Photoshop Essential for Design Professionals: from Design theory to finished product | Paul-Thomas Parnell | Skillshare

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Photoshop Essential for Design Professionals: from Design theory to finished product

teacher avatar Paul-Thomas Parnell, Creative in the Film and Television Industry

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

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

26 Lessons (5h 4m)
    • 1. Killer Images Intro

    • 2. Killer Images L1C1

    • 3. Killer Images L1C2

    • 4. Killer Images L1C3

    • 5. Killer Images L1C4

    • 6. Killer Images L1C5

    • 7. Killer Images L2C1

    • 8. Killer Images L2C2

    • 9. Killer Images L2C3

    • 10. Killer Images L2C4

    • 11. Killer Images L2C5a

    • 12. Killer Images L2C5b

    • 13. Killer Images L3C1

    • 14. Killer Images L3C2

    • 15. Killer Images L3C3

    • 16. Killer Images L4C1a

    • 17. Killer Images L4C1b

    • 18. Killer Images L4C2

    • 19. Killer Images L4C3

    • 20. Killer Images L5C1

    • 21. Killer Images L5C2

    • 22. Killer Images L5C3

    • 23. Killer Images L5C4a

    • 24. Killer Images L5C4b

    • 25. Killer Images L5C5a

    • 26. Killer Images L5C5b

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About This Class

The Champion's Guide to the high-level Photoshop skills you need to slay any project and impress your clients. 

In this course you will learn how to use illustrations, photos, composite modes and text to create dynamic graphic art that you can apply to and reproduce on anything from t-shirts and logos to book covers and posters. I will cover detailed design topics such as layer styles, filters, mood, lighting, color space and more. In addition I will share valuable insights on the process I use to work with my clients to produce graphics that exceed their expectations.

What are the requirements?

  • You will need Photoshop
  • You will need to be familiar with the basic interface and controls in Photoshop
  • Drawing/ Art expereince is a Plus

What am I going to get from this course?

  • You will be able to make cutting edge and dynamic designs for any project.
  • You will know how to create and display a variety of graphic designs with the correct format
  • You will know how to present your design work to clients
  • You will know how to work alongside your clients to achieve the best results
  • You will be able to design super sweet movie posters

What is the target audience?

  • This course is for people that have mastered the basics of Photoshop and are ready to get to the advanced design techniques and secrets.
  • This course is for people looking to level up their Photoshop skills.


Meet Your Teacher

Teacher Profile Image

Paul-Thomas Parnell

Creative in the Film and Television Industry


Paul-Thomas has been a creative freelancer for more than 10 years and loved art and storytelling since he was a small boy. Following his passion for art and storytelling, Paul got a degree from Full Sail University in Video Game Design and Development.

Since then, Paul transitioned slightly away from video games and has now become a successful filmmaker and graphic artist. He is a founder of Film In A Year - a community focused film company who's purpose is to create learning opportunities for local filmmakers, artists, and actors. The trailer for his breakthrough film Harker The Awakening can be seen here:

Paul is particularly known for his creative and imaginative storytelling ability in a variety of mediums and his passions for self-improveme... See full profile

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1. Killer Images Intro: Hey, guys, I'm Popenoe here. Welcome to making killer images in photo shop, a guide to creating posters, book covers and logos. In this course, you will learn how to use illustrations and photographs to create awesome images in Photoshop. Using for your book covers your CD covers your posters or T shirts or logos and anything else you want to use it for. We will give you tips on how to create these images so that they can be reproduced multiple sizes on multiple mediums. We will also show you how to use photos and compositing modes to create dynamic presentations for your images. And finally, we will, for our main project, be creating a poster for an up and coming indie movie called Harker The Awakening, and we'll walk you step by step through the whole process. Indian. You'll be left with concepts and processes that you learned that you'll be able to use and easily translate to any project 2. Killer Images L1C1: Hey, guys, it's Paul pruno here. Welcome to making killer images in Photoshopped. A guide to creating posters, book covers and logos. So in this lesson, we're gonna talk about sketching, refining and finalizing the process of making a logo. So to start with, you can see what I've got here is some different logo designs that I've done for a client, and we're gonna talk about generating ideas, sketching. So to start with, I just wanted to show you this is like the really rough version of generating ideas. So basically, I just have a piece paper and a pen, you know, something everybody can get. And I just start drawing little sketches like really small sketches, nothing to detail, just things to give me ideas of, like where I want to go with certain look or certain ideas. This is a good way to start to create ideas and generate different concepts. So here you can see, I'm working on Bowden books logo for company called Bounding Books, and I have several different ideas, and this is not what I would ever show the client. So once you have your general sketches, you want to take your sketches to the next level. So then, in this version, you can see I have the same ideas. But I've just taken them to the next level, some of them and then I've also organized them. And I never present my sketches haphazardly to client because they're never gonna be able to tell me which one they want. What you want to do is always number your sketches never given more than maybe seven or eight at the most. Um, so you want to take your best ideas and you want to compress them into the best seven or eight and then your number those you put him in a nice, organized way, and then you send those to the client and you just say, OK, now which one of these do you think looks the best or closest toe what you would like? So now we're gonna go ahead and look at, uh, CSW, which is cancer survivors. Who can. So this is the first set of designs I did, and for them because it was a word, logo and stuff. For whatever reason, I just decided to do it all digitally. So the same way you know, you might draw something with the tablet. I did the same thing. I just drew in the tablet, and I used a lot of words and marquees to create the different ideas. And that way I was able to generate all these ideas pretty rapidly, and they'd have something toe look at to go like we like this direction. So this is the first pass, and usually I go in a couple of different passes and really just refine the idea. And once we have the idea refined, then you know we'll go onto the color phase of things. So once you pick the best ones and you send him to the client, the client gets to choose their pick from what you've given them. That's when we'll refine the image. If it's a hand drawn image, you're going to want to scan it a high resolution for your illustrations. You're gonna bring him into photo shop. Then you can create, or you can create them from scratch like these were all created from scratch and always use vectors if possible, because vectors are infinitely scalable. So I get generally tend to not use vectors because I'm much more comfortable in photo shop , Which is why we're, you know, having a photo shop lesson right now and not illustrator lesson. So to get around that, I just tried to create them large. Um, OK, so the next phase of this once they picked what they liked is they ended up liking the CSW . And so I went ahead and I took the CSW, and then I just generated more ideas based on just having the CSW together like that. And as you can see, I've got several different interesting ideas here. I thought they were all pretty cool on this. Number five is the one that they ended up liking. So what I did is I took took the number five, and then I cleaned it up. I refined it, and then I gave it some color. And so this is what I sent to them. The final version. And you could see there's not too many layers here. Just a background and the the words themselves. I created a little shine and also you had to do all this stuff. But for now, we're just kind of going through. So this is the first sort of filmstrip I created it. I created one version, and then I tried a blue version cause the letters were blue, but it didn't work as well as I liked and definitely looked more filmstrip as a black strip . So that's that. And so now we're gonna talk about your homework. So your homework for this class in this lesson is going to be we're gonna create a logo, you're gonna create a logo. So to start with, I'll go ahead and open up and show you what I have created. Okay, So your first homework assignment is I want you to create a A logo for Bronze Griffin, which will be a fantasy bar. So whatever you can think of, I want you to create both a symbol and text. So a symbol would be like this griffin that I've drawn would be a symbol. And, uh, you know, obviously the text would be right on top of it. So for this for this one, I've created the text in the logo. So that's what I want you to do. I want you to create at least 10 sketches and keep them the sketches each different as possible so that you have the most diverse ideas. We will continue to build on these concepts in the next class. See you then. 3. Killer Images L1C2: Hey, guys, Paul Purnell here. Welcome to making killer images in Photoshop. So this is class two of less than one flashy text logos. So, as you can see, I got some cool text logos up going on the's air, different logos that I've created for some books and some other companies. Um, some of them we've seen already. Some of them we have it, Most of them we haven't. So first off, you know what is a text logo? Well, you know, it's a logo made of primarily text, and it can actually be copyrighted as an image because it's no longer considered text once you start messing with the fonts and the colors and doing all of the different design aspects to them. So here you can see a few different examples of text, and each one gives a different feeling of what it might be about. And that's kind of what your job is as an artist is toe create some text that when people look at it instead of just reading it, they get a feeling from it. They haven't understanding that there might be something more to it. Um, so first off, you know, text is not easy toe work with. There's a ton toe. Learn about text, and we're not gonna cover 90% of it in this class. This class is much mawr. Just a brief overview of text logos. So here we go. So first off, you know, there's a 1,000,000 different fonts and fonts is you know, the number one thing you noticed about text, like each of these phones is very different. You can see how different they look. For instance, this legacy text that I used for Scarlett legacy is very sharp and jagged. It didn't originally have these cool breaks in it. That's something that I created, but it's it's gotta feeling to it. And then we just added a lot of color and different effects to it to get it to look this way and then the same thing for the ancient our ancestors call. It's it's different looking, and it's a different fought if you're new to fonts, which you shouldn't be new to photo shop if you're watching this class. But obviously you come over here, t you slap in, click it and it gives you the prompt and then you can, you know, right killer. We'll make our killer images logo and you come up here and then you can go through. I have so many funds. It's not even funny. Um, you just click through your fonts the way I do it. Usually if I'm trying to find something and I just have no idea what I want, I'll just keep clicking here, ending where the font list is. If you just click in it and then you hit down, it will let you scroll down through him. That's been the fastest way I found to kind of scroll through really quickly. And then if I see something I like, I might make a new layer and copy it and then do the same thing and find a few different versions of it if if I don't find something I'm like, absolutely in love with. So you know, that's the basics of wants. Something else I want to talk to you about is layer styles. So a fund by itself, you know, looks pretty cool. You could get a pretty cool look to it. Let's say we're making something, you know, this looks pretty interesting. So first off, we've got that. But then If you double click on the layer, it will bring up your layer styles window Now layer styles are super duper bombing Awesome . So layer styles let you change so many aspects of your fought And so first off, you know, I might drop in color overlay if I want to give it a color, May make it reds and it's killer Get a greedy Ain't no already It looks pretty awesome. All I have is a bevel, a color overlay ingredient, usually with the great, And I like to scale it up a bit. And, you know, there you go. It already looks like something more. So if you look at these, I'll include oh, my pre created logos so that you can go through and check out exactly how I created him. What layer styles I used in all that jazz. Um, but each one of these is heavily affected by layer styles. So there's that when you're working with fonts. Another thing to consider is right Now I can edit this. So instead of Johnny adds, it could be Johnny bro, right? And it was that simple. Some of this stuff will not be edible because I've actually created non edible layers, although it could've got around that with some other tricks, but I didn't need to. So, for instance, text that is edit Herbal is in vector format in Vector format means it's being drawn by math. Each of the points is calculated and remembered so you can actually scale it or shrink it to any size. And it should more or less look the same. It should. It should look pretty much exactly the same. And that's really great when you're working with logos and when you're working with, um, you know, designs that you might want to scale to ridiculous proportions, like the side of a building or something. So right here, this is still in an edit herbal format. But if you come over here so you wanted toe, do something, you know different to it, or you merged two layers together, and now it's pixels. Now, the difference between vectors and pixels. Pixels are created in a bit map or a grid of bits of pixels. Basically, so one point, which will have 256 variations of color from, you know, totally gray or totally black to totally white and then all the colors in between. So using vectors is great when you're working with text and things like that for the just variety of things that you could do with it, such as changing the text. And, you know, maybe you created a cool logo style like this. Johnny Ads is a pretty cool logo style. Maybe I want to use that over and over again, find keep it in Vector. Then I could drop in new words within the same styles, which would be, you know, the red with the black outline in the white inner outline. So something else to consider is if you hit command T, or if you go up to edit and go to transform or free transform, which is what I clicked then that will let you scale your logo down or up or do different things to it. And if you right click on here, it'll show you exactly what you're allowed to do with text so we can scale it, rotate it, skew it, warp it. But we can't do perspective, distortion, content, aware or puppet work. So what's cool about what I'm about to show you is it allows you to do all of those things , basically every kind of transform to the text. So what you're gonna do during right click and you're going to convert to smart object? Now we have a smart object. You can tell we have a smart object because there's this little weird box now it's cool about This is if I double click. I now have my whole text layers in the separate file. I can change the text that can change anything I want to it. And then I just close it so, like, let's change it to Joni, right? So we'll go ahead and change that hit command s and then close this and it will automatically update back here in our file. Sorry, this is driving me a little. Understand this Cool so you can see it automatically updates. But what's cool is now, if I command T or hit transformed from the edit up here, but I just go to free transform. Now, I can actually do every kind of transformation to this, so we'll just kind of do something. Give it like a wave motion. Maybe, and then this side will just bring way down crazy like and So work lets you do some pretty interesting looks. Uh, work is how you can kind of make things, you know, look like they're a part of an object or on a bottle or something like that. So we'll go ahead, save that. And so now you're like, Oh, man, that looks not awesome. But the point is that this actually is still edible text. So it's great if I double click on this little icon. It brings me back over here. You know, the clients like, Oh, you spelled her name wrong. Fix it. But you've changed it. If you did it with raster or pixels, you could no longer change it, but because we did it with a smart object. Now I just go back in here and just change the stuff back, save it and close it ended up dates. Bam! You know, that's awesome. So that's one of the really great things about smart objects they give you. MAWR transformations allow you to do more, So that's a few different things to consider when you're working on your logos. Okay, Another thing to consider with your logos is Kern ing and height, so I'll go ahead and bring back our killer and our high, these other ones. Another cool tip is if you hold Ault, you click on I it makes everything else turn off. So you only see whatever layer solos that layer. So I'm gonna go ahead and type some more stuff. Okay, so now we have killer images. You can see when you type in something new to that layer, the layer styles automatically update. So if I wanted the killer to stay exactly the way it waas, I would need to just create a new layer to put images on and not put it on the same layer. And then they would both look the same. So I'll just undo that and I'll show you what I'm talking about. So here we have images. It's on a separate layer. Actually, this is a good time to just show a quick tip. So if you click right click and you scroll down, you can go to copy layer styles and then right click again. And then I go to paste layer styles. You know, I got two things of pretty much same layer styles. Actually, the other thing I wanted to show you can't do unless it's in the same file. But so I just showed you that that's cool. Can you go back to kill her? I had tea to bring up the text tool. And then if I hope command and enter it seals the text. So now you can see we've got our text but say like, Oh, I don't like how far the spaces. So we bring up our text options and then these air some important things toe keep in mind. So this is your size, like if you want to make it smaller, you can just drag and make it bigger or smaller. Um, this is the height How high each line is from one another. Auto works pretty good. Uh, a lot of times, I'll go in and adjust it myself. So here you can see I'm just adjusting it. So say you wanted him to be, like, really close to one another than you might need adjusting manually. Eso This is your kern ing, which is how far apart each letter is from one another, which, you know it can get you very different Looks as well if the images are the letters air spaced very wide. Then down here is how wide the actual letters are. So you know, this makes them skinnier. We're looking than in the same. We've got the height of the letters We can grow or shrink how high the letters are. So maybe a front looks really cool, But you wish it was squished a little more. This is how you do it. And then this effects that the actual color of the text. But because I'm using layer styles, that doesn't really matter at this moment. And then down here, we've got you know, you're sort of standard. Bold italic make all caps make even small in little letters caps but small caps, superscript and subscript underlined and strike through. So these are all super useful things to know about fonts and text. When you're working in a photo shop, you can make some really great stuff. So if you're doing a lot of magazine or that sort of design, you probably want to go with a program like in design with the dhobi or pages, because they don't let you create more vector based graphics. But if you're just creating logos and things like that or book covers. I definitely recommend photo shop. So let's get on to our homework. So for this lesson, what I want you to do is actually pick one of your sketches. You can have somebody else help you. If you wanted to kind of work in a sort of fake client atmosphere, you know, just say, hey, pick whichever one of these is the best one that you like the best. And I'm gonna make it so, you know, pick the best one and they don't want you to pick a fault. So we're going to start with the font part of this design after you've got your sketch scanned it skin in a pretty good resolution. A good resolution for printing is going to be 300. And if you wanted to be able to scale it, then you might want to skin it at around 600. So I want you to pick a fought for your bronze Griffin. So here, I'm gonna show you This is what I got. So actually already started refining my symbol, But you're not gonna do that until the next class. So here I've picked a font, and yours doesn't have to look anything like mine. I want you to just make a logo that you like and think it's cool and don't necessarily take my design as the way you have to do it. But this is just what I came up with. Okay? So do that. And then I want you to play with the fonts, and I want you to play with spacings and the sizes of the fun. So, you know, you make one letter really big in other letters. Small. How does that look if you make some letters on one level? So I say we take like the r and we shift it down, so it's not on the same level as everything else. So then we get a whole different sort of look, you know, So maybe you're Bruns Ours, like falling off. Or you could even put the are in a separate file layer altogether, and then you can transform it and rotate it so that it's just hanging. Or maybe the e is just hanging off. So go ahead and do that and I will see you in the next class. Good luck 4. Killer Images L1C3: Hey, guys, this is Paul Purnell. Welcome to making killer images in Photoshopped. This is lesson one Class three sweet symbol logos. So this class, we're gonna talk all about logos that are primarily symbol based, for instance, that would be like the Adidas logo or the Nike logo. Or even Coca Cola has that sort of swooshing type motion or Pepsi Cola. So a lot of these brands apple have a symbol that symbolizes their company. And when you see that simple, it locks in that company to your mind. So we're just gonna briefly talk about that, and I've got a few examples of symbol type logos I've done So for instance, this we heart Christ Church logo. This is very symbolic. Um, the wings, you know, symbolizing lifting up. And so when you're creating your logo, you want it to portray the same way we want our text to say something more than text. We want our Our images are logo symbols toe have symbolism to them to mean something. Mawr. Then you know, just a check Mark. You know, the Nike swoosh is like a check on life. Like just do it. You've done it. You got the check mark. It means a little bit more. So, for instance, this we heart Christ Church. I created that for an organization that was helping to rebuild Christchurch in New Zealand . So, you know, what are we talking about? Well, we want to rebuild its It's gotta have structure. And so, you know, I was like, Okay, well, we heart them. So I wanted the heart to be a part of the logo. So I made the heart into sort of bricks. And then that gives it that, you know, like we're building something kind of idea, and then the wings that were like, restoring We're lifting up rebuilding. So here. And that would be I would consider more friendly feeling Logo. Where is this Kingdom? Imprints is a shirt company, while a clothing company and printing company. And they wanted their logo to feel more sort of cutting edge and kind of targeting a lot of things. You've got to think about two when you're creating your designs is who's your target? We'll talk more about that with the posters, but just a brief mentioned. So this was targeted at younger sort of hipper crowd and how could we target them? What would they like? And so they like, You know, sharp images, sharp angles. Those sharp things kind of reflect sort of danger. Where's round since ISMM or friendly is more secure. So, you know, here we've got the letters creating the crown. If I zoom out, you could really see you like it's very much a five star crown and then the imprints is making sort of the base of the crown. Um, it's actually one of the loggers I that I've created that I really like a lot. So next we'll look at structure and limited media. This is actually the logo for my company on what I wanted when I was creating. It was something that I could print separately from the words. So if I didn't have words, you'd still know what it means by recognition the same way with the apple. Or, you know, that the Windows logo or the Nike check. So you know, I have the S and the U. And then it's inside of sort of, ah, structure to give that idea of like a foundation. There's something firm we're creating media that we want it to be you know, structured, we want toe. We have a lot of skill and experience, so we wanted to kind of portray that with the logo. And then Embassy International is a consulting company, and they work with actually a lot to do with emotional intelligence. So it just worked out that the EI also symbolizes emotional intelligence. And, you know, the circle is friendly. It's secure, but it's also kind of broken, so there's like openings, and it's like it's secure. But you can still get in and you can still get out. And so it kind of creates that interesting movement. And also in this lesson, we'll talk a little bit about colors. So, for instance, the muted red is very sort of soft and elegant feeling, with a little bit of a blue haze around it. Where is like the yellow is energetic and the light blue still feels pretty energetic that saturated and then appear with the yellow. It's very gold ish. It's kind of rich feeling, and then the red is very sort of regal, and the really bright red we wanted to symbolize, You know, that heart and the wings. I wanted to keep him in sort of gray tones. So, um, you know, that's round kind of general design Thoughts is rounder shapes are friendlier, sharper shapes, arm or sort of scary or intense, and then colors affect moods. So you're going to just show you a quick little mock up. Well, this is, um, some of the designs I went through when I was working on the kingdom imprints logo. And so you can see they they each have the same idea, which is they wanted something sort of to represent kingdom there. Their idea of this kingdom. And so we have, you know, these different ideas. And so this case sort of making, you know, kind of Ah, a tower sort of feel. It reminded me, actually, of Lord of the Rings, the eye anyway. And then we have this crown kind of messing with the crown ideas and then mostly a symbol logo here. And the one obviously that they liked the most was number seven. So is the one that I continued to work on. It was actually the one I like the most to. And then this logo down here was one that they had already had created. But they weren't quite happy with it wasn't quite where they wanted it. So you can see there in logo ended up pretty similar, but not exactly. That's a much more sharp. So here's the colors and thes air, the different colors that we went through. I liked the reds and yellows, and so I tried it a few different ways, and obviously they liked the yellow sort of crown part in the red for the base. Here's another sort of thing to think about is if you wanted it to be grunge ear, you could add sort of that texture to it. And by adding texture, it gives it more of that kind of feeling when you look at it. So remember when you're creating your images, you want them to say something. What is your symbol saying So, for instance, like the bronze Griffin, you know, Griffin is very fantasy. So I created a griffin, and that was sort of my symbol for the logo. So let's go ahead and talk about your homework. So what I want you to do is I want you to add and refine your symbol part of your logo design. So for here, you can see I've created the griffin. I colored it a bit. Just a little bit of color. You can, you know, do as much or as little as you want. It doesn't have to be the same kind of Griffin doesn't have toe. It doesn't have to be anything like mine. Like I said before. So that's your homework. Refine your symbol and put it together with your text. So in the next lesson, we're gonna talk about layer styles, so good luck. 5. Killer Images L1C4: Hey, guys, it's Paul partner here. Welcome to making killer images in photo shop. This is Lesson one class for working with layer styles, making your life easier. So, uh, what is a layer style? So I briefly talked about layer styles when we're working on the text logos. So here you can see these are the same logos that I used for the text logos, and I'll just go ahead and hop in here in my layers. You see, I have a bin and I just have our folder, and they just have a bunch of different layers. So got my text layers and 1/2 mall separated. Um, and so this little effects FX. Dude, this is actually symbolizing that there are layer styles on this layer or effects so you can see if I turn the effects off. That's pretty boring white text, you know? So what went into making this white text not so boring and I'll show you. So if you double click on the layer if it doesn't already have layer styles, all of these will not. Nothing will be checked. So we're gonna go ahead and go one by one, and I'll show you briefly What each one of these layer styles does. Um So first off bevel, now bevel is creating a little edge around the text, and I'll increase the depth to make it more visible. You can see it just got sharper, and I can increase the size And so you can make your text look thicker. Mawr sort of three d. You can soften it. I'm not gonna really go over each one of these controls. Basically, you're just gonna have to go and play with it. But I'll give you the brief overview. So this angle is the angle of the light source. So basically picks the light source, which is where it puts the highlight, which is this highlight here in a shadow on the other side. So if you see, I move this over here also are lighting is coming from a different direction. It's really useful. Really cool tool. Global light means that everything that's using anything using a light like a drop shadow or bevel, is going to use the global light. And if you uncheck it, that means, you know, it won't use the global light. So if I change the global light this is changing it for everything that's using that light . So if you could see down here, even this layer is also being changed and affected because it's all using global light. So some other stuff you can do is contour. Contour changes the shape of the edge. So right now we just have, like, a straight fall off. But we could have, like a little raised bump. You could have like a little David or slight curve. Um, he's each do something a little different. You can actually create your own if you want to as well. Um, I don't really use much other than the regular contour, and I don't even usually open this tab. But I'm just showing you so you can also, you know, change the range that's affected. And then this is a pretty cool tool. This is textured, but what it does, which is really cool. And none of the other styles conduce. This is it's actually textured, but it's lit as well. So if I go back and change the lighting, it's affected in the texture which I think is super need. So if you click on texture and you click this little down arrow here, next to the pattern, you can actually select all different kinds of textures. And if you're not seeing all these textures, all you have to do is click on this, this little gear and then you came Click rt surfaces. Each one of these will add a whole new set of textures to your pack. So if I like texture fell, I already have it, actually. Oh, yeah. So I penned. You know, you could see you've got a whole new set of more textures. I think I actually already had it in there. But so that's one element is you can have a lot of different kind of textures. You can make your own texture so you can change the scale of the texture. So if you want it to be really fine also, I'm really zoomed in. So if you zoom out all of a sudden, it it looks very different. So keep that in mind to what sighs You're printing it because you don't want your texture to be so fine. It's not even visible the depth effects it actually affects. The same depth is in the bevel, but it's how bright your highlight is compared to how dark you're darkness. So that's really cool. Invert flips it link would layer means if you move the lay around, the texture will move. So next we have inner shadow. So I'll go ahead and turn off the bevel so we can see this better. Um, so as you can see, the inner shadow is like, this is cut out and we can make the distance a little deeper. So it's like you're looking through a cut out now, which is a little weird. Could have a drop shot arm, but now looks a little last year so you can increase the size of it. Um, one thing I like to do is keep it basically where it is and then start affecting the size. And it just gives text a little bit more something, you know, not too much, but just a little bit more of something interesting. Um, but then if you move it, then you do get this really cool sort of three d. Look on. And then it has all very similar controls to everything else. You can change the color of the shadow, which is pretty cool. So I like to always change the colors and also with the bevel, I change the colors as well. Because you're gonna get normally. This will be set to screen, which is fine. It just gives you a little bit different of a transfer mode. I like to have a little more control over it, so I think normal works a little better. And usually it's not set to 100% capacity as well. So pretty much everything I use. I tried to adjust it to make it look even better. So here we've got the stroke. You can see with the stroke. When it does, is it creates an outline for your text. You can change the position outside, inside or centre, which is a little bit of both. You can also change the blending modes and the capacity and the color so out our glow. I use this a lot of sorry. This is Inter Glow has all the same effects as out of low, so you can change the size. You could make it like really glow. If this is really cool, if you want it to be representing like a litte sign has very similar controls. You can control the blending mode, the color noise if you wanted to have more texture, which is kind of a neat effect, Um, you can change how it's blending control, the size, the choke, which is it makes the fall off more sharp. So, like if you have choke all the way up, it's basically like a white line. Um, so you can see there and then we have contour like before, and satin creates sort of a shadow inside of your your letters, sort of like their backlit. I've never really used satin very much. Um, but there you go. You can use it if you like it. Okay, Color overlay. I use this all the time because most the time I just used white text. So, like, for instance, here, I've, you know, created just a layer of multiply layer of color. And then that way you can control the brightness. Basically, I felt like it was too bright, and I didn't quite like it that right, So I just added a multiplied and bring it down a little bit. So then we've got the Grady and overlay, and that just creates ingredient within your text or whatever kind of layer you want. The great thing about layer styles is it's not just for text. That's for whatever layer you want. So for me, stroke and grating over layer kind of the workhorse of text to make your text look really cool. I like personally using stroke often because it makes your text more readable. And I like grading overlay because it makes your text looked interesting pretty quickly. Um, so, yeah, radiant. It gives you Grady it so you can pick or create your own. I created this one just by clicking in here, it will create a new color. You click on your color, you can just It created however you want, and then it's in there, Um, and if you want to delete it, you just click on him and drag him off, and that will delete it. You can also pick any of these, and we'll come in here. You can also save your greedy in if you want to, which maybe I should, um, And then this changes the angle that the greedy int comes in it. And then the scale is how much blending there is between the lightest color, the darkest color. I often pushed the scale up pretty high because I like it to be very subtle. And then your pass ity is obviously just that capacity because this is over white. It basically fades it toe white, and then you have blending modes. You can blend it anywhere you like. Pattern overlay is the same thing as patterns, except in bevel, except it doesn't isn't affected by light by the light of bevel. So you got all the same controls, and that is that outer glow very similar to inter glow except on the outside. So there you concede we've got an outer glow. Uh, I like this a lot. I use it pretty often. What's cool is, if you do white in an outer glow, it's almost makes it seem like it's glowing green. But it's actually white text. It's like the text is super hot or something. And then there's Drop Shadow, which drop shadow is great. You just want to make sure that it's subtle and control it. So drop shadow has, you know, similar controls. We've got the capacity we can change the color. I try to make it always ah, similar color to whatever I am painting or like whatever background it's gonna be on so that it looks more realistic. The distances. How far? Wait us from your text or layer. Your spread is gonna be basically controlling the fall off. If it's all the way up, that means that it's super sharp, like you can see right here. Um, and then the sizes. How big this So you can use this to create a secondary stroke or something else If you need as well, then you also get the contour stuff down here. So I know that was a lot. You might need to watch it again, but definitely play with the layer styles and you'll find that they do a ton. Look at my text and what I've done to create the different layer styles, and you'll learn a lot there as well. So the last thing I'm gonna talk to you about is creating ah, separate layer with a layer style on it. So what we're gonna do is double click on our image layer and go ahead and create a drop shadow. Like I did hear. A nifty trick is, if you have drop shadow selected, you can actually drag it around in position it how you want, which I find really useful. So once we have that click, OK, and then we're gonna drag down to our layer styles so we could see them and right click on Drop shadow because I just want drop shadow and they were gonna go to create layer. What's great about this is now all of our layer styles are actually separate layers that we can affect differently. And this works really well for drop shadows. Because if I wanted this drop shadow to be in more of a three d effect like it's going back into space like this, I can't do that when it's attached to the layer. So you can see it's really pretty easy to achieve this effect once I've detached the layer styles and now we have a sweet effect. In other lessons. I'll talk about masks and some different things you can do to make this look even better. Okay, so now that we've done that, let's go ahead and move on to our homework. So what are you gonna do when your homework I want you to add layer styles to your text and your symbol to make your Bronze Griffin logo design even cooler, so I'll show you basically what I've done. So I've just added some Grady INTs in some different places, and I didn't quite a bit on the text. I added a bevel and some radiant and affected the lighting and added a little drop shadow. So do whatever you want to make it look, however you want it to look. But I want you to add some layer styles and spice it up a bit, and I'll see you in the next lesson. 6. Killer Images L1C5: Hey, guys, this is Paul Parnell. Welcome back to making killer images in Photoshopped. This is lesson one Class five tips for the final logo and presenting your logos. So as you can see, what I've got right now, before you is a T shirt design that I created and it looks pretty nice, it's It's pretty much, um, you know, right on the shirt. It looks pretty realistic. And I want to talk to you a little bit about how to make that happen. Um, first, I'm actually just gonna show you a bunch of different things, and then we'll kind of go through the idea of how we made that happen. So here's another shirt. You know, another one with this guy on it. And here we have some different banners that I placed in this image here. We've got the hard cover of a book which will be talking about book covers in the next lesson. But it looks like a real book and has a shadow. I actually used the same technique I showed you with drop shadows to create this drop shadow here also some painting techniques which you can find in the digital painting fundamentals and Photoshopped. Let's see. So there's a couple more things I want to show you. So here's another example of, you know, presenting your images in a different way. So here I put a new image I've created inside of a fake frame while picture of a frame that I found on the Internet and added a little bit of a highlight and different things to present, um, help present my images. So, uh, you can do the same thing with your logos and, well, keep looking. It's more stuff. Another thing that you want to do when you're presenting your logos, for instance to your clients like I said before, is you want to make sure your number, um, don't give him too many to look at like this one. Actually, I would say I have given them too many. I'm probably stick with, you know, 5 to 7, but I just also like even, and because they were a certain size, it just worked out better this way. So there's that. And then also another great tip. If you're going to work in Photoshop to create logos, a really good idea is to make him huge so For instance, if I zoom into the actual size of this, this is how big it ISS. This image will easily be be able to fit on a T shirt. It'll be able to fit on, you know, but also shrink. You'll be able to shrink it down. Scaling down in photo shop works much better than scaling up in pretty much any program. Scaling up is always gonna give you artifacts and make it look pretty crappy. So now let's go ahead and talk about some other sort of finishing techniques. Besides putting images on things, there's a few things that you can do to make your images look a little bit cooler. For instance, this image, one of the things that I've done on these that I really like a lot is make. I've made them look shiny. Now this actually simpler than you think. So what I've done is I went ahead and I selected the logo like the words. So once I have the word selected, you can do this by either using the wand or what I do is I hold command, and then I click on the main window of whatever it is down here. And if you hold shift command, you can then add to that. So here we've got the sort of w person looking w and the e want mawr. And if we create a new layer so this layer button, then we can actually really easily create this a similar effect. There's a few different ways you can go about this this way is probably the easiest. But there's other ways which, you know, will also work really well, um, so then we're gonna grab our marquee tool Circular one. Actually, this is probably gonna be the better way to do this. So what we're gonna do is we're going to click this fourth box, which is called, I believe mix Oh, intersect with selection. So anything that's intersecting, that's what will be left in anything that's not intersecting will just disappear. So you can see we've got our selection will make our mother later invisible. So we'll click on this layer now hit g or click on the radiant tool. It's underneath the paint bucket. And then we're gonna start grading right at the beginning of our marquee and ended above where we are at so you can see that already looks pretty shiny. If we wanted more of a silver sort of effect, or like chrome, we could leave it like that if we don't change this to screen or add or both pretty good options. So now you can see really easily. We've created that shine effect. It looks really cool. I like it a lot. You can also just bring down the intensity by changing the capacity So super simple shine effect. There you go. Okay, So let's go ahead and talk about composite modes and or transfer modes. And what those conduce for you. So first we can look at, we can look at this T shirt. So here you can see, like in the image. You can see kind of the texture of the shirt coming through, and it looks pretty pretty realistic. Not maybe perfect, but pretty close. And if we wanted it to be more realistic, we could even feed this a bit. Mawr, you know, And Dave, you got it looks pretty spot on. I don't think we faded this title at all because I wanted it to be pretty strong, even though, like it would normally be faded. So what transfer. Moz, help you do is to place objects on other objects or create interesting mixtures of images. Um, so here you can see I've got several layers of the same image overlapped, and this one I have on lightning. And I did it this way because I was trying to create a certain look, but I think I actually just one lightning on. And then this one is set on overlay. Um, and for this stuff, generally, I just keep playing around until I get what I'm looking for. There's no right or wrong way. Where is this is different. This is pretty much the images fully visible. I just placed inside of where these banners were already, which is, you know, that's pretty simple stuff to do. Resize in place. Now the T shirts is the same idea I used on overlay mode and this one I just put on normal . And I just brought down the capacity just a little bit, because if it's all the way up, it just doesn't look natural because nothing is that bright. So has a lot to do with brightness and saturation. You want to match the image that you're looking at, um and let me look at this last example. So the last example is pretty much the same. I actually left it probably a little bolder than and it really would be, Um, and this one is set on Multiply multiplies one of my favorite modes. So multiplying screen do the same thing, but for the opposite end of brightness, so multiply makes on Lee The dark pixels show through and screen makes only the light pixels show through these air both super useful, and you'll probably use them all the time. Eso here you can see all I did to create this backdrop is used radiant to Grady INTs one that it starts white here, and one that starts dark here. And that just creates this nice sort of infinite background. So for the book I created, the binding are and then I just used scale to scale it into, um into a shape that made it look like it was three d. So all all that I've done with this image, which is normally a flat images, I've just given it a little bit of distortion to make it look like it's in perspective. So nothing you know. Too difficult. Okay, so now I want to talk to you about your homework. So what is your homework? Well, now we're gonna mess with, finished all the finishing touches, and I want you to go ahead and work on applying your image to you T shirt, put it on other things and also make your logo fit on this board image that I'm going to give you. So here all I've done is I've done two different versions, one that's more muted colors like it was maybe painted on or it's actually on a board itself. And the other one? No, this one is actually like, if it's void itself like some sort of cut out and then this one is is it as if it's been painted onto the wood? OK, so the way that I did that is I used layer styles so actually used pattern overlay to create a copy of this background pattern and used that to put the pattern over the whole image. I also used the bevel to make it look a little bit more three d, you know, color of relate to give it more of a muted tone and another Grady Int to give it a little bit more depth. And then last but not least, I added a drop shadow, and I tried to make it really subtle on. I think that the shadows probably my favorite part. It looks really good, I think, and really believable. Okay, so for the second logo, what I've done is I've took the whole logo and I put it on overlay so you can see if I just didn't just the overlay, it would be pretty dark. It looks pretty cool, but it's it's just a little bit too dark. So what I did is then I created a second version of the logo and I put it on screen. Um, and you can even just continue to lower that in, tune it in to get it just how you want. So that's how I did it. You guys can do the same thing or do something completely different, but make it look like it's on the wood, and I Good luck with that and I will see you guys in the next class 7. Killer Images L2C1: Hey, guys, it's Paul Prenup. Welcome to making killer images in Photoshop. This is lesson to dynamic. Book covers, class one sketching, refining, finalizing the process of a book cover. So this is pretty much very similar to what I showed you for logos, but more complicated since you're not just creating a logo, you know, a single element, but you're creating multiple elements to tell a story through a cover design. Um, so first off, I'm just going to show you a little bit about a covered that I created for a graphic novel called The Heart of Oz Anthology. This actually took me a lot of time to create these concepts just cause I couldn't find something that I was really just thrilled with. So here, you can see, I tried to make sure that each idea was quite different. Like I tried to not make too many that were similar looking that way, each one would tell a different story, but but continue to tell the same story, but more from a different perspective. So this story is actually about this girl who is in the future, and then she gets sect to the Wizard of Oz. but it's sort of like after a great battle has happened in Ause. So I've got a few different ways of showing that. And, uh, here's another idea we had, since the book itself is based around an object called the Heart of Oz, I thought that that might be a cool thing to display the heart of us, which is what that is. So you can see So you can see I have about 10 good designs in here, and this one in the corner is the one I ended up going with. I also did a bigger version of it just to get, you know, kind of the pacing that the placement of all the characters that I want. So this is what the final cover ended up looking like, and this is still sort of a rough stage. In my opinion, I would go back in for the finalized one. I would go back in and paint everything a bit more detailed, especially the girl. But here you go. So you can see kind of how it ended up turning out. Um, I used all the same techniques that I showed you before. Other than obviously I've been drawing for a while. So if you're interested in learning how to draw on the fundamentals, you can check out the fundamentals of painting and photo shop class I did for Q Scudder. Otherwise, this is pretty similar to the logos, and everything else is I use a lot of different overlay options. I've got a lot of layers here. I already showed you this logo, actually, with a lot of layers on it as well. Now, this process is really it starts with sketching for me, and it's really about generating ideas that are gonna be useful for the design. It's all about designing and coming up with something that will look really cool in the end . So here is some more sketches for a different book cover. And what you've got to do when you're creating a book cover is also think about the back. So that cover I was only creating the front because that's all that was going to be seen for the project that I was doing. But for instance, this cover is gonna have a front in the back. It doesn't front in the back. So you gotta think about where you're gonna put your text, We're gonna put your information. We're gonna put your barcode in all of that jazz. So when I created these designs, I created three You know, fairly different designs with similar concepts because it's the same story and, you know, like this one's much more sort of high tech looking. And this one is like the whole thing is one folder, and then this is sort of like you're looking at the desk of some sort of top secret a person's desk. So then I, after doing the client, picked the element that he he liked from each one, and he told me what he wanted. And so this one has to people's photos on the back. So I had to have those, and there's gonna have a blurb about each of them and then something about the book as well as the barcode so you can see how I've kind of laid it out and I'll show you the final cover in a later video. Basically, when you're generating ideas, you want to create sketches of of what it might look like if you're gonna do a photo Bashar photo cover like this one ends up being. I also take it a step further and I do a rough photo cover If this was an illustrated cover than I would illustrate from this drug, so this would be what I would consider refined drawing. So first I take the sketches that are much looser, these original ones which are much smaller, much looser. And then I come back with a much more refined, controlled sketch that I will then use to base my final design on Another thing to keep in mind is that this process works for everything. If you're gonna create DVD covers, if you're going to create any kind of image can be created this way. So, for instance, this is the same idea. Actually, with these I didn't really create sketches because I was also approving the Final one myself. But you can see how I've created this, and it's just photos and text, and it's very similar to what we've already done with logo design. Just thinking of the rest of the image is sort of similar to the idea behind the logos, and the word is now you have to create a whole image that's telling your story. What what is this about, Um So now that we've talked about that s o these obviously or CD and DVD covers and then this is, you know, like a an image for a website. So it's all kind of the same theory. So now we're gonna talk about your homework. So for this lessons homework, what I want you to be doing is creating your own book cover. So I went ahead, and I've come up with a fix story, and the story is called Method Ours journey. And it's about a young dwarf in Prince whose family and whole sort of civilization that all live inside of a mountain has been killed or captured. And Mel Fodor has escaped. And so this is his first time in the world. He's joined by Kurt the free Blade Karina and Elf. Gypsy occurred is a human. So it's ah, setting his high fantasy, like Lord of the Rings, sort of that medieval magical kind of setting. Um, this is the first time he's been out of his mountain, and now he's trying to find help and so that he can free his people from the dark elf oppression. Dark out, sir, Drowsy They're sort of the evil underground else. Sometimes they red spiders, so you can take all of these elements into mind when you're creating your cover. So I did some quick sketches of the characters just to give you a little bit of an idea about what they might look like. They don't have to look anything like this. I want you to pretty much just have, you know, free rating on this this project eso to start with your homework for today or this class is to do 10 cover sketches. So I want you to remember the front in the back. There's gonna be a synopsis, maybe a little blurb about the author, and there's also going to need to be a space for a barcode. So don't forget those things when you're creating your sketches, but create 10 different sketches and try to make them as different as possible. You know, going back to the layout for this book. So each one has the same ideas, but they're very different. So I want you to make sure you you make each of your idea is very different. And the purpose behind this is to help you start to learn to generate ideas rapidly. So go ahead and create 10 ideas, and then we'll continue to build on this each lesson. Um, also, don't forget that you're gonna want text on the front of the cover. Also the author's name. You can just use my name or your name doesn't really matter. So Mel Fodor's journey needs to be on the cover somewhere. The author's name needs to be on the cover somewhere. So that's it for this class. I hope you enjoyed it and I will see you in the next class. 8. Killer Images L2C2: Hey, guys, it's Paul Purnell here. Welcome to making killer images in Photoshop. This is less than two dynamic book covers, class two sizes, printing color space and barcodes. So in this class, we're going to talk a lot about the technical aspects of creating a book cover. First thing we're going to talk about is sizes. When you print a book, it costs different money to print the different sizes. Some things that you think might cost more or less might not. Actually it work out that way. For instance, we found that if we were to our graphic novel at six by nine, we would actually save a small amount of money. We ended up not printing it it six by nine, but instead 6.6 by 10.5 by 10 quarter. The reason we did this is because most of the graphic novels that I read are actually in this size. When you print enough of a um, enough copies of a book, then the printing costs goes down. But there are standard sizes that printers print and those air, you know, gonna cost you a little less to print another thing to make sure is that your client gives you The exact size is that they're printing. Because if you if you create an image that's the wrong size, it's not gonna work right. It's not gonna look right and you'll have to either adjust it or part of it will get cropped and adjusting its not too bad. But if it gets cropped, that's definitely no good. Okay, so the next thing we're gonna talk about is your dp I or resolution your dots, prince. So here you can see we've got pixels per inch 300 is gonna be your standard printed resolution. So this is ah, 100%. This is what it will look like when it's printed. Um, if you make it bigger, so you want to make it at least 300 dp I, uh But if you make it bigger, it will give it even mawr pixel density, which on some printers will matter and on other printers won't. But what it will allow you to do is to scale it up. So if I were to create the same image at 600 dp I, that means I can also print it at twice the size that it is now, And that means that I could use it as a poster or, you know, different marketing options. So next we're gonna talk about color space. So if you work on a computer most of the time, then you're generally working in RGB color space, but everything that you worked with every printed images printed out at sea Y m. Kay. So I'm converting this just to show you what will happen. Um, so you can see that the colors have gotten a little Mutar. Things look a little bit different. The darks look darker, Um, and when you are printing, it's good to work in C Y A N k. Or at least change your image to see and William K. To get a better idea. Eso see why am K stands for Scion Yellow, Magenta and Key, which is black when printing, you start out with white and you adding your colors to make black, and it's the opposite. With a monitor, you start out with white so all of the colors together create white. And then as you subtracts the colors, it creates black. So just keep that in mind when you're printing. So generally I use RGB because I'm just more used to it. If I dealt with printing mawr. I generally do a lot of stuff for the Web and that kind of design, so I don't have to worry about printing as much. But if I printed all the time, I would definitely try to work. Maurin C Y m kay. Okay, so the next thing we're gonna talk about is barcodes. So here's another cover that I've created. This would be another illustrated cover. You've got the full cover front and back. So here's the barcode and the barcode is is going to be either provided to you by the client, or you might have to get it for them, which is a process, or they might print it on at the print shop. If it's like a distributor or something like that. And so you it's good to know which option they're going with. Because, for instance, if I was not putting this on here, then I would have to leave a space knowing that they were gonna print it on here or stick it on with sticker or something like that. So just make sure that you know, kind of what option? That there balling vying for if they're going to print it on their barcode or if they're going to apply it in some other format. Okay, so that's pretty much it for printing and sizes and color space and barcodes. Okay, so this is the high level clearance cover that I showed you before the designs for this is what the finished cover looks like You could see over here. I've added in the barcode as well. So what I'm gonna talk to you about now is your homework for this class. So here you can see a sort of rough sketch of a cover. Now, this is the template that I've provided for you. It'll let you print out a book, cover at three. By or six by nine, which is a very standard for about so you can put any kind of cover. You want a near use it for your own books. Um, but I also want you to use it to create your mouth adores journey book cover on this. So first off, I want to talk to you a little bit about the guides. Okay, so here you see the guides, These blue guys. Um so these guides represent different things. This outside guide is called Your Trim. Anything outside of this line, it's likely that it's gonna just be cut off. The reason that we put this put this line here so that if we have art that we went all the way to the edge, then we're gonna bring it. We're gonna bring it all the way to this line. The second line here is representing our title safe area. So we don't want any title or any important parts of the images to extend past this line, the title safe. So here you can see that still leaves us quite a bit of room to fill in and to give some cool images and stuff. I've also included a barcode. This is just a barcode off of one of the books that I've done. It's just mostly seek in practice, putting it in your image somehow. So that is that. So what I want you to do is I want you to start building your book cover and I want you to focus on first all of your text. You can even add mawr synopsis text and even a little about the author section You can put in a little picture, just really make it look cool. I want you to take the Mel Tatars journey and create a cool logo text logo out of that. And also, you can make the text look cool on the name as well. I'll give you a quick example. So here you can see used text. We've already looked at this logo before, and, uh, we've created some cool text here, and we've also have cool text on her back and then just some sort of standard text. Easy to read. So I want you to go ahead and create something similar to this. Not exactly the same. Definitely. I want you to use your own ideas and just go for it. So that's what I want you to do your homework. And, uh, we'll continue to build on this idea, and I will see you in the next class 9. Killer Images L2C3: Hey, guys, it's pull pin out here. Welcome back to making killer images in photo shop. This is Lesson two dynamic book covers. And this is class three. How to use photos to create dynamic book covers. So in this class, we're gonna focus on, uh, pretty much entirely photo mashed images or kind of photo collages. Um, so I'm gonna talk to you briefly about it. A few different ideas to think about when you're creating your photo bashed image. So in order to give the client something quick toe, look at that, they could approve. That wouldn't take me a lot of time. I went ahead and I just found images on the Internet to give an idea of exactly what I was thinking for the final design. So here, you can see, um, this is, you know, pretty rough. And this is what I would call like a mock up or photo bash or photo mash. But it's a temporary version purpose for just having the client's approval of the direction you're going before you take it a step further, a step further being the finished cover in this version. I didn't take any photos. I just found photos on the Internet, and I just put them together so you can see kind of how that looks and basically my final In my final design, I ended up taking quite a few photos. I took a photo for this folder. My phone is actually in the image used on my desk is the background, which really ended up being so dark you can't even tell anymore. But you know what? APS I took a a photo of ah paperclip and cut it off so that I could use it on the different images. So basically, just erase the parts of the images that I didn't need with the lasso or want Tool or I used masks, which we will discuss in a later class. So that's pretty much that when you're taking photos on Google. Uh, one of my rule of thumb is obviously you don't want to use anything that's copyrighted. If you are going to use a photo, try to make sure that it doesn't look anything like the original photo that you started with. So if you're doing a paint over or if you're gonna heavily alter it, or if it's mostly going to be obscured, like some of these photos up here with the fingers and this photo over here with the angel those air almost entirely obscured. So I'm not too worried about those. So keep that in mind. You don't want to get yourself in trouble or the client in trouble to create this this final logo here I found a Cool Hawk vector graphic that was for free. And then I created the rings around it. And then I just distressed it, using some brushes and a mask layer, which will discuss a little bit more in full detail. So to get text to go in a circle, what you can do is use the path tool, which is this little shape guy. Make sure it's set tow path up here, and then once you have your path created, you can take your text, and if you go over it, you'll see that it turns into a little squiggle, and then you can just start typing. And there you go. It's pretty simple. Um, you need to move around. So that's how I created the text here. And, um, yeah, that's pretty much that. So once I had created the mock up, and I took my own pictures of anything that was going to be highly visible to create the final. And then I did a lot of layer adjustment. Layers are just using layers. Teoh affect lower layers. So, for instance, I created this color correction, you know, to make the sensor really pop. I created some more dark spots because I needed the names to be very readable. And I created a blue background to make everything sort of Maurin shadow. Because if you ever look at shadows, shadows tend to be bluer, and highlights tend to be more the color of the light source. In this case, which is yellow, obviously having painting backgrounds and drawing backgrounds in creating even a photo best image is really useful because you can go in and paint in little things to distress this logo I painted to distress these little pieces of paper. So if you're interested in learning some digital painting fundamentals, we do have a class on that as well. Okay, so that last but not least, uh, your homework for this class. I want you to create a photo bash temporary version of your cover. So go online. Find images of elves, images of dwarves, images of swords, guys and whatever. Whatever kind of images that will fit your cover designs that you've already created your 10 designs, pick one of them and start to build that design in a photo temporary version, just like I showed you. Um, so that's your homework, and I will see you in the next class. 10. Killer Images L2C4: Hey, guys, it's Paul porno here. Welcome to making killer images in photo shop. This is a lesson to class number four. So in this lesson, we're gonna be learning about illustrating book covers. So obviously I'm not going to teach you how to illustrate in this lesson. I'm instead going to teach you principles that you can use with your current illustration skills to create book covers. The point is much more about the book covers and a lot less about the illustration. So first off, you obviously will need to be able to illustrate or draw in some style. And obviously, you know what is good can always very and is very relative to your client. Really? I've seen things that I haven't considered very good that people really like and other things that I would consider to be really great. And people don't really like where's also I, you know, seeing the opposite where I've seen things that I think are terrible and other people think are terrible. And I've seen things that are really great that other people think are really great, so it can really fluctuate, but obviously finding ah style that you really enjoy and trying to mimic that style is a good place to start. Imitation is a great way to learn and to grow in your ability to illustrate. Actually, I was just reading a book recently that was talking about immersion in how you know, as an artist, by immersing ourselves, we create a idea of what good is or what What great is like the taste, how to have taste and when you have taste than you use that to push yourself forward in growing your ability. So, you know, look at a lot of awesome illustration and kind of try to absorb anything you can from them . So first off, we're gonna talk about this here drawing. Um, I have a few different cover designs that I'm gonna flip through right now. So I created these three different designs to send to the client. And as is my, um, process, especially with cover designs, I try to give them even less sort of options and obviously, like hearing what what their opinion is at the beginning and try and get a good vision and then depict, you know, maybe three or four options based on their, uh what they want. And so these air, the three options that I sent to the client, And so we'll take these options and, uh, Hill pick whichever one he thinks is the best one that conveys what it is that he's wanting to convey. And he chose this, this one. And before I started these? No. Maybe, you know, So after we had picked this, he liked this idea of the marshmallow tree and this idea of silly McGee to Children's book . So it is a little bit silly. So then I created thes concept sketches of what the character's may look like. I wanted him to look a little bit weird, a little bit funny. And then this is the marsh military, and I wanted to give scale, so you can see I created this little tiny house down here. Um, I'm not really gonna go into how I painted these or anything like that very much. What I will talk about is just some different coloring concepts and how I color and how you could color as well. So these are the concepts that I created. And then I went ahead, and I created the final drawing and the way that I did. This is I drew it actually in pieces so that I could layer it and I'll go ahead and flip through. So some of these layers. So this top layer is all my text. It took actually a while to figure out exactly what text he wanted for the title. That was the whole process in and of itself. I basically found any text that I thought might work. And I created a copy of the title just like this. So, um, if you hold all in drag, it'll make a copy of something. Uh, and then V gives you this electoral. So I made a copy, and then I would pick another font. That might be a cool front for this project. Let's see this one. And then I just created, you know, long file that just had a dozen different thoughts and that he picked the one that he liked the best, which is this sort of bubbly letter looking one, which, you know, I think fits pretty well. Okay, so that is the text. Um Then we've got the foreground, which is where Silin McGee, his march Miller cat and Marshmallow Bird are his world Marshmallows make up a lot of different things. Um, like I said, it's a Children's book. So this is not actually how I would recommend to separate things, that we'll look at another example as well because of the way I did it. I actually colored a lot of things on the same layers. And generally I don't do that because if I need to change one thing, it makes a little more complicated. Um, I'll show you more about that with the next example, but so you can just go through the project and check out what I've done to illustrate it. So I this style of coloring, what I do is I create a layer. So I went ahead and added in overlay of yellow so that it would give it that, you know, certain kind of sunshine feel. So what I did is I just made a copy of the overall layer of all the color. And then I used a layer mask to painting where I wanted the actual colors to remain so you can see kind of where everything starts disappearing and that should you wear the colors. All our for the shadows is I created a full layer and I just put it on multiply. And then I started to, um, add back in the areas where I wanted color in highlights. And this style works pretty well. And then down here, I have my lines. But because I've also created this multiply layer, that's basically all of the other layers, the lines aren't really is important in this particular drawing. They'll be more important, another drawing that I'll show you. I did the same thing for the background, and then I added in also some fog elements to add depth, just something that I enjoy. Okay, so that is the silly McGee cover. Now we're gonna go ahead and look at, um, are heart of Oz cover. So we looked at this briefly at the beginning of this lesson. But here you can see the different sketches that I did. Uh, I had just done so many sketches for this already. I really wanted to you knock it out. So I decided just toe sketch as many as possible on one piece of paper. And then if I liked any of them, I would just take them to a more finished level um, so here you can see all of these. I think we're pretty neat ideas and could definitely have been, you know, an interesting and cool cover. But I ended up going with this one. For whatever reason. Actually, I think it's because my other team members thought this was also one of the coolest ones. And I liked it, too. So here, you can see here have the different texts on different layers. And, uh, you know, it created them with the same concepts as creating a text logo. I just wanted to look cool and to kind of get across what it is that, you know, the book is about so something that that I've done here is I just created this outline and then I used a mask to eat away at the outline to make it more sort of grungy and used looking. Um, I wanted the overall cover art to be a bit smaller, so I used, uh, flattened. So I made a copy of my whole, um, been or folder with everything that's inside of it, which is all the characters, all the glows, everything that makes up this image. Here you can see this image here and then I went to layer and at the bottom there's merge layers. So if you just select that and hit command your merged layers or flatten image flatten image will flatten everything Merge, visible will only emerge What's visible merged layers will merge whatever you have selected . So I emerged everything so that I could shrink it down to the size that I actually wanted. Um, I've also done some other stuff in the background. I've added a some texture, and I added a border, a darker border. And then you could see I also added that two tone border to just give it a little bit more interest. OK, so now let's look at the illustrations stuff I don't expect. If you've never illustrated before, obviously, you know, illustrating something like this is gonna be pretty difficult. It took me a long time to learn to draw on, illustrate like this. So don't be too hard on yourself. It definitely takes time to, you know, figure it all out. Okay, so I have a ton of layers here. Okay, So I covered her with the same sort of concepts, actually, like I told you before, This is not what I would consider it. Like, completely finished. Some of the characters look more finished dot to me, which is this main girl is not one of them. I would definitely have liked to spend more time. Um, you're making her look even better. Uh, I just already spent my a lot of time already. So what I've done here is I did. The same thing is in. The other cover is I created a layer that I wanted to be my shadows and I just turned it on , multiply. Um And then I went ahead, and I added a bit more blew into it. No, this. You can see it really well. And then I used a mask, which we'll talk about in the next lesson to cut everything away. And then I did the same thing for the lights, and I just made the lights a bit green. And then when I had what I wanted, I wanna had emerged the whole thing. And then I shrunk her overall so that she would fit better with everybody else. And then I just did the same pretty much the same thing for every character. So every character just has, you know, a ton of different little layers. Um, and I'll just quickly go through, ensure you. So here we've got our line layer. And so this is much more how I would recommend color in things. Um, at least for me. I really like having everything separated and really kind of controlled so that I know exactly where everything is. So here you go. So now we've come down to this. The most basic sort of illustration would be just pencils or inks and your flats, which is just your colors. So then I went and I created another layer, and I use the lasso tool to select parts of layer and masks to erase the parts of the layer that I didn't want, which then created, you know, this nice shadowing effect. So this is a darker layer overall, and here I'll show you so like, this is what the layer actually looks like. And then I haven't on multiply, which is, you know, great for doing those kind of things, making something darker. And then I just slowly added up different areas that I wanted. So, like this area, I just selected the edge to create a little bit of an edge light. And then I, um, you know, put it on screen, you could see what it looks like. It's just the same kind of green colors. I just brought the capacity down and then I to make the highlights. I did the same thing. I just put it on screen, and I gave it an orange overlay so that it was like light projected from the fire. And then I added more of a green highlight because I wanted even more. You see, that's just the very edge, because that's where the light would be coming from the girl. And here's the lights. This is the lines, and I've added an outer glow, which we've already talked about before, and then just a color overlay. And then here's the fire, which is just I've selected and painted in their orange. And then I added a couple of little specks, some more highlights and the more color and then more green sort of light on the side here . So I did the same process for every character, and once you've completed this process, in the end, you end up with your cover design she looks like this. So there you have it. Um, it's obviously just a series of layers. And like I said, I'm not teaching how to illustrate in this class, but merely the ideas of how you can put it all together. So once you have all of your art together, then and you have it in the right sizes, just like you know, the other covers that I showed you, Then you're ready to finish up your project and cinder finish files for me. I like to always send the files as large as I can. Sometimes I will send P S DS if they need them most the times else in high resolution J. Peg or PNG. So I hope that gives you an idea of how you could create your own covers with illustration . It obviously takes a little bit longer, in my opinion than photography based covers, because you have to create everything from scratch. But if you really like illustration, obviously that is not gonna be a problem for you. So that is that in this class for your homework, I want you to create an illustrated version of your cover. It doesn't have to be, you know, nearly as complete Is this at least do some pretty good sketches or drawings to really rough out your idea of what you could do if you did your cover design as an illustration? And if you like that, then we'll continue working on that in the next class. Eso that's your homework and I will see you in the next class. 11. Killer Images L2C5a: Hey, guys, it's Paul pronoun here. This is making killer images in Photoshop. Lesson two dynamic book covers class number five using masks and filters to take your designs to the next level. So in this class, we're gonna talk about the things that I keep telling you. We're gonna talk about later, which is filters and masks, so filters and mass can do a ton of stuff you can see right here. I've got the logo from the high level clearance book cover design. Now I created this logo specifically for them, and there's a lot of cool stuff about it. First off, I did a lot of research and referencing, so actually created it to sort of mimic a US design. So, you know, I found this cool reserve image, and I tried to mimic that a bit when I created this. So I also wanted it to look a little like it's flaked off like it's been a little bit older . I gave it a bit of texture, doing all of these different things to add to the overall feel of the image. Now, to create this, I used masks, so I'm gonna go ahead and show you how I did that. So first I'm gonna make this red ring disappear. I'm also going to make our texture disappear. And I've created a second ring just for you. Now, what's cool is Matt how masks work. So first off, if I wanted to paint or erase on this layer, I can. Because if you look over here, you see this like little square with the circles in the corners or squares in the corners that represents it's a vector vectors air. Great. Because you can shrink them and grow them to any size but vectors. You can't change with brushes. So if you wanted to, you know, just make part of this disappear. Using a brush where you'd have to do is come over here and right click and then you have to go to Rast. Arise, layer. And so once you rast, arise the layer Now you can actually paint on it. So if I come in here, I can go ahead and paint, you know, around my eraser tool and I can erase and you know, I can get a similar effect what I created for the cover. So I'm just using like, whatever weird sort of foliage brush. But you know, you can use whatever you want to create that sort of effect. So once you've done that, the problem with Raster is now. It's done. I can't undo this. There's if the only way I can do this is actually hitting. Undo. But say you've come all the way to the end of your undoes, then you're out of luck. Plus, if you've done a bunch of other stuff and it's cool, you don't want to do that stuff. You just want to fix whatever issues you have here. So for now, I'm just gonna undo a bunch. So I've undone all the way to back toe where we are still a vector image. So this is how you can deal with this is using a mask layer So it's awesome about masks is first off. You come down here to this sort of piece of paper looking symbol with a hole in it, and if you scroll over it for a second, it says, add mass later. So we're just gonna click that and now we have this little box next to our image thumbnail . Now, to select the mask, we actually have to click on it. So if we click over here, you can see now are little selector Box has moved to the thumb. Now that means we're currently drawing in that layer where the pixels are Now. If we click on this, that means we're drawing in the layer where the mask is and the way you can think about a mask is It's like a piece of paper, and that piece of paper represents your image. The white part is where your images drawn. And then if you start painting in black, then that is where your image has a hole in it, so that if it's all the way black, that means that it's all the way see through. So you've got, like, a hole that goes all the way through it, and if it's all the way white, then it's all the way opaque. That means you cannot see through it at all, so it's a pretty easy way to remember, And what's cool is you had X or you come over here and hit this little sort of tilt e looking dude. It swaps the foreground color in the background color, and so this is really easy. So fine painting like, Oh, I messed this up. I want to paint that back. So it just hit X and then I want to hit X again. Got black. And so now I could make a bigger hole. So go ahead. Make this bigger over here. Now, we've got some really cool, big, splattering whole Oh, but I want some back in the middle, so I shrink this down a bit and I paint some back in the middle so you can see it's really easy. And what's cool is you can see it totally only effects just my circle layer, which is actually what's on this layer that the mask is attached to. So it's pretty powerful tool and totally not destructive. Really useful. So you're gonna be using this a lot all the time once you get used to it. I know I use it all the time and we'll definitely be using it in lessons Number three and four a lot. Okay, so let's go ahead and hop over to the ancestors call cover. Now, we've looked at this a couple times, but this time we're looking for something else. So one of the things that I just wanted to tell you how he did this. The way I made this cool letters kind of floating and wrapping around and spiraling is I used the path tool the same way I did with the circle path and I just drew path. So if I drew a path just like this and then I used the text tool. If I put my text over that, she could see how toggles into the little wavy line. And then I just started typing like whatever I wanted to tide, You could see it's that simple. And it will follow your your line all the way around, and it just looks really cool. Okay, so that's how he did that. So now I'm gonna talk about a couple of other things. For instance, how I made all these things look sort of wispy the way I did that is actually using filters . So let's go ahead and go to a new file and you can just make it any size. You what I like standard doing a standard paper size just consigned nodal print. Um, so one click with the text tool and you will get a text that will not work wrap and just kind of go wherever you want. If you hold command and hit, enter, it will seal your text. And then if you grab your text when you drag in a box shape, this will actually word wrap for you, which is really useful if you need a lot of text in area. Because now it will actually continue the word wrap even when I just grab and drag it so reformat automatically super useful. I don't use this nearly enough, but I definitely recommend it. Okay, so here we've got this and up in this little corner, we've got filters now, filters air, super useful. And you could do a ton of stuff. I'm not gonna cover hardly any of them, just mainly the ones that I use often. So the ones that I use often are going to be the blur blur filters and then also liquefies really great. And the filter gallery is really cool. We'll go ahead and rast arise our text. Okay, so what we're gonna do is we'll start with blurs. Blurs is one of my favorite, you know, things to do so you can see already it makes a huge difference. If we were to put this in the background or put it on the wall or say we have a wall that's out of focus and you wanted to put text on it does how you do it, so you just blur it. You can control the radius of the blur, so you just want a little bit of blurred because sharp text is a giveaway that it's not really that it's been added in. You always want to try and match your blur level. So one thing that you could do that's pretty interesting is I can duplicate this. So if I command J, it will duplicate or also hold Ault and drag, and the under layer is the bottom layer. I will go ahead and go to Blur and Goshen Blur, and I'll go ahead and start adding a nice Goshen blur so you can see that makes like a really interesting sort of haze around it. Let's not keep that. We'll go ahead and go back to filter and let's check out the motion blur. This is something I like doing. So we put it out a little bit of angle right now, it's way too, you know, strong, which is the distance we can start to bring that back some. And all of a sudden we got this nice, subtle sort of interesting effect we can change. You know how bright the layer is by just bringing it the capacity of the layer down. I could see that's doing a lot. You can use your other thing you just learned, which is the mask layer. We can create a mask layer and we can go ahead and kind of erase some of this to make sure you have black selected Remember, Black makes holes and we can start painting and here really kind of make this unusual. And so now we have this interesting sort of very text based lettering and stuff right behind our text. And what's really cool is because this is a smart object. We can actually go into the smart object and change the text if we want to and then hit, save and go back by closing it, beheading command W. And it will adjust. It'll it'll be the same. So that's really cool. So that's one thing that is really cool with text and fonts, so That's how I went ahead and did. This is I used Blur, and I used overlay layers. So the next thing we're gonna talk to you about really quickly is finishing an illustration . So in an illustration cover, you could do something like I did here, and you could go back through your lines and you can actually paint your lines a different color. So I want to have a maid. My lines, uh, you know, all a similar color to whatever you know, colors were around it. So, like for his nose, it was just too obvious in the drawing when I didn't have the colored line work. So I'll show you what that looks like. So here you can see that without the colored line work. It's very like the lines stand out way too much, in my opinion. So I went ahead and they went back. I took my line layer, and I just painted over it. Um, so it's not like super difficulty thing to do and just try and find colors that makes sense . And so that's one thing you can do to kind of add a finishing touch to your overall logo for your book cover. Another thing is added textures, so you can see up here. I've added some textures for the black so anywhere that there's gonna be a lot of black. I went ahead and put some textures that will show up that will break the black up. So it's not just smooth black, but that it looks interesting. It looks like it's old and used, so I think that's a really cool effect, and something that makes makes covers and different things look interesting. 12. Killer Images L2C5b: Hey, guys, it's Paul pronounced here. So the next thing I'm gonna talk about is using masks on images. So here you can see that these are all sort of eaten away. And I did this same effect exactly the same as I did with the logo design. So all I've done is I selected his layer and then I just ate away at the edges a little bit to give it, you know, more of like, a really photo. It's been used. Uh, you know, it's been a while, and if you wanted to make it look really interesting as well, you might duplicate the layer. Um, so now we have the same layer underneath it. Turn off the drop shadow and I'll go ahead and add a color overlay. And on this layer, I'll make the overlay, like almost white. I'll click. OK, it's that it's normal. So now this is just gonna be basically a white layer, so we'll come back over here. So now we can start to kind of peel away at the picture, and it looks like we're seeing through to the underside, which looks like sort of the pictures been scraped off of the surface, and that's a pretty interesting effect as well. So that's pretty simple. That's what I've done with all of these different pieces of paper is I've just gone through and added, You know, some masks and chipped away things to make it look to use and make it looked worn. Not anything too extravagant or crazy. Um, let's see. And then nothing I did is I just found a picture of paper clip. I went in and I just using the eraser tool selection, I selected everything. I deleted everything but the paper clip. And then that way I could use it all over the place and just pin things, too. You know everything with it, which I thought do not really need. So that's a lot of good tips on how to work with layers. And like I said, the filters there's, you know, almost a ridiculous amount of filters. You can use them for all kind of different things. And if you add a filter on top of another filter, you know you get some really interesting effects that way as well. So there's one last thing I just want to touch on with you and it's creating glows. So I showed you how to create a glow on a layer. But I want to actually show you how to create glow by painting. So this is an easy effect that I think looks really cool. We'll go ahead and take this layer and we'll go ahead and add an outer glow and we'll make that a little bit bigger. And I liked making it a color because you can see it better looks more interesting. Okay, so now we have this cool, gold glowing letters, but say like, one end of it you wanted it to, like, be blazing and that sort of was gonna be a light source. So what you could do is you make a new layer and we'll use our brush tool. And let's just pick, you know, our gold color, and we'll go ahead and raise it up some. And they were gonna come up to our mode, and we want our mode to be either on screen or linear Dodge. I'm gonna do screen, and we're gonna wanna brush that. It really depends on what kind of effect you're going for. So if we if we were to use a really textured brush. You definitely get a very different look. For instance. I'll just do it really quick so we can see what that looks like. And we want single gender to be a lot and bring that passed down and the size we're gonna max the size to, like, very large. Okay, so now you can see that if I do this, this is almost like a cloud. This brush works pretty good. And as with the screen brush as it over lates itself, it gets brighter. So every time that it's overlays itself, it just continues to increase in brightness. Okay, so I'm gonna delete that and all the desert command A to select all and delete and in command d d selects. So I'm gonna come back over here to my brush presets, and I'm gonna go and choose more of a bigger flowing type brush. So you notice dynamics. We don't really need the jitter. Um, and we don't need to have sidestepped. Okay, So, cure, we're gonna take our brush, and it's kind of small, so we'll go ahead and increase the size. So to make more of ah kind of glowing effect, you can do this several different ways, but this way works pretty good. Um, you know, you can just use a screen mode brush with light capacity and you can even put your layer on screen also, or even linear dodge, which makes it a little bit brighter, more intensely white. I think I'll Yeah, I'll leave it on screen. I think eso you can increase your brush size and then, you know, you kind of make it more bright and glowing. So another thing you can do which I do this pretty often you grab your lasso tool. Let's say we select this whole area and let's even select more, so we're gonna select all of this. All I did is I hold shift to add to the selection. Now we're gonna subtract this election, so we're gonna hold Ault, and we're just gonna use this to create some beams. So I'm just gonna kind of indiscriminately cut away some of these sections and that will create some beams when you do it. Obviously, take more care, place your beams where it makes sense, and, uh, and it will look good. This will probably look kind of haphazard since it's pretty haphazard. Okay, Okay. So I selected somehow selected the wrong parts. It's all they did. It's a command shift, I or if you go to select, you go to inverse inverse the selection. It's now we'll go back to our other tool are paint tool, and we can even create a new layer in that way, if you don't like it, you can always erase it. It's pretty awesome. So grab, do one quick past, grab a lit last so again and we'll just select a bit more to cut out. And this way we kind of create mawr, intense zones and less intense zones. And it makes you know, for that interesting kind of bracketing of the light. Okay, so no, create a bit more light. And then you go. Now we have this interesting sort of glowing effect. You can come over here and turn this to screen, and then also, subtlety is the key. Bring it down a little bit, and now you get kind of this interesting lighting fact. Now there's several other cool ways you could do this, you know. Go ahead and figure it out. Find out which cool ways work best for you one other quick idea. Remember, too, if you want to do something like this. So we're gonna command J duplicate and we're gonna right click and convert to smart object . That way our text stays vector, but we can add anything we want on top. So we're gonna go on Blur, and we're going to radio blurred. And we're gonna go to Zoom Radio Blur, and you'll see that this will in fact zoom. Okay, so I'm just gonna crank up the amount and you've got to imagine that this square represents the size of your whole page. And so we're gonna try and drag it where we think you know, the words will be approximately on the page. Click. OK, there you go. And so now you can take this layer and we do turn it to scream. And now we have this interesting glowing effect. A swell. So there's a couple ways you can do glows. Those sort of elements really add a lot to your image. In my opinion, I'm a big fan of glows in those type of things, and this next thing is called a vignette, and I think we may have briefly covered it in another lesson, but we're gonna go ahead and just touch upon it real quick because we're gonna be using this a bunch probably gonna grab our circular marquee tool and we're gonna go feathering. And let's feather it too. Let's say 200 and you're gonna have to adjust the size to know what size you need based on you know, the size of your overall image. And then also, what is your resolution? So this is at 300 dp I So it needs to be pretty good, pretty large size. So we're gonna go ahead and hit command shift I or you could go to select and go toe in verse and we're gonna get the paint bucket by headed G hit X to swap the colors Now that we have black and we're gonna paint So come indeed Now we have a nice little vignette You can bring the A pass ity down the vignette so that it's more subtle Very simple effect Use it all the time Another thing you can do with a vignette is you came Put a color overlay you can put on normal when you use black and then just bring down the intensity, or you can just totally control your color completely from here, giving more of a bluish black instead of black. And this will give you I like having color in my shadows because that's more natural, so they haven't. We've covered vignettes, glows and layer styles and masks. All these things are awesome, and you're use them often. So you know, definitely try him out. Keep playing with them and you'll learn a lot. So one more quick thing is I want to talk about layer styles on an image. We talked about this briefly in the logos, but you can use this to help a lot in a lot of other ways within your image. So, for instance, in this high level clearance, you can see I use the drop shadow a lot. That's how I created this dis effect, and all I did was just at a drop shadow. And then I some of them I add blue. Some of them I don't like I said, I like it to have blue it. It just cause it's a little more natural so you can put a little blue in there right now. Um, but you came. Go over here and you can control the size and all that stuff. And, you know, depending on how close an object is to where the shadows falling is how sharp the shadow should be. So you don't want, you know, giant Norma's shadow. If your papers like right on each other, so all of these will do some really cool stuff to your overall style and image, so we'll just go through these really quickly. So if I added a bevel, you can see how different that looks on. And actually, I think that's pretty cool. And we can bring the depth down. And now it really adds a little extra something. You know, um, seeking. Use all these on here. Stroke is not good one for this one because of the mask and the dirty sort of outline. Because what stroke does is try to perfectly trace the outline of your image, Um, in her shadow. So a lot of the inner shadow and outer shadow glows. Those things are gonna make it obvious that, you know your image is not the shape that it should be. So even the color overlay we say we wanted like, you know this picture to look like a pussy. Pia. So quick way you could do that is just one color overlay. Go to, um, color or Hue. See which one looks better. I like color better. You can just bring it down just a little bit, and then you start to get like, a very C p a tone to the overall image. Another thing you can do is I use Grady INTs on images like this a lot. So if you just drag over here, you can drag ingredient around. Let's turn this off and we'll turn ingredient on to multiply. And so now you can see it's just adding, you know, a bit of kind of mawr interest into this image, and then we can go and kick back on our color overlay. And now we have this very interesting greedy in another cool thing you can do with the Grady. An overlay is you can actually create a vignette effect with the radiant overlay. What you do is you change the style to radio, and now we have a circle, right, and I'll just drag it up here and will change the scale down right now the scales very large. So you can see we've got this black circle and then we're just gonna go to reverse. And now, as I increase the scale, you can start to see that we've got a nice Grady in. So that looks very sort of sepia look of raw. And then obviously the drop shadow. So these are all things that are super useful to to bring an extra sort of level of detail and awesomeness to your dynamic cover designs. So that is it for this lesson and for your homework for this lesson, this is gonna be the the homework to beat the all home marks. I want you to pick either your illustrated or your photo designed cover, and I want you to finish it. I want you to take it to as finished a level as you possibly can. You know something along the lines of this cover or the other covers you've seen me do. And I want you to just work on it like do the best you can. If you're already a good graphic designer than you should be able to do pretty good cover design. If you're, you know, just learning. Don't beat yourself up. Do just the best that you can. So I want you to use everything you've learned in the logo design lesson in this lesson to create your finished book cover. And I wanted to be super awesome. Remember, you can use lips, um dot com to find text to fill in your near synopsis and things like that. Some filler text, Good luck, and I will see you in the next class. 13. Killer Images L3C1: Hi, I'm Paul Purnell. Welcome to making killer images in Photoshopped. A guide to creating posters, book covers and logos. This is Lesson three. Let's make a movie poster part one. So in this class class number one, we're going to just talk about it's our introduction to making a poster. What does that look like? What are we gonna do? How are we going to do it? And I'm gonna tell you a bit about the poster will be making So first off, when you're making a poster, you want to know your audience. So, for instance, the poster that we're going to create is targeted towards SciFi lovers and people who really enjoy, you know, fun science fictions and in sitcoms and those kind of people. So when we create our poster, we want to intrigue those sort of people. So when you're creating a poster specifically posters your usually trying to sell something , whether it's a band like come check out this band or even like this, you know, posters like hey, come check out our church service. It's gonna be sweet, you know, or here's ah, you know, for a game, check out our game. It looks so intense and awesome. So each each of these things is promoting whatever it is that you're selling, you want toe tell a story. You want it to be interesting. Even, you know, this Saturday night hip hop thing like it's gotta tell something and make people think, like, wow, I'd like to be a part of that. I'd like to see that. So when we're doing those kinds of things, we wanna make sure we're thinking the end in mind which is getting people, for instance, to the movie Theatre. We want them toe. Want to see our movie that we're creating the poster for? So make it intriguing, Make it interesting. Make it hit your target. So for what we're gonna be doing, we're creating a poster for the film in a year. Projects first movie called Harker The Awakening. So this movie is about a popular high school student named Tim Harker who finds a meteorite , and it ends up infecting him with an alien weapon, which gives him strange abilities. So we must overcome acne, peer pressure, government conspiracies and aliens. He wants to make it out of high school alive. So all of those things are things we want to portray in the the image of our poster. Um, so first off, it will be for film of the year dot com. So as we're creating it, we're gonna want to brand it and basically going forward, we're gonna be just going step by step. I'm gonna show you the sketches that I created. We're gonna pick one. We're gonna work on it and work it until we get what we're looking for. We're going to go through, you know, several stages from creating a mocked up poster out of found pictures and some pictures that I'll provide. And then once we've created that will take it to the next level and will start taking our own pictures will create our final poster will work on different text treatments. Well, finish the poster with vignette ing and particles. So these are all things that we're gonna talk about real quick. I'm gonna give you a rundown of what you have, so you'll have a folder that says poster maca, and in it they'll be several different images. So this, for instance, is the image I used to create are alien, and so you You'll just cut him out when the time comes. And then these air a couple of images that I used for our temporary Tim. Um, you know, we have a temporary word block. We have some different media rights that all look pretty interesting. We'll have a bunch of these images of mounds and dirt cause there's gonna be like a dirt mound involved in the crater. I've got this really weird smoke image in the water tower. So we have similar stuff for the final poster in the final poster, we have alien head helmet that I created. We have the alien PSD with all of the armor and lighting and stuff, and you can use this. Um I also included this three D model that I created this alien helmet out of eso. You can play with it. It should open and Photoshopped. But I used after effects. We've got a cloud background. We've got the text block again, but this time it's a PSD, so you can actually edit it. We've got these flares that I created using optical flares in after effects. You'll have this file that I've created the text in. And you also have this finished PSD of the actual poster so you can go through it. Um, you have these different Parker's, which is Tim's name. Uh, that's that's all created as well. These lights, which I put on his arm to show, like, sort of the crystal growing through his arm. You have these PSD, uh, j pegs smaller J pegs that you can look at. You have these meteorite pieces. So this is cracks that I used in after effects to warp around the sphere. You're have the finished work sort of spear looking thing that you'll use over your meteorite. And you have this meteorite rock that I already created and you guys can do all of the same stuff created. Find it. Whatever. You don't have to use what I've created. I've just given you the pieces that I've used. So here you've got the seam images from the mounds from the 1st 1 I ended up using here's image of particles that you can use. We have smoke. And then I also included some high resolution images of myself. Is Tim, which is what I ended up using? Um, and some of these are CR two files which are raw and you'll be able to use those in photo shop. And then once again, we've got the water tower. So these are all the pieces that you're gonna use to create your poster and follow along with me. And at the same time, you're also going to design your own poster and work on that. That will be your homework. Is bringing your own poster to life as well. So I hope you're super excited about this. In the next three lessons, we will be taking this from the beginning process all the way to the end. Also, this process works for any kind of image that you want to create. Learning these principles, you'll be able to apply them to anything that you want to create. Whether it's a DVD, cover a book, cover your posters T shirts. It's all the same principles. So by this point, you should have learned a ton of principles from everything that we've covered. So it's gonna be a really cool journey. Yo, you'll learn a lot, I'm sure, and let's get to it 14. Killer Images L3C2: Hey, guys, it's Paul Purnell here. Welcome to making killer images in photo shop. This is less in three make. Let's make a poster part one in class to sketching, refining, finalizing the process of making a poster. So by now, you've pretty much got a sense I would imagine of the process of making a poster or anything. It's pretty much the same process you concept you create thumbnails. You create a variety than you narrow down that variety. You show it to your your client or your team, you get feedback. You take it back to the drawing board and you refine it. So here, I'm gonna show you a few examples of that process. You know, as you know, we're gonna be working on a film poster. And there's a few different things that are normally included in a film film poster that will talk about as well. First up, I'm going to show you this poster from, um, it's actually a iPhone game poster that I did. I really enjoyed drawing this. I tried toe, you know, really put a sense of dynamic action within it. This one here is my favorite, but the one that the client liked, I'm pretty sure was more like this one. I think overall, it's a very interesting design, and it was pretty fun drawing. You know, this skeleton looking character, these are are higher sort of quality thumbnails. Then you know, all of the thumbnails I would draw, But it was mostly just cause I was doing this job really quickly, and I wanted to try and get to a finished point as quick as possible. So I had already generated several smaller sketches that I don't have scanned. And then once I had some ideas that I really liked. I went ahead and drew these, which I thought that they all turned out really cool and interesting. So here is the final design you can see. It's very similar to this corner. One number three. This is the one that he ended up liking. But I think he liked the ghosts better in this last one over here. So that's just another example of how, um, your client might pick and choose from pieces of your drawings, which is it's pretty fun, you know, like, Oh, I really like these ghosts Can have these goes. Sure, no problem. Here you go. So I thought that these were all pretty fun, and I based on the character design off of the drawings in pixel art that they had sent me . So I'm not gonna really go into too much depth about how I did all this. It's very similar to what I already showed you with the illustration. Book cover. Uh, so I had the lines that I drew, and then I put that layer on a multiply setting. Well, there's a few different ways you could go about it after you have your lines. If you've cut out your lines, then you can use those as sort of creating your outline. And then you can, um, select everything that's not inside of your lines and then create, You know, the selection that you'll use to paint your colors in. So then I would paint a color for each section, like his clothing in his scarf, in the inside of his thing, here in his bones, what they would be. That's pretty much that. And so I did the same with ghosts. And then I put all of their layers in one group, and they put that group on overlay. And then I think I did another group on screen. So you get this, like, sort of glowing see through kind of look, So that's that. Now we're gonna move on to a movie poster concept that I've done. So here, you can see I've just been sketching these designs, trying to figure out what direction I wanted to go in. This story was about three superheroes that were just kind of happened upon superpowers, and they are all sort of misfits. So I wanted to portray that within the poster, so these, you can see, have gotten a little bit higher in in size and quality. So we ended up really liking this last one here. So this is the one I ended up going with. And then here, you can see is the final poster. Now, on a poster, you might have to have a lot of different information. So, like, down here at the bottom, we have, you know, all the writer director sound. All that information sort of stuff is down here. Also, we have the title and then you know who is producing the film so myself and a friend of ours was producing the film and then this is just an illustration I did, I painted it and I added some different textures and stuff to make it a little bit more realistic on then. This is actually a picture of my car at the time. And then I drew some lines over it kind of follow the same feel. And then this is a picture in the background of Auckland, which is where we were living in New Zealand at the time. So there you have it. It's pretty simple stuff. The same stuff we've been doing already. Um, you know, So from this point forward, we're gonna be working on our poster and for Harker the awakening. So as I've been talking about the setting and everything with you in the last class, I went ahead and I drew myself some designs, some different ideas. So here you can see some very different ideas. I can even show you some concept work that I've done already for this. So here you can see, I put together some quick pass concept art. You know, we got the football field with Meteors crashing. Got the alien coming through the woods, sort of using telekinesis to break things. We've got Tim finding the media, right. And then here's some ideas for what the infection might look like under skin. I didn't create us. Um, and here we've got, uh, you know, some sketches of what the aliens look like when they're kind of hiding in the darkness with their eyes coming on. This is a quick design of the inside of the alien ship What it might look like, uh, and then on top of that, I have done some concept painting. I found a biker online, and I wouldn't had painted armor on him kind of detail. Touch them up to make him look like what my alien might look like. So the idea is that the aliens, because this is a micro budget film, we can produce this outfit, so the outfit would be relatively inexpensive. So then in his eyes, who have these light up ladies that will come on to make him look very fierce? And then, potentially, we might have some really cool sort of light up sections in his armor when he was using his powers. So these air the different looks. Um, probably this is gonna be what will go with? And I went ahead and started thumbnail announcing different ideas. So here we've got several different ideas of the thumbnails. You know, high school, maybe meteorite Got two agents finding the media empty, which could be really cool. They were, like, all silhouetted. We've got the meteorite tens hand and itself painted, which is sort of mysterious. And the purpose of this is obviously to get people interested in the project. So here we've got the alien silhouetted in the foreground. Scousers, Silver Scout or floating. And here we have sort of a silhouette. The alien inside profile and Tim and Devin kind of in the image would be sort of a collage and a silhouette of Egypt before ground, which I thought that was kind of neat. And I like this one to the awakening. This would be a picture of Devin's room with all his aliens are among us pictures. And then Tim would be celebrated in the foreground. On his hand would be writing, which I thought that was pretty interesting. Ideas. Well, so all of these, I pretty much like, you know, this would be a silhouette of a 1,000,000,000 then meteorite Tim are kind of superimposed inside of the silhouette of helium. So be like a top down shot landing site with fire on. This is the alien helmet with reflection of Tim and his friends in Advisor, which I think that's a pretty neat when I might use that with covered. And so here you go. Are the two contenders These are the ones that I think are easiest to make on. And that worked really well still. So I'm gonna pick this one, and that's what this whole class, that's what the next two lessons are going to be about is us working together to put this poster together, the bottom where the squiggles are. That's just my like, sort of symbolism for the text that's gonna be necessary at the bottom of the image. I'll probably have this sort of have a vignette. I kind of feel I want the poster overall to be very dark, sort of mysterious feeling and probably white text on the bottom down here. And obviously this is the meteorite with crystals inside the area, Tim. So we'll be working on this poster from this point forward, and you guys as well are gonna be making your version of the poster. What I want you to do your homework is to create 10 poster designs sketches just like I've done here. I've created 12. So just create 10 different designs. They don't have to be a detailed is this, um so remember, don't forget about the text placement. Don't forget about potentially the words that you're gonna need to add on the bottom and different things like that. Maybe, you know, Paul Cornell movie Paul Thomas Parnell movie. And remember to keep your sketches as diverse as possible. That way you'll be able to really have several different ideas to choose from. And what's gonna happen is we'll be working on one version of the poster together, and then you'll be creating your own version of the poster as well. So in the end, you have a unique take on the poster that we're creating. So that's your homework, and I will see you in the next class 15. Killer Images L3C3: Hey, guys, it's Paul pronoun here. Welcome back to making killer images in Photoshopped. This is less than three. Let's make a poster part one, Class three, quickly finding all the elements we need. So if you are not a photographer and you don't have all these photos and everything ready already, Um and you're not going to illustrate your image, what do you do? Well, you go to Google. Google is our best friend. But there's a few different things to keep in mind when we're looking for things on Google . The first is if you use an image from Google and you can recognize that image in your in your work, then you have a problem. So we're gonna go ahead and search something. We'll check out meteor would be crash site. So we get some interesting video gets, um, cool pictures. So when we're looking at A D's, obviously none of these air gonna work for our poster. But they're cool anyway. So remember that if you can see um, the image and easily recognize it, then that means a few posted online. Somebody else can recognize it. And that means that that's a no no, because somebody probably owns the copyright to that. Now, if you get images from a friend or from places that you know the copyright is gonna be fine , then that's no problem. But just searching randomly on Google I definitely would not use those images in your final product, but I definitely would use those to create mock ups because that's not a problem at all. So we're gonna do some searching and stuff and then do a photo bash in the next class. So for now, we're just going to start gathering some materials. Also, if you can't find what you're looking for, or if you want to make use what you're finding in your final image, you can always request the copyright or to be able to use it. You can search for copyright free images, which if you go under images and you go over search tools and you go to search tools, you can see the rights to use it, and so you can just pick whichever one you want so labeled for noncommercial reuse or non commercially reused with modification. Those have worked well for what we're doing, um or just, you know, labeled for re use with modification. That means that we can use those images and it's not a problem. Actually, this is a pretty good image. I think I might have even used that in a different work a long time ago. So that's one way that you can find it. The other way is to go to stock photos, websites the other ways to go to stock photo websites. So the other way to get around that is to go to stock photo websites. Now these websites will charge you. But you know, if you're working for a client, especially, then you just tack that fee onto the clients. The costs of the client. So you can see there's several different interesting images like this might look pretty cool for our actual meteorite. Maybe, um, we got some other cool images. Actually, this gives me a good idea of how to create it as well. Um, which I will do so shutter stock is a good one. Pawn five is another one. There's several. Here's some free digital photos that's always nice. So, you know, just searched the web, find what you need and use it. Make sure you're always within you know good moral. Find what you need and use it as long as it's copyright free. And if not, get things that are Take your own photos, so we'll talk more about that. So now I'm gonna go ahead and find a bunch of stuff. Four are for our poster, and you can just kind of watch my searching process, which, you know, all speed it up. So a lot of this is really just typing in what you think you might need. Ah, lot of trouble shooting and a lot of scrolling. So I try to find Meteors I tried to find here. I'm looking at different meteorites, and I really like this texture. So I decided I'm gonna keep that texture. Then I found these really interesting looking ones. I don't know what's up with them, but they have, like, sort of glass inside that look really interesting. So then I start looking for meteorite crash sites, and I find a few pictures that I thought were interesting looking and when I had and saved them. It's not always easy to find exactly what you're looking for. That's why obviously, if you could take pictures, then that's gonna be the easiest way for you to get all of the assets that you need. But if you can't take pictures, then you can definitely find stuff on the Internet. It just takes a good bit of time. So I try to find a path of destruction that I went for, kind of how the media right sort of slides through the dirt trees and stuff. But I didn't really find anything on that. So that search pretty much came up useless. And I also tried searching for sort of, like a tornado path of destruction in the woods and that also got me pretty much nothing useful. Um, so then I started searching for high school cool, high school kids to see if I could find something that will kind of fit in with what I was looking for. Um, and I didn't really find anything that jumped out of me. That was, like, really need. So I tried with powers. Maybe somebody else had already created a picture that I could use. Then I decided I would go ahead and look for somebody who I knew already kind of fit what I was looking for, which is which is Peter Parker from the new Spider Man. So I just pulled up, you know, amazing Spiderman. Peter Parker and I started looking for images, and pretty quickly I found some that, you know, I thought were pretty usable, and I would have had to look and see if there was anything else, but nothing else really came up. And so then I started searching for stuff toe help, the alien. And pretty much, uh, I found some cool images of helmets. If I wanted to do sort of a bigger helmet in the background, then one of these might work, but I didn't. I couldn't find anything that was even close to what I was hoping for. So here I am, just looking for some fog and some smoke. Just add some different elements in and then also the water tower for the background, which that one is pretty much perfect, you see, in the background there. And so then I just glands through to see what pictures I've got, What else I might need. I thought it might be cool to have a split open rock, and I think I found couple of cool pictures this way, but Um, not much. So here I found a few, but like I said, there were There wasn't much coming from that way, but I have a pretty good idea of how I can handle that. And then with the dirt mounds, I was just looking for something to put on the rock on. But then I also found this one, and I thought that would be good for the trail of where the media has come from. So pretty much that's it. And once I have got those, I went ahead and started organizing. So let's get to it. So I went ahead and saved everything into one file. And once I collected everything, then now I'm gonna go ahead and organized and name things appropriately. Put things in folders. Teoh, help me know what I'm using them for. So this is pretty simple part of the process. By doing this, you can save a lot of time later because you'll know exactly where to find, You know, whatever pieces you're looking for, based on what it is that you I wanted them to be in your image. So even though some of these are nothing like what they might seeing it will still work well for what I want to do with it. Okay, so then the mound will be like all the meteorite crash site related stuff. So I found a few different things that I think, well, worked pretty well, look interesting. Quite a few. And then smoking a lot of texture or tower could leave pretty much the same. I don't I think it's too important to change those much. So now that we have things organized, I'm also going to I have already downloaded some pictures of crystals and taking some crystal pictures as well, and I'll go ahead and throw those into the mix, and I'll include this folder so that you can follow along. But that will bring me to your homework, which is I want you to find images to use for your own design, not the one that we're making together, but the one that you Drew and you came up with a completely original version. So go ahead and do that and I will see you in the next class 16. Killer Images L4C1a: Hey, guys, it's Paul Purnell here. Welcome to making killer images in Photoshop. This is less and four. Let's make a movie poster part to the in depth making of, um aka. So I thought I'd be a good idea because I want you to see every part of this process to pretty much filmed the whole thing and let you see every part in every step of the way how I go about creating the mock up and we'll do something similar with the finished poster as well. But maybe just not quite as in depth, because it's all the same principles. This is class one creating a mock up, part one using standing photos. Let's get to it. So in the last class, we went ahead and gathered all of our photos, and I also put them all together in a nice, easy to flow with kind of way. So we we did that. I hope you guys did that, too. And now we're gonna go ahead and start on our poster. So first off, I'm going to come down here, and we're just gonna do this step by step together and everything, so I'm gonna select this Okay, Uh, so one had shift em, and that would give me my rectangle selection tool. And I'm gonna just copy, command seat this section. And now we're gonna go to new, and we're gonna go ahead and figure out what size we want our poster to actually be First off, we know we want to print it. So that means we need a 300 d p. I. And I'm thinking we're gonna do two pieces of paper on top of each other, so that would be 11 by 17. So we're gonna want the height to be the 17. So it's 17 high and 11 wide, and that will be our printing size. Go ahead. Name it. This will be harker poster draft. Okay. And hit. OK. Oh, I feel like something is not gone, right? Oh, so we need We're gonna go to file new and let's go ahead and make it 11 by 17. Make sure set two inches, because if it's pixels that is ridiculously tiny, so 11 with 17 heights resolution need to be 300 since we want to print it. If you thought you may wanna print it at an even larger size, like if you wanted to double the size, you just continue to add resolution, or you can even add size. It doesn't really matter to work both ways. But the cool thing about resolution is printers can detect resolution. So when you print it, you can actually scale it within the printing process instead of, you know, having to change the width size. So here we go. We're gonna go ahead and name it the name it Harker, poster markup. And go ahead and hit. OK, now we have our post. We're gonna take command V Jumper. Well, from now on there now, we knew the thumbnail was gonna be small, so it's not a problem. And it will be probably pretty pixelated when we're done, um, to Skillet. I hit command T, and we're gonna go ahead and go over some important shortcuts. So this is a really cool cheat sheet for all the shortcuts. So I'm gonna include that, and you guys can go over that as well. Uh, so here we've got our image now filling, you know, the size of what we're going to try and put together. Okay, so I'm just gonna grab my credit block. Drop it in here and stand it to the size that I want. Cool. That looks pretty good. We're gonna go ahead and put a screen, make the black disappear, and I'm just gonna go ahead and drop another layer on. We had a Grady int two ads and dark kind of a dark spot, so I needed to actually. Okay, zoom out a little bit. Um, something that bugs me is not being ableto use my hand tool. So if you press f so normally like you can't move your your image around if it's not small or larger than the screen And so that kind of bugs me. So if you hit F, uh, it will let you move the image round. That's just a full screen taco. And if you had tab, it will hide all your menu bars and everything. So these air kind of nice if you're drawing or sketching, or you need to see a whole image, and then if you f regain, it will talk to an even more full screen with black background. So this is a good shortcut to know, and we'll go over other shortcuts here in a minute. Move it again. So, to so I'm doing is creating a black bottom, and I'm gonna set it to multiply, which makes only the black shrub. So this way, our text is gonna be on black. So that's what I'm looking for. And that's looking pretty cool. So now we're gonna start bringing in some of our different texts. Uh, now we're gonna start bringing in some of our images to go with this one. So when you just drop it into your window like this, it turns it into a smart object, which is cool, and we'll let you do some useful things. Um, So go ahead and put this in like overlay. So now we can see through it a bit. I just want it expand him until he's roughly the size of my Tim Harker image. Um, and then we're just gonna play some kind of horribly one, and they put him back to normal. You can see we've got sort of our Tim Parker dude, And this is, uh, of course, I think his name is Andrew Garfield. But he's the amazing Spider Man on. I don't own this image. I don't on his face. This is just for educational use. 17. Killer Images L4C1b: Hey, guys, it's Paul Purnell here. Welcome to making killer images in Photoshop. This is less than four. Okay, so I've come down here and I've got one ahead and put a mask on this layer, and we're going to start cutting out all the parts that we don't need. Um, so we're gonna set our brush up and make sure that we're on a hard brash. There we go. We can see it cuts through like butter. And the spacing for the reason on that brush is a little choppy instead of smooth. Someone hadn't got rid of that. So first off, we can just start painting, kind of, Ah, you know, loosely on the outline. So this is pretty much the process of everything that we're gonna do is we're gonna first bring in our images, and then we're gonna cut away pieces of them. So, um, let's go ahead and talk about key board shortcuts. So a good one, too. Well, several good ones to remember which is all of them. Shortcut to make your life faster. Which is why they called shortcuts. So first off is command t That brings up your transform, which will let you scale, shrink work, whatever you'd like to do if you hold control or you right click. You can click on this and let you do the different kinds of transforms free transforms or scale. Rotate all of these guys warp perspective. So this allows you to do a lot of different things. It's really useful you hit Enter that confirms your transformation if you hit escape cancels your transformation. So other keyboard shortcuts that are really useful is command s. Obviously, you guys should know this one which is safe. So we're going to save this bad boy. Okay, some more useful commands are l We'll grab your lasso tool, which is what we used to select things. If you hold shift L, it will turn into your polygon lasso tool. And if you hold shift and whatever tools you want, you can cycle through if they have multiple tools. So another cool I think you could do is you can hold Ault when you're using the regular lasso tool, and it will turn it into the polygon lasso school. And then if you let go, it turns back into a smooth lasso tool. So this is really cool because it allows you to get both polygon and smooth shapes all at once, so that is pretty awesome. Command D dese elects. Commit a B brings up your brush tool, which is very useful. He is your racer tool, which is just like a brush except in braces. G pulls up your paint bucket if you hold shift, so it's your paint bucket. If you will shift G, it will pull up your greeting it tool and W will bring up your one. So these air keys that will use pretty often when we're doing this kind of stuff. Also, Cube brings up the quick mask. I didn t right now painting in the quick mask que it turns into a selection so quick mask is pretty easy and nifty tool as well. Uh, like I said it, it creates a selection from whatever from your brush. So if you hit Q, it turns it into quick mask mode, and then you just select whatever you want to select, you just paint on. So then once you're done, you hit your game and it will turn into a selection so pretty simple. And I think so, if you it works the same way as a mask. So if you hit everything with actually, I think it works the opposite of the mess. Quick selection works the opposite of mask where White will make the selection, which it's sort of like painting back in the white part of the mask. And if you select everything and it's all black, um and then once you've done that, w and you have your section, so that's pretty useful tool as well not gonna use it right now. So that's your tools. Definitely. Check out the cheat sheet that I gave you and we're gonna keep working on this. I'm just going to speed up the process here and work on making this look a little nicer. So here's the biker picture that I used for the 1,000,000,000. Um, I'll include this in the package, but I don't think I've been actually used this because I keep this process moving quickly, but you can see how work and then you just go ahead and do the same thing paid him out. But I happen to already have done that. So I'm going to use the finished version. Okay, so these two guys together helps me realize my placement going kick on is his eyes, and we'll play with it. Okay, so we're halfway there. You have our Tim and our alien. We're gonna credit block, got our shadow. Um, another cool way to do. The shadow effect is we can delete it all, and we're going the layer white. Then we're going to double click on it. We'll bring up color. Uh, no, Grady it and we'll turn this on multiply now does the same effect. Except now we can control it and move around. So I like doing it this way, obviously, because it gives me a little more control. Um, it's gonna bring it kind of tight and it Okay, so even this is looking pretty interesting. Um, So now let's go ahead and start bringing in some of the other elements. So let's go in the ground, grab our ground images will drop him in here. So I didn't see how big each one is and what we're going to use. It's good. We select all of them with a shift and clicking. That'll select command. He will make a group, and we're going name this mountain. I like this dirt picture. So let's grab this one. This one on top, that's gonna be too small to use. We're not really gonna need the crater. I don't fault. Let's see what else do that. They're still Yeah, these were all really small. So let's go ahead and work with the biggest ones first. Because give us the most detail. Um, so you have V that gives you your selection tool. I'm going to drag this down a bit. Um, it really is a nice size. Get this down here, make the other one invisible at a mask, a mask button, and are brush would be. And we'll paint out this top section, so we obviously don't need the sky because we want this to be like Little Hill. So for the final piece, using a hill or something like this, you're gonna want to make sure looks, you know, really nice using even some random ization and your brush and stuff will add to the realism because nothing really looks this smooth up close. So we have a cool kind of ground spot in front of him on. I want to use this, actually, to create kind of that, um that look of like, something has kind of pushed its way up here, which I think will work out quite messy. Cut the top of this off the same way. So go ahead and hit the mask, race all the parts we don't need. And now we're gonna do a little compositing. So what we'll do is we'll switch over to a soft brush and increase the size quite a lot. Change the capacity down to very low. I want to start race away edges. It's a little bit more so you can see we're getting this nice sort of fade in instead of such a hard edge. Now we can move this down here. You continue to fade it in. You can sort of see what we're going for. That's quite nice, I think. Spin this. So I just clicked Rast Arise layer because some of the effects that I want to do it work with with the smart object, it's a command t. Then we're gonna warp it and remember work from before. So we're just gonna bring this out. We're just really gonna exaggerate. Yeah, the effect that it's something has been dragged through here. So that I'm just expanding this out a bit and I went to I wanted to seem like it's kind of deep just dragging it down there. I think that looks pretty, really getting our point across. I might actually use these images in the final. They work so well. Obviously not these image. Okay, so it's going to clean up all the ones we're not using. Just a moment of trash home. So we'll leave that for now. And let's start working on Meteor so we'll probably need several layers to create this effect. Full cool textures and stuff that we can use. Okay, So go ahead and select all of our Meteors and drag him into a meteor later folder on Let's Start with sort of little rock looking dude and we'll just drag him down. Did you throw this layer on multiply? Can't throw this there just to Okay, so let's go ahead and we're gonna rast arise this layer. And with the selection selected, having it also acted, we're gonna go ahead and hit a mask Group's gonna hitch command shift. I or you could go to select menu, go to inverse inverse in our selection, and now We're in a mask. And now we've got a cool mats are Okay, So I just wanted to see if this rock how it would fit. We used it as our your. 18. Killer Images L4C2: Hey, guys, it's Paul piano here. Welcome to making killer images in photo shop. This is a lesson four. Let's make a movie poster Part two. And this lesson were specifically covering, creating an in depth making of a mock up. So we're gonna go ahead and get to class number two. This is making a mock up part two and let's get back to it. And with the selection selected, having it also acted, we're gonna go ahead and hit a mask. Oops. Hitch command shift. I or you could go to select menu goto inverse inverse in our selection. And now we're in a mask. And now we've got a cool mats are Okay, so I just wanted to see if this rock how it would fit. We used it as our your It's not my favorite ever, but it does look pretty cool. So let us go ahead and look at our other option on. We'll see which one of these seems to be better of the two. This crazy, muddy cracking thing definitely looks interesting. We can still in here be got my mask clear. We'll just tighten this up a bit and bring me a pass it down a bit so we can sort of see the placement of different elements that were playing with. That's very similar to how I had it in my drawing. Um, 10 was a little bit smaller. Alien. It's pretty right on if I had a looking off a bit more instead of straight at the camera, but I think that that works. Okay, so let's go ahead and go back to the mound, and I'm gonna actually bringing one of craters. So I think that we could use a crater to creative edge. Just select around it with the lasso tool. Okay, so I'm gonna grab your folder. And what's cool about masks is you can even add a mask to a whole folder. Something that Adam asked to the whole group folder. So you want to get really fancy? Um, you can go in and maybe distort this edge here so that it bows more and really kind of follows the looking. Look up the impressions here. Um, I'm not too worried about that. So just tossing some multiply. Let's go ahead and start dropping some stuff in for our back ground. So we're gonna grab our water tower. Drop that back. We're out here. It's fairly nine size on. So they used the one tool to select the sky, and I'll use the mask button to crop out everything in the sky because we don't need the sky. And then I just dragged the layer to the bottom of the list above the background, but behind everything else. And I used the select told V two Dragon into the position that I want, and now you can see it looks pretty good there. Another thing I do is I just go ahead and remove the lock on the background. No, I can start to adjust the background leader. NASA just dragging the smoke so I can start adding interesting smoke elements. Um and then we'll just drag them around into the right position. Now I'm gonna use the mask tour gin, this time on a soft edge, pretty large brush to just soften the edges of this smoke element. We'll bring it down to like, 30% and just especially want to get rid of this hard edge because, you know, it just doesn't look real at all. Same thing here, we just want to get rid of this hard edge. This mark element actually has, like, a weird face Goto which I think is kind of nifty. And so we can just I dropped a smoke element ID and they're more Bookman Ault drag to him. I just randomize it, turn it around a bit, start out of hand Some of this interesting smoke between our hero, Very dude. And we can go ahead. Select all of it, G We'll name this layer smoke. What's up this screen? We'll bring capacity down a bit. We just wanted to just really start bringing in some more color overlay press. It's a great yet, and we want our Grady into reverse. Everyone darkest in the top. So now you start dark sky, um, instead of white. But feed it. I like dark color and black. Let's make it a very dark, just a little more color. Um, that's that's it's kind of cool. Maybe I'll go darker. Keep making it darker. Okay, so you might be going like that. Doesn't look like it fits at all. And if you're saying that good, your eyes are working. So now that we have our elements in there is the process of color correction, which we've got to go layer by layer and make them look like each other. Um, there's lots of different ways to do this. I like to use the curves to do the color correction. It lets you change the color based on this line. And the more you pull the line in certain directions, the more bright or dark it is. Here. You can see I'm adjusting the lightness. So first, we've got to figure out what layers we want effect with this. So let's go ahead and start with the mound and what we're gonna do is select our mound. Okay, so we're gonna go ahead and create a mask for our curves adjustment. This way, it'll only affect what we wanted to. So this curves. I want to affect the mound. So we're gonna go ahead and grab your mask on commune shift I so that we're selecting everything that's not G then hate in now, we're only affecting just the mound layer. So remember, I want the mound to be almost black in this one part so that all of our text will be quite visible. So that's just our overlay layer So this is starting to look pretty cool, I think. Okay, so let's go ahead and start affecting our layer. And first off, let's start by just in the color spring that reds down a little imagining this is sort of a night scene. So we're gonna want less reds in. The highlights to the moon is usually reflects more of like a bluish color. Um, white. And we want less read my shadows because there's no red sunlight. Do this more bluish greenish you. I like blues better than greens, so I'm just gonna bring the green stand a bit as well. Cool. I am liking the look of that. You can see how it looks with text block. Um, not a big fan of our text block, but it does the job for now. Okay, so next let's tackle the water tower just because it's all the way back here. So all I've done is I created a new layer are new group, and I've dragged my mask that I created for this onto the group. And now anything I put in this folder will be subject to that mask. So can you guess what I'm gonna do? next. Now I'm gonna go ahead and create another curves layer. Only this curves will only affect just that layer. So I'm gonna bring the overall brightness down a lot. That's supposed to be nighttime. So even our highlights shouldn't be very hot. Do you want to show up a little bit? I might put some stop stars or something in the sky a little bit more in their anything Let's do is grab layer. Go ahead. Flying this edge a little bit. I wanted to. So this is our edge. So what I'm wanting to do is get rid of this little lying here. Remember, command, each hides your selection, but it's still that so. See how this has, like, a little fringe of highlight. That's what I want to get rid of. Um, there's a couple ways to do this on the way I'm thinking is just pick me and shift. I. So now beat outside areas are selected and now we're gonna expand by going modify span. Let's expanded by two pixels and then we'll go ahead doing excellent. Yes. Okay, so it's not perfect, but it's pretty good. Good enough. Remember, this is just the mock up. It doesn't have to be like your Indal Beetle. Best cover design ever or poster. Okay, so it looks like here. We've got a bit of a edge. So I'm just gonna race this edge here. A mask tool once that's done. Look better. Cool. So I think that this is looking pretty cool now. Obviously, our Tim characters way too bright, but overall, it's it's coming along. So let's check out our poster design. Let's bring up positive kidding. So we're coming coming along. 19. Killer Images L4C3: Hey, guys, it's Paul pronoun here. Welcome to making killer images in Photoshopped. This is less than four. Let's make a movie poster. Part two, this is Class number three. End up making of a mock up part three. So let's get to it, guys. Because the aliens painted, I'm gonna want to control his lighting a bit more. You can see just bring in ingredient overlay. And I'm just dragging it around. Okay, That looks pretty good. So work on him more in a little bit. Um, because I almost wanted to be pitch black like he's supposed to just give you kind of a end of scariness. Okay, So good. Moved, Uh, smoke around a little bit. My one smoke were out just because I want to have a bit more deaths by very in the amount of transparency, create death Cool. That is looking pretty cool. Let's go ahead and start tackling our Tim character. So first off, I want to finish off hiss a mask. Since you could see in here, there's a lot of extra white. Okay, so we're just doing this that way. When we color correct, Tim, we won't Enough car correcting other layers. So select Tim, we're gonna hit control, G make a Tim folder. We're gonna grab Tim's a mask. We're gonna drop it on the folder just like we did before. Curves. We're gonna drop it in here and now we're just gonna affect Tim. First off, let's defector Redd's bring them down a bit. Mid breads definitely shadow reds down. It's already That's looking a bit better now. This is definitely not the best picture as faras lighting goes because it's so bright in the highlights, it's gonna be very difficult to make it look like, you know, that's definitely shot at night. Um, so just keep that in mind. So I don't want blacks that you super crushed. I want to be able to see him some. You can do a lot with this. Thank you, Mrs. Looking better. Okay. And let's go ahead and mess with the colors a bit more. So it's pulled down the greens. There's a lot of green going on here, going back. Okay, so that's looking pretty cool. Um, you know, obviously when we take our own pictures, it will look better, but this is definitely getting it. So now we're going to start adding some overlay effects using layer styles. And one of my favorite says You guys notice the Grady it overly? Yes, it works better on this side of the screen. Um, So multiply. And I'm gonna start Yes, in scale. Drop back a bit. Actually, it's like Christy Moore elapsed time. What's going on? Um, he wanted to. You could even add some color. And this is sort of a need effect, too. We're definitely nothing do this, but it's kind of interesting. You could even go toe overlay, uh, screen software. They have a little bit of a different back. It almost looks like a street light. Maybe a shining on him. Now, I just have interesting. So bring us little card back into cheats. Okay, So nothing we could do if we wanted outer glow. And this is a good effect to separate layers. Um, so obviously we wouldn't want this strong. Just bring it back, maybe change the color and bring me a possible. It's just tempting just a little. So as you can see, we're definitely getting there, getting an interesting look for sure. So let's move on to I want to start working on your now, we have a lot of cool stuff in New York. Um, I think that this is really neat. So that's going to try using this or something? Not really sure what? Just yet. But you didn't have to try, so give it a vast, but him. You guys should be experts. By the time we're done, we're gonna select are tour black, point out everything. I have a soft brush. It's fine. Just don't get too close. We have pretty good. I just want to make sure that got a good So So the masks always gonna be as big as your, uh, composition. Not just file that your working on? Okay, so it's going to spot this hard brush, so I'm just going to use the mask in the paintbrush to paint out all the extra bits. So we just have the cool looking part, and then I'm just re sizing it, and I'm using a little warp to shape it around the rock to give it the same sort of curve. Uh, so we could do a few things you're now one of Let's try. This is a duplicate, our rock layer tossing on top grabber Brush back for mass. Clear. I want to rough. I tried this one. So no crews are spacing. What? Two on angle? Jitter. So I just want this to be really random, and that way, that's where it is sitting out. This will really kind of look like it's going. That's especially down in these crevices. We keep the crevice. We didn't really get kind of like, Oh, that was inside of there. So next I'm gonna go ahead and add a drop shadow on You can see. I believe that that will help Selvi effect. They were really inside of this thing. Yeah, I love it when things come together, just like man, that's even better than I could have hoped. Okay, so now I want to create some light from this particular. So I think what we can do is going to duplicate this layer, and I'm going to merge it. So cloned, selecting layer. I don't really need this mask and more a mask. And I don't want to do ISS its first gravel there Just select proves on this way. We're just affecting that one layer, Jim, and we're gonna boost the kind of brightness and bring back the dark stairway. Go see, We get very interesting work. Um, so this is a good idea, but I don't want so let's also go ahead this so j duplicate. Grab this mask layer and drag it onto, um, our curves layer. And now we're gonna Okay, so command click. And then it will give us our mask layer, and then we won't actually invert that. And we're gonna go in, delete this layer as well. We're gonna make a new mask clear that will only give us inside of here, and then we'll go and select outside. Um, Anyway, we're going. Just try painting white spots. Cool. So now we have a craft, and we're just controlling the lightness and brightness of this crack. So first off, increase the blues. I want to create some hot spots coming from this part of the media. Or let's duplicate this layer on this one. We're gonna go ahead and hit Ault Command And what that will select it in a command shift. I and then we're gonna do eat this mask, the meat and incredibly mask. And that way, Now, we're just controlling just everything that isn't the crack. So everything that isn't the crack I want to be very dark. Uh, right. Okay. So make sure your mask isn't selecting outside of your rock and hit command D Now, now we have just the rock itself again, and Oh, right, my question. This working. Okay, so now we have the rock itself, and we're just gonna bring it Weighed down. Here we go. So now we're cooking with gas. Okay, so we just really want the hottest hot spots and I'm gonna grab this layer We're gonna color overlay when you change the color to color, change it to grew. Yeah, so I go with you on. So now that we have this going duplicate this layer and now we just have just this black layer. So now we're gonna use some filters. You guys remember it? Filters are hope, and we're going to do radio Blair. Now we're gonna bring the radio down, turn it to zoom way up on. Okay, there we go. So we'll go ahead and head filter. Do it again. Do it again was probably better way. I just haven't found it yet. Um, now we put these both I just duplicated it from both in the new layer on screen. Okay. We just need to keep duplicating. Okay, so it's grab more be just labor coming out of and we've got a nice little light street, actually. Coming right out of the crack. It's going to put these all in a grateful car light. Give it a mask. Um, the name. We're just gonna paint around the crack area. They don't want it to bleed over. I wanted to see my kids coming out of there. Were you some other techniques as well to create the light, but this is a good starting point. Okay, so then I just took the other layer. We are created, and I said it to screen. Let's try school. Another thing I wanna do is it's going to grab our drop shadow and remember how to separate . We're gonna go separate layer. We have a whole layer are drop shadow and good. If you want, you can create a mass for this. I'm just gonna raise it, do the same thing on this layer because we actually Oops. Um, this layer has a drop shadow kind of built into it as well. From combined. It Okay, remember, this is not our final poster, so it doesn't need to be absolutely perfect, but this is definitely getting us where I think we want to go. Just great. So I would have done credit mask here, and I just want to put my brush on his wrist. It doesn't matter. So I'm switching back and forth between using tablet using a mouse. Just his Just because a mouse can do some things a little bit faster, so I'm just creating a little bit of rim light at some separation. So this is pretty doing good for our quick pass. Um, now, you guys can keep working on this if you want, but I'm gonna go ahead and call it good enough for the mock up. This would definitely be good enough to send to a client and say, this is what imagining you know. And now let's take it to the next step. Higher photographer. Let's go out, Take the photos, get the get the best elements that we can because your posters always going to be, You know better if you get better elements for it. So for your homework for this class, I want you to put together your draft version of your poster. Hopefully, you've been following along with this as well. But now it's time to create your poster, whichever designed that you created, that you liked that you're bringing into a more finished version. 20. Killer Images L5C1: this is less in five. Let's make a movie poster. Part three. This is class One taking pictures and tips for creating your own photo elements. So first off, you know, thanks for watching so far. And I'm really excited for this class because now we're going to start creating our final poster. So first off, let's just talk about photos for a moment. I'm gonna go ahead and open up a photo, a folder where I've already taken some sweet photos. So I went ahead and I took several photos. And you can see that this has really cool lighting and different stuff going on. So we're just gonna talk about all of that really quickly. So first off, when you're taking your own photo elements, if you have a character and you're gonna try and compliment into a certain scene, you want to make sure that you match her lighting. So if I had like if I was trying to calm this picture of this guy right into a scene and I didn't I had the light coming from this direction over to the left. Then he's going to stick out like a sore thumb because there's this hot highlight on is his backside. Also, it's pretty dark image of Raul. And so if he was in a really bright background, it's gonna look very strange. So these air things to keep in mind, Um, you know, if you aren't very good at taking photos. Obviously, practice helps a lot. If you study like even painting fundamentals and composition, that will really help you take good photos as faras composition wise. But definitely, you know, look into classes and that sort of thing. So, like I was saying in the last class, the best photos you can get are going to make much better final posters and stuff. So the better images, the better the final product. Don't take pictures and direct sunlight if you can help it. That's called a strong light source, and it's usually not very flattering unless you're going for that look. Specifically, even in our picture, I just chose a random picture of this guy into Garfield, and he was in direct sunlight. It's very harsh shadows, and it doesn't look the best, but because I was just using it for mock up, it worked fine. So remember, Diffusion is your friend. What is diffusion that's bouncing light or passing light through something to make it softer. A good example of this would be through a sheet or through paper. If you want toe, put your light through diffuser, which is actually something that you buy to put over photo lights. Um, and if you are not a photographer yourself in your graphic artists, but you want to work with photo elements, become friends with photographers or go to stock websites. All of these air good options When you're taking your own pictures, remember that on camera flash is almost never flattering. So whenever you can possibly not use an on camera flash, don't use it. Definitely bring lights. Use the lights in the room. Use sunlight, but on camera flash, because it it takes a picture straight on. It's gonna always give you a very flat image and not very flattering. Um, okay, so the next thing we're gonna look at is some of the pictures from from the high level clearance book covered that I created, and I took a lot of my own pictures for this. And so taking pictures of your own stuff is does not have to be super complicated. Um, I'm just gonna start turning off some of our layers here. So even like this barcode thing like, that's a picture that I took of a post it note. Um, you know, I took pictures of all of these elements, so even the phone is a picture that I took. I just put a green image on it to make it easier to at its something else in here. Um, so here, you can see I took this picture of this, um, folder. And this is actually some random tax paperwork. Uh, just cause it looks very sort of bureaucratic elite. Um, some of this I used from the Internet. But like I said, if you're if you're covering up 90% of it, then that shouldn't be a big deal. So even this background, this is actually just my desk. So I took a picture of my desk to create the background. I took a picture of some folders that I had I marked out the names on to make it look like it had been redacted, and it's just very simple stuff, but in the end, the effect works very well. So here you can see this actually had the phone is a part of this the same image. So it's not very difficult. Always try to match your lighting. Lighting is gonna be the biggest hindrance for making something. Look, Riel. So you want to be very aware of where light is coming from, where, where shadows are. So next we're gonna look at some of the elements that I've collected for our poster. So this is the main elements, and I'm thinking I'm going to actually use some of the elements that I've already got for the poster. So for our poster, I'm going to use one of these images and I like several of them. I'll just probably pick when it Raynham. What's really cool also is that we took these in a very high resolution and also in raw and you might go raw. What the heck is that? Well, I'll tell you all about it in a minute. Here, let's go with this one. Okay, so I'm just gonna open with Photoshopped, and this will bring in this is how you deal with raw photos. So raw photo, instead of being pre chosen pixel colors raw chooses a 256 range for each pixel and holds onto that all of that information so raw files are huge compared to a regular J. Pecker photo file. But the reason that they're so big is because now look at all this information I still have . Like, I can crank this way up. You can see I still have all this background information. I have just a time of information, and it's just awesome. So we can affect contrast, Weaken effect lighting. We can affect a lot of different things in here. You infected the color temperature and change our white balance. So I wanted to be more moonlight. So let's give it a little bit, you know, sort of a night time seen. There's some cool presets, but to so I'm just gonna bring it to a little bit more blue and you can fiddle with all these controls. This is obviously not a wrong tutorial, but just kind of giving you some ideas of what you could do so I can bring up the highlights. No, I don't want to lose too much detail. Bring my shadows down, Whites up, blacks down so more or less with this photo. I actually took it pretty close to what I went the final image to be like, We can adjust the clarity, which is sort of like sharpening, actually do. Kind of like that. Interesting extra texture. Vibrance is similar to saturation. Look, a little bit of vibrates. So you also have some other ways to control sharpening those sort of things. So you can see if I get close, you could use a little bit of sharpening produce the noise. Okay, so I think this looks pretty cool in general. Um, you can keep fiddling through here. There's gonna be a ton of different options using photo shop. I'll include this raw photo and use it. So once you're done with all of this, then you can just click open image. So now I have my image, and it's been converted to a J. Peck. So it's crushed. We can't alter it very much now, which is fine for what we're doing. So you can open it a second time if you're not happy with it and re edit the settings. So now that we've done all this your homework for this class, I want you to go out and take photos for your version of the poster. You know, I was able to take my photo on a black backdrop, which makes it a little bit easier. You might not have access to that. You could use a green screen. You could just do a lot of road work. If your poster doesn't take place at night, then you can take pictures during the day, and that will also be easy. So these are all different options and just try to get the best posters you possibly can and will be working on putting those things together in the next class, so I'll see you then. 21. Killer Images L5C2: Hey, guys, it's Paul porno here. Welcome to making killer images in photo shots. This is less than five. Let's make a movie poster. Part three Class number two Let's put it together and adjust the mood and lighting. So in this class, we're gonna work on kind of putting in our new elements and adjusting them and getting them to, uh, look, really how we want them toe. Look, there's several different ways that we're gonna be doing that, Um, so let's get to it. So first off, bring in your new images is pretty simple. You can either drag him right in, which will give you depending on your version of photo shop can give you and a smart object . Or you can just copy your layer and paste it in. So I went ahead and dropped in my new tim, Um, from the photo that I've taken into the composition in the Tim folder. So all I did was I made a new folder or a new version of this poster of the mock up, and I just saved it as poster instead of poster mock up. Since we're now working on the final poster, so so we're gonna start just fiddling with things, Adjusting, lighting, messing with a lot of stuff. I've also included in your files a new meteor. So this is a three D meteor. I've got this from the element three D plugging in after effects. If you're in after effects user, it's a great way to get a lot of different sort of three D objects and not have toe know how to use a three D program very well. So I just picked it how I wanted and I just delighting to kind of light it the way that I wanted as well. And that's what I'm gonna end up using as my meteor. Now it's a little bit bigger, but I can figure down that would be pretty easy. And I've also made you and Lefty sort of volumetric light. Ray, uh, where did you go? So I'm just gonna drag that and put it in the year folder and put it above my media. Right. So the way I did this, it's pretty cool. So you can see kind of the two together. I do want to frank this bit. That's going right now more or less. Keep everything relatively the same sizes we had in our mock up. So I think that looks pretty awesome. Definitely gifts. The feeling, the flavor that I'm looking for a way can set it to You said, Yeah, that looks cool. Cool. So that is good for now. We'll keep fiddling with that as well. Um, so now we're also gonna look at a few other tips and or tricks first off the move. So we've kind of dealt with the mood from the beginning, which is, you know, we wanted to dark and moody, at least this version of it. Um, so that said you can see I chose toe light my image with that in mind. Um, so now we're just gonna go and we're gonna mask out our new tim. So remember, if you just come to this layer so it's collapsed the media for now. We'll come back to fiddling with it later and we'll grab the Tim layer. Let's make a new mask on it on. We go ahead and hit, halt and click the eyeball That all just make it so that it's just that layer. Let's try some selecting first. Yeah, I didn't think that that would work. So who so let's do this. Let us make a mask using are actual image. I feel like that will be a lot easier. So if we just bring up the exposure a lot and what we want is to be able to see everything more or less. Um, so now we can see, you know, good outline of our Tim. Really? The color and stuff doesn't matter. Let's go to open image and we'll command a selected all command. W closes. Don't save it. And we'll pop that bad boy here. IHS difference or something Come in here. Should be the same size. I didn't resize it at all. We're just gonna light him up as close to perfect as we can get him. Okay. So right. All right. Okay, Snow. We can see his outline way better and let's start selected. So that didn't work. Very good. So we're gonna do iss crab quick selection mask, tool. So, by doing it this way, we were able to create enough separation where masking would be fairly simple. I think it see, I only have a few little areas that need touching up. If you hold Ault using the mast paint brush. It will paint things out whenever I switch to last. So I'm just drawing back in the details that I want so out I don't want so to get rid of stuff, you want to add it to the selection to keep stuff you wanna subtracted from this. Okay, I think that that looks pretty nice. So no, we grab our Tim layer, make this layer invisible 10 where G Now we can go in and we can start touching this up. Have a bit of an Atlanta year. She's in a problem. It's much better than waas. Um, - so it's going zoom out and we'll start adding back in our other layers because it might not mess, say to fiddle with that, so it looks mostly good. So they do dislike this little black edge. So let's go ahead and grab are in tool. Okay, let's just use this off brush first. Facing normal? No. Okay. There you go. That looks pretty good here. We've got a bit of roughness as well. Okay, so there you have it. We've gone ahead and road. Are Tim of it? Um well, I'm working on it. I'm gonna make, like, go away, actually group off my old players. If there's anything that you need from them, should be it's better safe. No. So these I'm interested in trying to work into the design, especially these textures. I really like these textures. I even tried to incorporate this into Tim. Somehow, Who's I imagine that these crystals air sort of growing on any skin. So Tran creates some sort of effect like that. And even that looks pretty cool, I think. See, I didn't do anything fancy, just changed. Wending move. I kind of like that. Then we're going, And we wanted to keep this way. Just mask out everything we didn't want. Um, a lot do a better job. Sort of tapering it a bit of light putting tone group. All I did was hit Ault and click the click The Mask and that will make the mask visible, kicking things like I just did. Okay, so now that we have, it's it in its own group and we put it to mask on top of the group. We can actually color quick. Just that little section. I want to give it sort of a bluish. You or the other. Easy way to do that is selecting on it to do over way layer color overlay. See how that works to start with. If we like it, you don't have to do anything else. Trump looks pretty good, Okay, It's still very strong. So we can also bring down overall brightness. So it's not too strong. So another thing you can think about and for me, like Photoshopped is something that I use a lot. But I also used after effects a lot. And if you're trying to create effects like this, sometimes they can just be sort of a headache in after effects are Photoshopped. But in after effects, they work like a charm. So, you know, sometimes you might just need to change what program you're working with. Um, so that's pretty interesting looking as well. So a lot of this will be a trial and error. Uh, I kind of want a light source to be happening underneath his hand. So that's also something we're gonna be working on. Um, another thing that we can do. ISS. I didn't have passed up on this. Um, it's really interesting. It's fine. Like like Okay, so That's pretty much how you put your character in. Um, let's go ahead and move on to a few different effects. First off, if we wanted to increase sort of the dramatic nous of his lighting, um, been going create another layer and you don't have to worry about his mask too much because we're in the masks still also have this curves layer that I had used on the other image that we were using so you could see a adjusted the blues and the reds and stuff. Okay, guys. So I think you understand kind of how to put things together and your homework for this and the next class will be to put in your image all of your images that you've collected and taking all the photos that you've taken to put your poster together So you can also fall along with what I'm doing. But I want you to, by the end of this, also have your own unique interesting poster. So that's it for this class, and I'll see you in the next class 22. Killer Images L5C3: Hey, guys, it's Popenoe here. Welcome to making killer images in Photoshop. This is lesson number five. Let's make a movie poster Part three. Welcome to Class three, Adjusting the mood and lighting. So in this class we're going to focus on creating lighting, using a few different techniques and masks. Let's get to it. So that looks pretty cool. And let's go ahead and check out another way we can add, in effect lighting. So remember that were inside of this layer mask. One more thing that might be a good idea to do as well, because we do have some effects on the layer mask, including the greedy overlay in the outer glow. We want to make sure that our mask that we're cutting out all this extra black So we have our mask and we can go ahead and paint and color correct inside it like I was talking about . So if you had be, you see like Oh, I'm just painting in my dude. Uh, so if we wanted to add a lot more lighting, you're not that much more. I really lagging. If you're lagging a ton, it's probably like it's probably because of having too much extra stuff in here going on, so recommend just putting everything to sleep. Okay, so now I'm just working on Tim. So here's another example where that mask not being fully painted over there is causing me a little bit of an issue. So nothing big, but okay, so now that we have this, we can go ahead and set it to screen. Are too a soft light or whatever we want. A soft light looks pretty nice. Hard light. It's pretty hard. So you can go through and find two of your settings. Whatever might work best for your particular image. So this looks pretty cool. In the unified gravel I raced wool increase its sides. You could see I can race out parts that I don't want. And then I can just be emphasizing the and I can just be emphasizing the one small edge that I'm want into effect to really pop that highlight. What's cool to is if I go in here, I can just the color using color overlay said to normal for now. Now we've got a red light or do sort of a blue moon color all of the moon stop really blue . Um, go looks pretty cool. Blends pretty nicely, not too shabby. So the same way we can do lighting. We can also do shadows. So let's make a new layer. Just paint black and we'll just start painting everything else with the paint tool down a bit. I hate the whole picture at the same time. So paint out of here. Um, so then what we can do is so first, let's go ahead and put this on, multiply, bring it down a bunch and then we can grab our paint tool with hardness to zero size up a bit. Pass it down. We've seen too much time you give us more controls were racing, so you can see we've added a lot of sort of intrigue and depth to our image just by focusing the light a little bit. Another thing we could do is we copy this layer, delete everything inside of it, but now we have a mask, which is sweet. So now I was thinking of maybe adding some sort of volumetric lighting from miss hand or something. So this is a cool way to do that as well, - because I duplicated It's not doing that for that? An important step. Just so. Set this on screen. No. We'll be able to see our light because it comes out. Another thing we can do because this is our fighting. We're gonna want it above our 10 mask that it's not trapped just in that one spot. Um, you're also gonna want to go in and touch up to mask. Probably been light two over just a bit onto the fingers. It was like coming from this and that cross over. Okay, - it's not just keep kind of playing with it until you get it toe. Look how you want. Give your overall feel. So I'm not super satisfied with the glow. Probably with a bit more That's a little bit cooler going here. Absolutely. That same green glow jacket to face Give a little. So this is obviously, like, super quickly done when you're doing so. I'm not happy with that, but you guys get the principle, which is the important part. - Okay , so that's some simple techniques for adding some lighting and some shadows and more lighting. I have learned something from all of that fun stuff, and we will be talking about a few more quick things, adding smoke and particles and those kind of things to your image will add a lot of interest. So don't forget, you know, they're smoke. In the real world, there's particles. There's dust in the air. There's all kind of stuff like that. I'll probably do a lot of that while you're not looking just cause this is already, um, very long class. So let's see other things we could talk about. So that's how you would adjust your lighting on your pictures using masks. Um, one more quick tip. So one thing we could do is we can create light our Linds flares. You know, there's several ways you could do that. And here's just one. So first under Circle a Circle, and, uh, so it's ingredient tool, you know, put it on video, make us a little radius. It's going in reverse. Okay, actually, that's not rivers. That's center a bit bigger. Try and make it centered. Hopefully, you're better at this than I am, and we'll set a screen. So now you've got, like, this circular image. Um, let's go ahead and create it. A couple more. You don't have to be perfectly circular, and these ones will just okay a bit today. So now you need to be on screen or overlay like the linear dodge on. We can also add some horizontal streaks, so this would be called an anamorphic lens flare when you have you sort of long sideways streaks. Okay, so now that we have that we can grab our paint tool, make it very large, make sure we're on soft. 10%. Let's put it a maybe 25 ish and we're just paint a bit a few times on. That's probably so Now we're creating this sort of linds player effect. Bring overall brightness down from over here and color overlay on just the color. Some more. Um, so that's one way you can add a lens flare effect. Now, the way that I will do it is actually I have a plug in four aftereffects that creates really awesome lend slayers. And if you've got nothing else to fall back on, they also do you have a linds player plug in, um, here, under render lens flare, you can see what it kind of looks like. Um, really, None of them are my favorite. Did they all kind of look, you know, not very great, but that's just me. Not really. Most people don't like Tolins players anyway, um, so I'll go ahead and give you some lens flares and some other things that you'll be able to use in your version, and I think that's it for this class. So for your homework for this class, I want you to go ahead and start putting your posters that you took after the last class. So for the homework of this class, I want you to take the images that you took for homework last class for your poster and start putting them together to put your poster together. So do that. Add some extra elements like fire, smoke or dust or particles whatever might make your particular image more interesting and better. And with the lens flares, I'll include a couple, but obviously they're not gonna be perfect for every situation. So go ahead and look on the Internet. I'm sure you can find some also light leaks look pretty interesting and just take a screenshot or download the image and drop it in and put it on screen, so I'll see you in the next class and will be dealing with text. So I will deal with this image a lot more, and you can see kind of where I go from here when we get back. 23. Killer Images L5C4a: Hey, guys, it's Paul pronoun here. Welcome back. This is Lesson five. Let's make a movie poster Part three. And you're about to enter into class number four. Where will the text go? So in this class, we're gonna focus on working with the logo and placement picking font, trading the fine and then adding film text in at the bottom. So first off, I have continued working while I wasn't with you for a bit, and I just wanted to show you kind of where I've got to. So this is the current state of the poster. I've given you a lot of these assets so you can create this stuff yourself. Um, I'll show you a bit about what I've given you. So I created a more detailed helmet you can use for the alien. Um, I created a few different lens flare images that you can use and just put him on screen. I created a park a picture of Harker with some interesting texture on his hand that you could use if you wanted. Um, I created this really cool cracking light source for the rock. Put it on as over layer. Screen looks really cool. I created these sort of techie type, um, markings or energy lines, sort of circuitry looking things to go through Tim Parker's hand. Um, what else did you get? You got a meteorite, Higher resolution, cool looking meteor. And I think that's about it. So I just used all of those things and a few found textures, and I just kept working this and working it, and you can see kind of where it got me. So here's the top layer it has. Are lens flares on it? You can see I've added some detail in the eyes of the alien, and I added more sort of laser lines around him, made him rat. I just painted over him in different stuff like that. Um, with the meteor, I just used the cool crack that I made. I moved in in a place where I liked it. That's pretty much it like it was just that simple. Um, so that was cool, you know, it's gone with the mound. I added a new layer in, and they just painted in some shadows to you could see how different it looks with just some shadows, like very obviously different your images probably lagging out like minus. You're a photo shop because this is currently almost five gigs. This poster with all these different layers I have, Um another thing I did was I blurred some stuff. So, uh, you really can't tell too much, But I blurred these down just a little bit because they were just too sharp. Um, you've got to think about that when you're putting your photo elements together. Like do your two elements have the same amount of sharpness. Remember, you can always grab something that is more sharp and make it less sharp, but you cannot do the opposite of that. So something else I decided to do is put the smoke elements in front of Tim because then it's like part of this scene. Here was my thought process. So here you can see the lighting up effect of these sort of things to make off this. I used after effects a lot and turn that off and you could see I've added in sort of this displacement on his wrist as well as hand. Um and then I added the light in on top. So I added also some veins and stuff to obscure sort of the different layers. And if I was doing this, you know, much closer up than I would have spent a lot more time. You're making it look as real as possible. But it's gonna be, you know, not not seen very much. So that's pretty much all I did on Tim. I darkened his face a bit more because I had a very bright before and it was very noticeable. That's what's going on with Tim. And all my new ones are pretty much exactly the same sizes and stuff. My new images of Tim and different things are the same. Sizes are final image, so you can just drop them in and they fit right in. Okay, so that is Tim. Also on his outline, I added a little bit of texture just because I thought it was nice. Okay, so over here to the alien. So I've done quite a bit of work on the alien. I'm just turning it off. We can see where here where you're at. Okay. So this is the alien. Basically what we had before, um, with some of this lighting here, and I just went ahead and read it out and replaced, uh, for instance, his head because I wanted a more high resolution, like, nicer looking helmet. So I found a model online, and I used Element three D to get it in the angle that I want. And then I let it some, um, give me a good idea of how I wanted to do the lighting. And I would have left these, uh, lines, because to me, it kind of almost looks like a reflection is being reflected, which I thought that was kind of cool. So then I just painted in Cem or Red Oliver to added overall lighting. I added in these textures, which I just found on the Internet, it's just sort of a black and white looking texture, um, circuitry texture. Then I added in the lines light lines like before and then here in his visor, I've added in some heads up display. Like I said, I just found an image. Put it on there. So another thing I did for his eyes, I created a circle pattern. Um, and then I just used a mask to mask out the eye shapes so that it looks like they're sort of led easy or something. Get ads. Very interesting. Look to it. So that is our alien. And more or less I didn't really work on the rest of it. Darkened the background a bit. I had a black starting up here and then, um, becoming a lighter blue down here, and I didn't really like that, so I won't have swapped it. Uptick for a darker background. So you can see I'm just layering back in all my different layers and folders. So there you have it. That is our current poster. And I've actually went ahead and saved. And I would recommend this for you as well. Is I saved a J peg version of the poster. So while I'm working on the text, it doesn't like me out ridiculously because the violence five gigabytes. So I'm gonna go ahead and work on that. Um so to get your image here to the same place a Sfar is like, what's in there? Just use the different elements that I provided. And then you have to do some painting and stuff to the the alien to make it look, you know, the lighting to be similar. I just used a soft brush and dropped in the layer into, uh, the aliens group. So let's go heading. Hop over here and we'll start working on some text. Um, first off, I have included a file with you that has all these pre created little text blocks. And in order to use that, you're just gonna open both files at the same time and dragging the credits into the file. You want to use it, and then you're just gonna go in and edit it like normal, too. Type words you have to hold shift in all your words will be an upper case and to, um, get these different presents and all that. It's all lower case letters actually creates a whole word so is written by be a special effects. So you see, it just keeps going in there, and you can put basically whatever you want in here. You could look up for more sort of hard and fast rules if you want to. So let's go ahead and type out a title. Do you guys think? I think that sounds like a great idea. We'll start with Harker. That's cool. Let's just leave it white, just just like that I read something today. I don't know if it's true, but that the title has to be. The credits have to be 1/4 the size of the title, like each line of the credits. Okay, so now the tedious process of finding a So if you watched any other videos that I've done about fun Um, obviously you watched logo video. So Fontas beast, all of its own. And it can take a really long time to find fonts if you don't know what you're looking for . And in this case, I really don't have a great idea what kind of thought that I want, so that's kind of cool. So here's a quick tip is I'm just gonna hit command G. You know, call this Parker titles and I'm gonna come in J whenever I find one that I like, turn it off and start on down the list again. So this way I'll end up with several copies of, um, of text. Or you could just dragon select, Um, and hopefully by the end of it, I'll find something that I want to actually keep. So this part of the process, you just have to click through and find what you're looking for. I'll go ahead and skip ahead 24. Killer Images L5C4b: Hey, guys, it's Paul pronounce you. Hey, guys. So I went ahead and found a font, a few fonts, many fonts that I liked, you know, I went through I don't even know how many, but it took forever just to get through the days. So here you can see my front list goes on pretty much forever. I have thousands of funds, and, you know, that's a lot of once. Um, so I just searched through them and I picked out a few that I thought were pretty cool, kind of the direction that I was imagining. Um, you don't have to choose the exact same direction. If you come up with a better logo and you send it to me, I will probably use it. So keep that in mind. So here the fonts that I've gone ahead and chosen and I have separated them out and we'll go ahead and, uh, pick one of these and do a treatment. So I liked all of these. I pulled them all out, um, in the longer, and I don't think I'm going to use any of them, but I think that they're they're all pretty cool and kind of have you know, some. That's something that might work as a logo. Fun. So, out of all those, I picked out a couple to, uh, work on and see which one I like the best. Here's one I've already started adding effects on. So this is sort of a Star Trek ish font, which is kind of cool gives that SciFi tightness theory weakening Fought that I used is called Alien League, and I think that it looks really cool. So I was pretty happy with it. So I decided not really to look for any other ones. So let's see. As for the other fonts, I like this one. It's called Blair M D I t c T t. And it has this very sort of scifi look to it, in my opinion, the long, skinny letters which I thought was pretty cool. And then this last one. This is the same kind of letters that they used in the back of jerseys for football players . And since our main character is a football player to start with, I thought that that might be an interesting place to start Now. The downside with this thought is that he doesn't stay a football player. He actually gets thrown off the team pretty quickly and you know the rest of the Siri's. He won't be, you know, part of the football team or anything like that. So I don't know if I want to go that route, but we could. So I've done a few effects on on the lettering, as you can see here, and it turned out pretty neat. So what I've done is I've added a bevel and I've added a stroke. Uh, it's actually an inner stroke into it. It looks like on the outside outer stroke kind of like the inside better, I think so. I've added an inner stroke you could see. Now that's very similar to how you know. Just a printed letter on the back of a shirt might look. Then I added the bevel, and then I also added a drop shadow to bring it out of the back around a bit more. And if we wanted, we could also at an outer glow, which could continue to draw it out. You just raise it up a lot. Um, bring the capacity down, change the color to something more complimentary. Actually, that's pretty cool. I like that. Um, so those air, all some options. So what I did in the bevel is I went in and I changed the overlay toe hard light, and I changed the color to red, and I changed the shadow color to blue. And what's really neat about this is that because it doesn't go all the way up because of the size, and I can't even bring the size down a bit. You could see it starts to peel back, but it gives it, like, this sort of shiny metal look that I thought was very interesting. Um, definitely enjoyed. So that's kind of the direction that I'm going to go. Um, I went ahead and just copy that. Pasted it on this set of lettering. You could see it still looks pretty cool. Like a really neat look to it. I haven't actually tried it on this last set of lettering yet, so we can do that together. You just got a copy layer styles and scroll down and go to paste layer styles. So, um, I'm not really feeling it on this set of letters, especially the bevel. Um, yeah, it might be more interesting. We don't use that. So, you know, it works on some doesn't work on others. So some other interesting ideas I've had for the logo and we can go ahead and test those out. And what we can do is on the ground my text layer here, and I'm going to hit command G. Now, we've got a later group. We'll just call this test logo, and I'm gonna grab our effects and its drag it onto the logo. Um, group in that way, Any of anything in here, we'll get effects on it as well. So I'm gonna grab my lasso tool, and I'm going to just crop out the inside of the Okay, So I wanted to be filled. So I have made a new layer over here, and I just filled our layer except the colors. And exactly the same. I realize I've used some sort of creamier looking color. Interesting. So I'm gonna grab the rectangle tool, and I want to just make sure that I get it perfect. So there you go. Nice and perfect. And so what? I was thinking make a new layer and I was thinking it would be cool to kind of put a silly way in the A. Let's go ahead and make this out of shapes. So then it will be fact arised, and then we can scale it as we see fit. So that rounded corners, what's caused because it's vector you can grow and shrink the menu. Have limited, uh, issues there. Um, so some of these shapes I ended up not needing, So I think it's kind of funny how it looks like the bathroom guy kind of gives off a little bit of the humor of the movie as well. Let's go ahead and grab, Do and will compose him are just put him into a group. So, Command G, we'll call this our man. Um, I guess head is a little too big. It's just killing down. Yeah, because they're usually a bit more circular, right? So it's kind of funny. Let's go to duplicate the man and we'll try some different stuff with him to see Yeah, maybe we like him bigger. Let me just create a mask for that layer. Kind of amusing. Another thing we do ISS use the man layer and create a mask to the man. See, and Then you click on the little squares. It will select that layer. So I'm just selecting through all the different parts. And then we can go to this layer, which is what creates are whole. Actually, let's do it on the overall and we'll hit mask groups, pick man shift I and then hit mask our overall layer. Very good. So that's very cool looking interesting. So I'm not sure which one of these I'm going to go with. I think that's kind of cool for sure. Um, the rest these air caused Well, it might look cool if I did something like that with this as well. It's well, just duplicate this layer. Um uh, I don't like it much. Okay? So, overall, I think I'm leaning towards one of these more metallic looking names on. I think I like this one. Even though it's, you know, the football sort of title. I don't think that it looks like a football title, but knowing it is is kind of cool. Um, so let's see what else we can add to this. I'm gonna go ahead and grab one of the lens flares that we made, uh, this one and We're open, man. A man. See? Command W closes man v tastes. So now we have this sweet lens flare and go put it on screen or let me dodge on screens goods. Actually, when you're just okay. So another thing we can do is we don't need all of this, I think, Yeah. I don't want this extra bit down here, so we'll just grab our lips. That's faded to 50 maybe 100. We'll select the top here, and then we'll hit Our masked will make a mask. Yeah, Everything else. Um, it's actually increased this and what I do. Let's do it again. I just wanted to be soft. A soft transition that's a little better. So you can see down here are unified at all. It's much nicer. Softer transition. Cool. So that's looking pretty awesome. So let's see. Retreated the text. We picked our fought, uh, next. I think I already told you about this stuff down here. So you just grabbed that moving in and you edit it like normal. So our movie title is Harker News. I'll probably have to copy and paste the colon or something. Deaths. Parker. The Awakening written by Paul Thomas part now, So you just have to go through off this and fill it in. Okay, so there you have it. We've got some letters and all this. Goodness. So once we've done, you know pretty much everything we want to do with this. Remember, we did make a second file, so we'll have to bring it all back into our I mean file. Um, so let's go and drag all of our title stuff together, and we'll just take command. G, call it titles and we'll go ahead and open up are other file. We're nearing the end of this journey, guys. Almost there. And I hope your posters looking as cool as Mayan is. And I can't wait to see what you guys came up with for your original Dumpsters as well. At the end, I'll talk about how you can send your posters, and then I can look him over and we can and tell you how awesome they are. Okay, so there's our titles in place. Credit Block is not really a bit of it. I might not need this additional. Yeah, so I'll take that one out. I'll drop this into the top layer on. I can actually just grab all this dragon into the top layer different. It's folder credits. What's moving down a bit and there you have it. So we now have our cool lettering and all the good stuff on our poster, and we'll go ahead and start working on the finishing touches in the next class. So homework for this class is work on your version of the logo for Harper, the awakening on the poster. Also add the body text to the credits block and make it look cool. It doesn't have to be, you know, a blurred this way. It can be vertical. It can be in a block. It can be in the design itself. So keep all that in mind when you're designing your poster. Um, so there you have it. I I think you guys are gonna do great and I'll see you in the next class 25. Killer Images L5C5a: Hey, guys, Welcome back. This is creating killer images in photo shop Lesson five. Let's make a movie poster Part three. And this is class five. Final looks in a finished poster. So ID say, so far we've got a pretty cool looking movie poster, and I like it quite a bit. Um, so now we're gonna go ahead and start doing, like, little touch ups and, you know, maybe adding vignettes in certain areas and kind of controlling the color correction overall, things like that. So So I'm just going to get a little bit of a wider you, And that way we can just see kind of what we're working with. So here we've got some lighting effects going on. Um, God, Tim's light got the top layer. So a lot of light and shadow are on the top layer and hardly any light really from Tim. And then there's a lot of light sort of coming from the smoke. So let's go ahead and try moving the smoke again. Just see how that ends up looking. We're gonna move it behind him, and then I'm gonna turn these back on. So now we're just gonna start to adjust our overall lighting scheme and try and get things how we want him. Um, I'm just gonna just gonna clean up any extra stuff. So another thing that I noticed is that the media, especially the edge of the meteor, is very, very sharp. And it just doesn't look very real. Someone a duplicate or meteor. And I'm gonna grab one of them and go to Filter. And we're gonna bring up our Goshen blurred. And what we're gonna do is want just ever so slightly softened. Yet right now it's too soft. So let's try maybe, like, two. Yeah, I think that that looks better. So then what we can do? It was Well, turn are out of you're on And what I want to create a mask on. These are lasso tool Master. Actually, Mrs look nice. So come up here and make this. Uh, let's try, like 200. Enter Select command. What I want is I want to create a focal point on the rock here. So to do that we want we want to be able to see through the center here. There you go. So you can see you can see now the edges blurring a bit more. And I think that that will make the rock look a little better. A little more real. Um, cool. So that'll look a little nicer. Okay, so now let's go ahead and start fiddling with some overall color correction. Um, I kind of want the media or to stick out still on maybe even the mountain. So try a color correction layer over everything except New York. So let's go ahead and add a curves adjustment, and we will fiddle with this and see if we get a cool look going on. So first off, let's see what happens if we add you bet more con fast. It's definitely a lot of contrast. I don't know. I don't hate it. It's got a navigator and bring it out over here. So this way we can see a small version of it, and that will give us, like, idea of the overall layers. Another thing I'm gonna do is I'm gonna just drop a layer above everything painted black, and we're gonna put it on color. And this will give us just a black and white. So here you can see the alien in the background is kind of difficult to see. Um, so here's where we can start to mess with the levels of things to make sure that our values are separating enough. So I think Tim is pretty easy to see the rock. It's easy to see. Um, but Alien. He kind of falls into the background there, so it's not too noticeably different without him there. So let's go ahead. And first we're gonna work on the alien. So I'm gonna make a new layer and we'll go ahead and add a curves adjustment and we'll just worry about it's one of raise up his brightness. Okay, so see how that works. It's really here. It's just kind of trial and error. I sort of did want the alien to fade off a bit, so I don't want to make it too strong in the background. Um, I feel like right now he's probably a bit too fun. Let's kick off on the maybe not. Let's let's see what happens if you fiddle with some of this color. Can I want the red highlights to be kind of more poppy? I don't want it to be overall either. I think this is working pretty good. Maybe if we put like an interesting, stormy sky sort of background, even if it's like a night sky, clouds or something would probably look better than nothing. So let's see what I look and see if I've got anything for that. Okay, So I'm gonna try. This is gonna be all the way in the background. I think that it's gonna be OK. If it's a little lower resolution, it'll be very resolution, but that really you'll see if I kick on our black and white really pops out our alien now it becomes much more imposing, Which is kind of the Polian for the guy. So I think that that looks pretty awesome. So I still like something about just having this faded one on, Um, it's just adjusted a little. Maybe. 26. Killer Images L5C5b: Okay, so I'm pretty happy with room. No, my curves adjustment on either. So now let's go ahead and hop into this back row. What happens if you fiddle with this? You have this idea? What if we just made it all black? Even I really like the water tower. I think it's kind of competing with the look, the words and with Harker on. So I think just painting it out, it's gonna be better in the long run. It's Now let's just move Tim around a little and see if we got in you anyway, most will move him up is just slightly. I'm liking this. I'm like, in how it's looking. I like it a lot. This reminds me a little bit of, um, Battlestar Galactica's font. Maybe, but I think that that's okay. I don't think that's a big deal. I think mix, you know, alien imposing. Tim sticks out and looks interesting. We've got the cool trees silhouetted in the back ground. I think that this is really getting across what we're wanting to get a press. So a few things that we can talk about is color correction over the whole thing. So we I kind of did that a little bit. Brought the highlights of everything down a bit. Another way I like to do color correction is by using ingredients and overlay layers. So we're gonna grow, grab the radiant tool and just pick something oddball. Let's try this orange and blue sort of purple color. Let's set it to linear instead of that. So we're just gonna, um And then you can just start running through some color modes. So that looks awful. Try overlay. That looks kind of neat. Definitely. It pushes it all into the background, but it adds an interesting element to everything by kind of forcing orange over here. So let's maybe try red and blue. Since those air kind of are colors that we've built the image out of, it definitely makes it striking. So, uh, this is definitely something fun you can do in a cool way. You can, you know, you're your image. So this is what it looks like if we top it over everything. Um, it's a lot less contrast in general. Put it underneath. I like which one I like better. So that looks pretty awesome. I think so. That's one way to do color correction over everything. And you know, it's definitely not a bad way. You could do the same thing with a flat color. So saying we wanted, you know, Tim, to be much bluer. I kind of like the overall sort of green issue of everything as well. So instead of using a radiant let's go and try color. So let's maybe push that green. I feel so we're just gonna paint everything this green color you can see. That's pretty interesting when a text from So you grab our green layer and we'll just do the same thing. Let's toss it through a couple of these. So now we're just clicking through and seeing if any of these kind of look cool to us. So let's try and mix it up and we'll more of a blue. Okay, so that's a tracks from image making more red. That's pretty interesting, too. So those are some different techniques. You can use the color corrector image. I kind of like this red and blue. Uh, I'll bring it down a bit and I think I want a top off another layer, and I'm gonna make this one white and I'm gonna sit down to very low, and I want to set it difference. I wanted to just bring overall darks up so that the I want this under. So I want the darks in the background to be less vivid. And that will draw your I'm or to the media, which is really the focus of this. Cool. So that looks pretty awesome. And so the couple of the things you could do, you may want to sign it. So I think I'll sign it down here somewhere. Um, you know, you don't want to make it too gaudy, Especially if you're doing this for a client. But it is a piece of art and probably have worked really hard on it, like I have. So I'm just gonna make a new layer, you know, toss it onto the top. No. Okay, so then I'll put it on over there. No, that doesn't look too bad. No much. Just, like eats shadow away a little bit. No. So I don't want to be, like, glaringly obvious, but if you're looking for it, then you could see it, so I just You put a layer, put it on top of everything. Um made it soft, light and overly. Okay, lets see. So some other well, things you could do is like adding glows and vignettes. If you wanted, you could add, like a vignette over the whole thing. Let's see what it looks like you've been yet. I'm just gonna add another layer. And I paid the whole thing white multiply, double click, good ingredient overlay. That also looks pretty awesome. So this would be have been yet could also put been yet below. So now I just kind of controlled the brightness of the sky a little bit. So you can see you can how you can use these different techniques to affect your image in different ways. Okay, So I did a couple more touch up things to the poster overall, and I'll just start with the top most layer. So here, with the text, what I've done is I added a website at the bottom. That's pretty important for us. So I just moved all of the text up your pretty simple stuff. I made two layers ones on soft light ones on overlay gives it this interesting look. Basically lightning where it's been darkened. So The next thing that I've done is I I have these particle layers, so I have these particle layers of sort of snowy looking rain or dust or whatever. And I added, those in which I think really adds a ton adds a ton to the overall looking quality of the image. You can see this is what it looks like without, and this is what it looks like with I also lightened, uh, the in meteor area a bit just toe make it a little bit mawr drawing the eye. And then I added another layer of this, uh, particles and they just moved it around. Um, put it in the background to help separate Tim out and also kind of put push the alien further into the background, which I think turned out really cool. And the last thing I did was I remember when I cut out the water tower, I really wanted it in there because I felt like it, you know, said that this is Earth. You know, this is a normal place. And so what I did is I just took our one of our copy of our layer, and I just cut out just the part. I need it. And I moved it over under the corner here where we get just the outline and I think it looks supercool. So those are the a few things that I did that I added, and that's pretty much the poster. We should be good with our printing sizes and everything, since we started out with image correct image size that you come over here image size. Put this here You can see where at 11 by 17 pixel or, uh, inch and it's 300 dp I so that should print out up to 11 by 17. If you try to print this poster larger than that, you're gonna have an issue. So, you know, definitely keep that in mind. Um, so that's pretty much it. Our journey has come to an end. I hope you have had fun and you've made something awesome. So if you'd like to send me your poster, go ahead and send it to me through so many year dot coms contact for So here you can see it again. It's film of the year dot com, and this is the website through which were making the heart of the awakening. And if your posters also will definitely show it off on our website will, we're gonna be doing an Indiegogo and will launch it out through there as well. So definitely contact us and let us know that you did something awesome. Have you guys had an awesome time and I'll see you in the next course?