural. so quite like this. It's little curve. Yeah, kids, this whole portion here. So the good thing of the basement, it already has its own texture. So it's already a real statue, so we can actually keep the structure and use it to emphasize the whole the Overlook or our image. It's get the gray and their name just for clarity. And I said, I don't want to erase this part of the basement ideal in this part of the girl. Yes, no one wants portals face bank. Okay, now it's really about finding the right balance and try to make it fit since, but nice. It is part of liquor. Cool hopes, Alright, It seems already a nice fit. It could work their looks. Yes, it's quite nice. Maybe so Totally repeal. This part of a change could be useful. And he really is a stop part of the basement here because it's a little dark. All right. Looks regal on. Now I think that the liberal image feels a little bit too, um, bones as a position so we can select them both and move them around. Let's say that here now. Maybe Tim into Big Sur can weaken free transport, keep the proportion and go little bit smaller. Probably like this is fine. It's OK. And it's just moving a bit. Okay, looks quite cool. Um, now you notice that the basement has a slightly different color if we compare it with the rest of the statue so we can simply do what with it in the previous step of the image and try to change the color in accordion tool, we're going to start you. So we are the core of layer to the basement. Thought should and I feel so dark so we can let it a bit. And the Coler doesn't really feel too right. So probably with color balance. We cannot a little bit more blue more so I am. It feels all right now, sit. Yep. And also we can apply the same texture we applied to the girls. So if we go toe aware cc layer, you can grow up the three marble layer we created and we put them on top and we only apply to the basement. So we were basically extending the texture we applied to the girl. I feel like I remove this cause it was because it was on in the face. So can we use this? Remove the The masked is every matter. Yeah, I quite like it. I'm probably We need to refine a little bit because I feel, um, yeah, if you like. This right part is a little too dark. And profit is welcome far too. So we can go with our mask. And he raised it from here a little bit here. Yes. Chromium would raise the book in part to from the left side, causing Mexican radars. Okay, that's you were And what else? Cool. Yes. Okay. It looks quite nice. I just feel that thes overall parts feels like there is, um you could kind of see that it's merge together. So another little trick we can begin duplicate over mobile Your this time it's not a touch too. Any specific, um, other layer. So we just give it on top. Keep it 100%. Let's move it around. Say, I just want to have a portion off. Texture tickles over both parts. Our first girl that we fixed and then the boat on basement so it can go, feels like it's ah, whole surface. So I feel that I really like this part now how it looks in the integral image so we can ever hit the mosque and then using a wet brush included over here, yes. Just looks really nice. Yeah, so we're basically playing again. Layer of texture we can apply were playing again. A layer of texture over the old image. So it's it for and after and we can close oldest layers. There is older basement inside a group of college placement. I was sick. How we including extra Learn to the image on it Looks like a nice big block. Now I just have a feeling I have a feeling that this whole images, a little months it feels like the heads a little too much to the left are to fix that. I feel weaken simply. We're creating a bit several. Look, I think rotating works, but we're also rotating the basement, so it's a good position now, but basement needs to rotate the other way again. So let's see what happens. You could do that for mixing everything up, sweat over rock. I feel we just shrink it a little bit. Yeah, it's kind of really aligns itself. Yeah, you're quite works. And yeah, and it's all way more bonds. Now it feels more like straight statue. Yep. What? Like it on? If you want to go on and up more light sources or some do some other adjustment or other game a little bit of this sidelight getting us to it. Um, after you. Actually, maybe we'll do it alone on this site. Part of the basement. It still looks Were probably I can do it here. So let's do it here under old, other us. Other layers of adjustment. So this the logical here? I'm being here? Yes. Yes, it looks quite nice. Looks nice and realistic. Cool. Happy with the result. So it was seeing without the basement with basic. Ah, spit something up. Um, so you see here there is something a little dark happening. I think that's the texture that went a little off so we can get on again. And I think it's this test. Yes. Selective on. We don't black brush. We just to raise it. It's Yes. Now it's perfect. Good. Have a look. Looks incredible. 8. Realistic Shadow: Now the whole image is completed. Our last step is to work on the background and to create a realistic shadow coming from the statue. So for soul, it's created a different core record. I'm using these Korca, so you can copy it. And he was exactly in my same color. Okay, so this mask school trip and this is the actual color we're gonna use. Um, since the coal Aries ally it very light blue. Ah thing. We can still change a little bit of the core of the overall image. So I feel that we need a little bill. No touches, so we could go back in silo. Where girl? Sissy, You create a new cooler balance. We can work wholesome. The shadows Could I feel like the shot was there a little bit too reddish, um, searches something tiny catch of blue Santo. Just 50% of this looks good and we can play with same to the basement because you remember , we have different, um, different Kohler correction for the basement. So once we've done that, it well looks quite good on now to great. The shadow shackles are the most difficult thing to grate on Photoshopped. Honestly, you're really complicated, Andi. That's because there is no simple way to do that. There is no special effect that you just click and get a nice looking shadows, especially because they're a shadow is gonna be different, depending on Was the was the shape off the of your object, or even depending on where the light source is coming from, or what's the actual result you're looking for? So I sure was my some my step to create a really realistic shallow. First of all, let's start with a black color against her with a brush. Brush is my second favorite tool off the response toe. What I want to do now is to create a flat version of the show. So let's say that this let's just work on this, like, if it was a simple shape of Warri, were more simple shape. So let's I would look at it as, ah, Big Cube or a big square, so the shadow is gonna be a square. So just one troll very quickly, um, shuttle like this. So it just would have soft brush black during a shuttle, not even that precise. And now what I want to do with this is use a free selection free transform toe and moving around and move the corner, keeping the common or control Could bottom pushed? You can move them individually. So what? Their stars. It squeezes the shallow. And when it's Quist, it actually changes the way it's smooth. So it's moved. I just see it's more smoke, but the welcome and way less moving top. And that's how actual real shudder work and how they you react to the actual environment so I can click. OK, now we're to a game. The same thing this time would squeeze it says you can see it. We condemn plea gain with same little trick. And as you can see, we're already creating a show that its way much more realistic that well, you can create. We just, um I don't know any other I told you of the mind, and it is also normally super realistic. It also super quick todo, and it doesn't really bother your CPU too much. It's literally just a little bit of brush on a little bit of distortion. That's it. Then we can raise and clearing a little bit off how you felt nothing is the best way to do that. So let's say that maybe rotated a little bit said quite like how this look already this little thicker, uh, it again. So this is already quite good a thing, but there are another couple of stuff that you can do to improve it even more. 1st 1 is its shadow should have several layer off transparency. And that doesn't mean that is well, we're already here, so we have a darker shadow here and like her fellow here. But every day you're Transparency also has a different kind of colder show You what? I mean, So first of all, we just set this shadow too, Lambert. And we decrease the field this way. We kind of picked the color we want. And let's try to go quite light. So let's say like this moving a bit seems fine. Not what I want to do is use the same ship of shadows. So we click on the little Tom Terminal. The shadow here keeping the common or control welcome pushed. So we basically recreate the same selection off the actual layer. Then we heard a new layer and will feel it using a soft black rush. And this time we just feel it on this beginning are right under this show. They're going under this statue. Sorry, Select. Once we're doing this, we can go to the barn. A gay. Basically, we're gonna create second layer off intensity for too shallow, and this is not gonna know, Make it a more realistic, but give us also lost control, not only on the color and the cancel the shadow, but also in the shape of it. So we can also gameplay with capacity off both of this layers. It would also keep them together and squeeze them around. We think there are no working. Well, just move it. Independence Leader. Um, make sure you don't merging together because the blending won't in this case is leaner Burger, um, is not gonna be effective anymore if we merged layers together, because the way that leaner burger works is gonna be really different. And it's basically you're not gonna be not gonna have any effect if we, um if we merge Lee years together. Another thing that I want to do on shadows they're elected like shadows is never used or trained not to use black, because if we use blending mode, that changes a little bit of the color of the shadow. So I'm gonna be a little too dark and grace and usually are Usually shuttles are not black shuttles always have a color that depends on Was there actual life of the scene in this case, considering that the background Israel, the shot was gonna be a little more look. So circle redo this being. So we take the selection office for shallow, and this time we feel it know with black. But with a dark version of this show, this background. So let's say it's it could be something like this. So we fill it. Now, apply the leader. Burn once applied. Lambert, you see how the shadow when, um, we lower the opacity, you're gonna weigh much more nicer? It's gonna look like it's more on natural shadow off the off the scene. We could do the same thing. The second shuttle, speaking with a number and look at this looks way much nicer. Maybe that's a little too colorful, but we can control it. We compress common you or control you and we can change the situation and they saturate little bit and same thing with welcome one. So the key thing is always to have to have a kind off photo retouching that give you the possibility to, um, change things while you're doing it. So it sent nondestructive way of working, and that's the best way of doing things. By the way. So you have these are still saying that it's a little too hopeful mullah game. Just go. You said you're a show on. It looks quite good. And another little thing we can do is using again this march toe and smoke the shadow out whenever, Wherever we think it's Mr Begun Here, here on the other the dark that wanted. As you can see, we'll have this really nice really sexual effect literally done with a couple of quicks using only the the brush tool. Okay, way raised those two layers camo those more of those you know you prepare. So you were here? Looks very nice. Maybe we can also have the next draw layer. We just are circle Doc. That would place underneath here. Make it quite large. Make this nice soft shadow there need it could be less hopeful again. We place it on the river. We lowered your posse. Look super cool. And again, if you just want change colors, you don't think there if it properly, you can just go back and use all the different will already know. So we can said this, keeping on a single layer for the shuttle and yeah, I can Just moving around, please. Where were you, like people here. Right under it on me, bro. Needs to work a little bit more on the machado. Or you can just again the intensity you and yeah, that's it. This is the final result. Well done, human. Until thes means that you're officially what belt? In the art of flower shop. Share your final artwork so I can see your result. Anything? Any help with the process? Our for the shop masters are there to help you. Thank you for joining the theme