Photoshop Fantasy Artwork based on the Greek Mythology | Andrei Oprinca | Skillshare

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Photoshop Fantasy Artwork based on the Greek Mythology

teacher avatar Andrei Oprinca, Graphic designer

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

8 Lessons (1h 22m)
    • 1. Introduction

    • 2. Create the background

    • 3. Create particles with a custom brush

    • 4. Background Camera RAW

    • 5. Adding the model and retouch

    • 6. Create the energy effect

    • 7. The Ritual Circle using text and the Path Tool

    • 8. Post production effects

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About This Class

When I talk about photoshop fantasy artworks I talk about creating lots of light effects and colors which is what you are going to learn how to create in this class.

Throughout the eight parts of this class I will show you the techniques I used when blending stock images to create backgrounds for my manipulations and how to create all sorts of light effects.

Blend modes and layering play a very important part in getting vivid colors and bright light effects and I will show you the technique that I use.

You will also learn how to smoothen skin and fix bad quality parts of an image using the Mixer Brush Tool and I will also show you how to create a custom brush to make your own particles and how to use a variety of filters in order to create geometric flowing light effects.

This is an advanced class, so I do not teach how to extract elements from the background as you have all the assets without background.

This artwork was created using Photoshop CC 2019 but it can be created in any Photoshop CC version as well as in Photoshop CS6 with particular instructions on how.

The tutorial is divided into 8 parts

  1. Introduction
  2. Create the background
  3. Create particles with a custom brush
  4. Background Camera RAW
  5. Adding the model and retouch
  6. Create the energy effect
  7. The Ritual Circle using text and the Path Tool
  8. Post-production effects

Meet Your Teacher

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Andrei Oprinca

Graphic designer


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

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1. Introduction: hello and welcome everyone to a new footage of editorial on Monday and today I'm gonna show you how to create an advanced fantasy manipulation in photo shop. Now, there's gotta be something a little bit more advanced. So if you're just starting out with photo shop and you're not, um, you're not like an advanced user. Um, you might struggle on parts of the editorial if you're gonna follow it, and I'm gonna use foot a shop CC 2019 you can use any CC version, even full shops here. Six. I'm gonna explain some of the things I do, for example, in camera raw, how you can use them in for the shop. CS six, for example. And what we're gonna see this material is, um, first, I'm gonna square behind me the background when I show you how you can quit a simple background using just a few stock images. And when it was camera on that, So that's gonna be like the first manipulation inside of this main manipulation. If you want. Then I'm gonna show you how to add the model on gonna make some edits to her. We're gonna use the shadows and highlights when I should have to smoke skin. How to trick on how to reduce artifacts? If you have ah, little resolution image, then I'm gonna should harm it. The effects. You can see all this text around and how I created those lines that go into, like into her and how I spend them around using filters. And then at the end, we're gonna use camera raw to play the whole effects to get a contract. The color and all of that new feature with this detour is that this material can also be watched on full on YouTube if you join my YouTube channel. I did this because on some countries I know they cannot pay with PayPal or credit cards. And now you can you to allows you to pay a subscription to channels in order to get to premium content. And what I did is I just uploaded my freedom tutorials to my YouTube channel and you can join through through my YouTube channel on a cheaper quote because you took charges each month and right now it's at 4 99 per month, so you can pay for 29 accept and access all those little my primitive tools for one month and then you have to pay again if you want to have access for another month on my website, but he will find that you pay yearly. It's a bit more expensive because is 30 euros, but at the end it's gonna be cheaper on my website. But the reason why I did this is because a Zay said some countries cannot pay with credit cards and they some countries don't accept tape. Also, just for some people, it's easier. It's easier that way. So that being said, I hope you will enjoy this tutorial and let's get started. 2. Create the background: Let's get started for this tutorial. I used a chemist size off 2000 by 3000. Actually, the PSD file is a little bigger, but because I'm also recording the video, I'm gonna make it 2000 by 3000 Big. So So this is our campus eyes. If you want to print this, you can use a resolution off 3000 pixels per inch, which is gonna give you more resolution when you want a printed. And I have it right now at 7000 by 4000 pixels at 300 pixels per range, which allowed me to print like a pretty big print without losing quality. Okay, so let's get started on the bottom of the screen, you will see the keyboard shortcuts that I'm using. So right now have a custom, people. Shut up. You've just seen which is shift command D. This is a custom shortcut. Feel to file, You'll see, had this place embedded. If you're using a really old version for a shop, you might not see this, but this by the fall does not have a keyboard shortcut. So I created myself just the place images there on the Resources folder here you will find everything that you need for the state oil, and you will see that you will find actually more images than the ones that I'm gonna use under the jeweled. I'm just give you more alternatives and we're gonna start with the background, which is this image over here. And open it. I'm gonna place it. There is no place in by default. Has a smart object. Any way to make it just a little bit bigger, too. It might canvas size on. Put it straight. Now, one thing I want to do is get rid of this bulldozer right here, because I want to make sure it's not visible. Anyway, We're gonna cover it. But just in case I'm gonna rest, arise the later like we can choose Rest arise later. Well, here. So I can use the cloned stem toe right on top of it. Sample left on the horizon. And just like that, on the same here. Just a really basic cloning. You don't have to do anything really precise because we don't need it. Let's name deadlier background BG and remove the bedroom. We don't need it. Next, we're gonna add the sky. So brush if Mandy again or you can open the image and tasty right over here and you'll see a video. You have different sky images. I think I'm gonna use this one. We'll replace it over there, making bigger and put it behind the background later. So let me make it really big. So I want to cover my entire area and drag it underneath the bedroom. Let's name the sky on the veteran leader. We're gonna get the little mosque, get the Gregan to reset the colors to black and white leaning ingredient passage 100%. We're gonna create the legion, Grady. And here on the horizon to get rid of the sky and blended with the sky underneath. I think so, Scott, I'm gonna move it slightly to the side. Like so. Anyway, after we add the rest of the elements, we can move things around and figure out where you gonna put the elements to have a better composition. So next thing I'm gonna do is open the pile of skulls. Here you will find the Jay Peak image the original right over here if you wanna crop it a different way. But you have the original right over here. Just don't want to spend time showing you how to crop elements from the background because you're supposed to know that. As I said, this is more advanced to do is I'm gonna speed up the process here by skipping those parts . I just cropped. That will cut it and put it right over here. I'm gonna make it just a little smaller. Make sure it covers the whole with of your canvas and put it here, going in this layer skulls and make sure it's it's not too small and it's not too big. You don't want to cover the whole bag. Run over there also because we need space for the model here. So just make it, make sure it's wide enough, played places over there, and then after we had the model, we can move it up. And now a tip is to live it as a smart object. If you place it here because that where you can change the size of it if you if you want to do that later on, the next thing we want to do is add the columns, so going to the resource is fuller. Get this image assess pillar to and we have to make it a little bigger. We're gonna put it underneath the skulls and on top of the background and the sky, so I'm gonna make it slightly bigger, like so place your right over there and I'm gonna duplicated with control Command G. And with the move to I'm gonna move it to the side. I'm gonna convert them into smart objects like both of them, right quick, and just come with smart object. And we re create the later mosque and with the brush. When I use a smaller soft brush and paint out with an opacity and flow of 100% rained out part of them is to blind them a little better with with the van Alexa and probably I'm gonna move them evil lower. Like So I'm gonna handling the little mosque so that it stays in place and just move the objects. Probably that way looks a little better. The schools are gonna center them inside this gap here because it's it's gonna help center things. And visual is more appealing. If you center everything, the next thing I'm gonna do is dark and a little bit the sky. So on top of the Skynner and a goods adjustment, and I'm gonna add a point right over there and just move it lower. If you want the exact values, that half of the input and the output, it's 174 and I'll put 141. So basically what it does is just darkens the whole thing. One to darken everything a little bit. And next we have to add the model and integrate her with the background. But as I said, the 1st 1 to create the background put everything together and have a good base for the mall and all of the effect that we're going to create afterwards. So next thing we want to do is on the pillar. I'm gonna name this column. Actually, I will double quick to go into the layer styles on the blending options to go down to the bland if section and here. We're gonna move this slider. Two words. Actually, the white one. No, the underlying layer. Sorry. This one over here on the left. We're gonna move it to the right when you start to see that the columns start to disappear is against you right over here. You're gonna press option or all different on a windows machine and click here. This will split. This will split this and just make sure you move it slightly towards the left and this one towards the right. This will blend this, these two columns with the sky, which creates the illusion that I have this mist around the cloud and there inside of that of those clouds, which I think it looks better. We now have the columns, the skulls, and let's see what else we need to add. Let's add flame right here behind this. This will have connect the model with with those calls. And I think I use this one bomb fire campfire. I think I got this from on splash dot com is a really cool website, $2 high resolution images for your design projects. I'm gonna cut that part over there a minute, based it underneath the skulls, and we want to get rid of the black background. So we have to change the blame mode to screen for that. And I will make this a bit smaller and place it right over there for now. I'm gonna live it like that. We will add some effects. And if we need to change thing, we're gonna come back here and do it. That's and this fire. The next thing we want to do is add some may steer the objective. Now from now on is create the whole environment here on what a great some depth of field. One of the things that are out there I will do now is at this smoke effect here inside while actually in front off the school's. I'm gonna make this image a bit bigger. And I will change the blend mode again to screen because we want to get rid of the black background and just leave the smoke alone. And you will see here. If I zoom in a bit, you will see this hard line. That's because the image is not 100% black. I'm not gonna use levels here because if I do that z going to increase the contrast on the whole image and we will lose most of the smoke, which is really, really fine here, so we don't want to do it instead what I will do is create a layer mask, get the brush to and paint was black with the really soft and big brush. To get rid of that off that mine, let me show you how it looks like before and after without the smoke and with the smoke. This creates the servant mysterious look, and it gives this fancy looking effect to it. Let's create some debris. This also helps build up a little bit the environment and also feels the scene, and it feels more like not that empty that's heading particles in all manipulations that you create. Even really subtle ones can really improve the way your final image looks like. And Felicity, I will show you a technique that you can use to create your own your own particles using a custom, a custom brush. So the next thing we want to do is create a custom brush and create those particles here in this environment, 3. Create particles with a custom brush: creating particles in foolish out. It's quite simple. We will use a custom brush for that. I'm going to show you how to create the custom brushes, not difficult, and I will show you how to adjust the brush and how to create more depth of failures. In this particles create a new layer on top of everything. Select the rectangular marquee tool. We will create a square or any shape with a square. It's easier. Fill it with white. I will zoom in a bit so I can see everything at 100%. I will now select the lasso tool. And inside of this white circle, we have to create some random shapes that looked like debris. So just really random shapes and fill the selections with black. Create a few random once with different sizes on. Make sure that you don't align them. Make them as separated. That's possible. You don't have to create too many. Four or five are enough. I have five. I'm gonna create one another one right over there and want really small right over there. These are my particles. Now we have to turn this into a brush. How would do we do that. Now we have the ingredients to create this brush, which is we have a white background. When we turned this into a brush, everything that is white will go away. And everything that is black will be our brush. So we have to tell Photoshopped that we only want this area too. Consider when making the brush. What you can do is control Quick the thumbnail off the brush off the layer. Sorry. It is also left the square. And now we go to edit and choose. Define brush preset. You can give it a name and here you can see the size of it and pick So 640 pixels in my case. And you can see that the background is transparent and we don't have these dogs here that we just painted. I will click. OK. And now I will delete this leader because I no longer need it. My brushes created I will create a new layer and I will name it Debris. If I want to paint now, this is what I would get. What we need to do now is change the settings of the brush so that it creates a random debris as random sizes and different angles and different while different sizes. So in order to do that, you can go to window and choose brush settings. I think it's called five brush Settings. I haven't have it here on this left on this right panel because I use it a lot. We have to activate shade dynamics and here we can change the size Jeter, which allow us to create randomly sized particles. Do not increase this too much. Otherwise you will get some really small particles. And it's not what we want. About 50%. It's OK. We also change the angle. You can tweak this to 100%. If you want. I will live. It's somewhere in between on the brush tip shape. Now, let me just make a quick test as you change the settings here on the brush settings, make tests and see what you get. You can see that now have this random particles, but they're too close together. So I'm gonna increase the spacing a bit. This is how they look like you can go with this if you want, but we can go a step further, create some scattering. So I'm gonna activate the scattering. I will increase the skater amount. You will see here on the preview that as we increase days, they start to go away and you start to see, like, chunks. So this is this is what you want. That's OK. I'm gonna decrease it just a little bit. I will activate both access and probably increase account to two. So this is just a bit of a trial. And error depends on what you want to achieve and make a few tests. I think I like the the distribution of this particles. And actually, I'm gonna leave them like that. Oh, let's try it again. We don't want to create too many of them. Just a few wants to create, just feel the scene a little bit. And in order to create more depth of field, what we're going to do is blur some of them to make to make more depth of field on this on this background. So I will create a few ones right over here, like so and this once, some of them here. I wanna have some here on top as well. Okay, The first ones I'm gonna blur, so I will go to filter, blur and choose girls in black. And I will probably increase this quite a lot to about 10. It depends. The radius depends really on the canvas size that you have. I just want to have some, like dirty lens here. Effect for the first passed Now I will create a new layer. I will name this degree to So the secret here, like in many aspects of photo manipulations when creating facts, is layering. So we wanna have several layers off debris. Now I will create some bigger ones. Just a couple of basses and again and with a bit of filtered blur 1000 blur. And this time I'm gonna blur it. Blur just a little less. Now I'm gonna could yet another one name. It's debris three, actually. Degree three and I will use We define ones around here. Yeah, those are too small. Let's do it again. I will decrease the amount of scattering because it's too much for my taste and probably decreased account as well and just paint a few more Right over there I will filter a gambler and use Gaussian blur. But this time I will blow them really just a little bit like two pixels. And what I will do next is I will merge all of them because actually don't even have to name them because you're gonna merge them. Anyway. The reason why I do this is because I could create a layer mask. Now get the brush to and use a soft brush or any kind of brush, actually, and just remove some of them when you see there too many because it's hard to control where , actually there get painted because of the scatter effect and just remove some of them. We don't want that many. I think I'm happy with that. So see that you can even lower capacity of them if you want. But for now I'm gonna live it like so we're almost ready. The next thing we want to do is use camera, too, created like the final color and the final contrast effect on this background. And so this is like a pre made background, if you want, which will be our base to create the final manipulation. So let's use camera raw and create the final effects on the background 4. Background Camera RAW: you know, integrate the final effect. We need to merge everything into a single air, and then you can apply the fielders that you want to create that effect. So first, we're gonna create a new layer on top of everything the way you created, like, a snapshot of this. You can use a keyboard shortcut, which is shift option command E. If you're on Windows, it's shift all control E, and this will merge everything onto this new layer. My advice is not to delete this layers that brought you to this final outcome because you never know when you want to need them when you want to use them again. Sorry. So what I suggest you do is select all of them, grouped them and turn off the visibility. That way for shop does not render does those assets, and it's going to run a little smoother. So you also have the ability to come back here and change anything you want in case you wanted. And it happened to me more than once, especially when you live manipulation for some time and you just come back to it after a few days or a few weeks and you realize that you made a mistake or that you don't like something over there and you want to change it. So that's why I always leave. My later is there at the end is just work that I did, and I just don't want to throw it away. So let's name this BG final, and I will turn this into a smart object. This is just my way of working. I like to have smart objects because that way I can see the filters that I applied, and especially when making tutorials. You can kind of reverse engineer it and see what you did on on an image, so that's always to get a good thing. It does not take more space if he crew if you use the smart objects, but you have the editing capabilities later on, don't be so with this created. What I want to do is go to filter and use the camera Raw filter. Now for some of you that do not have full of shops cc or they're still using for shop CS five or six. There's a work around because you will not find a layer. The camera. Liza filter here So what you want to do if you don't? If you don't have photo shop CC is just go to file, choose save as and you want to save this image as a tiff file. So here in the format expand is go down here until find a tiff format. You wanna select tiff and remove the layers because it's gonna take a lot of space. And you don't want that when you say this, you're gonna give it a name like final Bagram or whatever you want and you want to open that image back in photo shop again. Now what you will see is that photo shop will recognize that as a raw image format and by default, it's gonna open it in camera raw because camera camera raw comes in all Photoshopped version. Seems they created it. I don't know what version they included it with, but it's going to open it in camera and you'll go. You're gonna have the same view as I have here. Well, actually, maybe a little different, depending on your camera roll version. But it's basically like having light from inside a photo shop, which is really nice now. I could run you through All the settings die that I tweaked here. You can do whatever I want whatever you want Here. Basically, what I did is that just give it a, I think a bit of a colder toned and increase the contrast and criticism vignette ing You can do whatever you want. I'm gonna give the preset that I came up with. So what you do is here on the on this icon on this hamburger icon click it and choose low settings. If he was an older version, maybe this button is not here to cycle. Maybe you'll find it on some other corner here. But it's usually someone around some corner around here and choose little settings. And inside the resource is fuller. You'll find two ex MP files. The one that you need here is this one background final choose load, by the way, did not mention wine in this Nick on The reason why I need this like that is I got inspiration from the Greek mythology. Nikkei was the or Nikkei. I don't know how you pronounce. It was the goddess of victory in the ancient Greek grease and she was one that it was like in charge of all the limb Olympic and games and all that stuff. And if you learn, if you studied marketing or if you maybe heard the story, the Nike symbol company comes from from that. If you Google just a quick surgeon, you'll you'll actually find that they come from there. That's the story behind the symbol, the logo and and all of that. So that's how I came up with this manipulation. That's why I had that winged woman floating on top of this So you can see the settings are applied. Once you use that preset file that I gave you, you might want toe tweak things around here If you don't like what you see. For example, on the HSE l most likely thing, this fire will not look nice. So just go to the hue slider and just took this around. I want to have it slightly red, but not that much. Maybe left that. And of course, you can add more vignette ng if you want. But the settings that I gave you work pretty well because at the end, when we could the final adjustments, we're gonna add even Morven acting and more effect. So for now, this is just the base. I'm gonna click, OK? And now I have my background ready for following along with the manipulation. So just this is how you can create a pre made background on the Internet. You can find lots of premed backgrounds, even on stock for stock sites, you will find all sorts of backgrounds that are created in foot shop, and this is how you can create one. So the next thing you want to do is at the model, make the edits, added the skin and then create the effects and the final adjustments off this and regulation. 5. Adding the model and retouch: So let's move on and and our model, you will see that I have her already extracted from the background. So that way I can advanced lot quicker and not spend time cropping her from the background . And it's important to use the correct size. You can make her really small. I think it's gonna were with all this. Well, this calls here, which are kind of big. So you wanna have her fairly big, like probably like this. Even if you cut out the wings a little bit, it doesn't really matter, at least in my opinion. So now we need to integrate her in the background because it concedes really white and just kind of sticking out too much. So you want toe, add some styles and some filters to integrate it for a little more. With the ban on, the first thing we want to do is go to the image menu, goto adjustments and choose shadows highlights. Now there's an adjustment that is not available as a later. That's why we have to go to the menu instead. And I have the values that used for the model. Let me just, uh, check them. So have 1950 62 for the shadows. But now, if you don't see the whole thing here to make you check, show more options on the highlights. The values that we have, our 53 22 102. Now, if if you add this values the color, we're gonna live it at zero click. OK, you will see that some artifact start to show up on the feathers around here. I will show you how to get rid of these a little later on on the next steps. Let's continue with integrating her on the background. If I deactivate the small fiddle, you can see that it worked pretty well. The next we want to do is go into the layer style. So I'm gonna double play here, and I will choose caller overly. Now the call that I used here, I actually just sampled it from the background so you can sample bluish gray stone like the one we have in the background. Click OK, actually going copy this value if you want, makes you have the blend mode to multiply and the opacity around 40%. Okay. What this does is darkens the whole thing even more. And now she's almost integrated in the background. The next thing we want to do is start smoothing the skin. Now, I don't know what you can appreciate on the video, but on the original image, this model images pretty low quality, actually, and is very have a lot of artifacts and things around here on the original. I did not spend enough time removing this, so I have to go back and do it. But I'm gonna show you how to do it yourself. Now, since the model here is a little smaller, some of the imperfections go when you shrink an image. Actually, so most of those pixels and noise it's going to disappear. But anyway, I'm going to show you how to fix that. For your images, create a new layer on tough clip it to the model there, and let's name it smooth. We will use the mixer brush too, so go to the brush tool, click and hold and choose mixer brush to on the top tools bar. You will see a Siris of settings. If you never used the mixer brush tool before, I'm gonna explain what it does. What this tool does is it makes his textures. So if you activate symbol all layers, which you have to do, you can use this to on an empty layer and you will sample the layers underneath, which is what we want, because we will have total control over this effect and we don't want to mess with the original image of the model. Next, we have a few values here. What I recommend is that you start with really low values so that this tool works really smoothly and that we don't have a lot of effect going on when you paint that where you can make several passes and you can build up the effect gradually so we have more control over it. One important thing here with this technique is that you activate this setting that says, Clean the brush on the brush after each stroke. That's important because otherwise we can. We will load the brush with all the colors that we have here, and we just carried those colors around, and that's not what we want. So you can start off with this settings that I have here with 19% load, 10% mixed, 7% and flow 27%. What you want to do next is zooming a little more and you will have to change the brush size as you go on set on different areas were in different areas that you have on your image. What I did is I actually this is my way of working. I changed the keyboard shortcuts so that I have the Q key as my reducing size and the W as increasing the size of the brush that way on my left. And I always have my left hand on the control shift and all those buttons. And then I also have my fingertips. I have the brush size keys, so I can really quickly go around here and start painting. Now. What you see happens here is since I have the sample all layers option checked what it does . It's also sampling the effect that we added on the model and in particular, discolor overly. So we have to deactivate that while we create the smooth skin. So I'm gonna select everything in the late and on this smoke later. I'm going to start doing this again and what you need to do here is go along the shapes off the body. You don't want toe, do something like you see what happens. We just like it's marched it. That's not what you want. So you have to identify the highlights of shadows and the shapes of the body and just go along. Those and a paint like that made multiple passes. Be patient and just do it like that. If you're comfortable and you know the technique, you can also try doing this smoothing effect using the frequency separation technique. It may be it works the same, but I found this to be pretty easy to do, and it works really nice now. This is not a fashion or high end retouching, so I'm not really caring about the pores of the skin. I just want to have smooth skin. This is a fantasy manipulation, and it works perfectly for me. If that's not what you want, you can try out of techniques if you want to keep texture on the skin. But that's not my objective on this manipulation. So just paint over their face when you reach areas where we have high and when have high contrast like for example, he will have this dark hair and the light skin. You really want to reduce the brush size because if you want make something like this, it started to remove the remove the details and is going to smooth the transition between the two areas, which is not what we want. So paint carefully with a small brush and really take your time here because it's gonna make a huge difference on the quality of your image. You can even remove color noise with this. See, how is much that shadow from here? Like so? So I have to be careful, just like Blanding things together. It's it's nice if you have a graphics tallit, it's gonna work a little easier because the movement is more natural. But you can do with the mouth just as well. Just be patient and be really careful. When you have high contrast areas like this. My advice is, did not even get close to this. So just on the side and that's it, or use a really small brush. Now, I'm not gonna spend like 10 or 15 minutes here painting. I just wanted to show the technique, but I didn't really keep waking on the skin, and you can do it yourself on the whole image, especially on the hoops. See that I have to use a small Russia. Just take your time and and use it, especially your hands on her arms. Very importantly, here on the wings, as I showed, you have artifact so you can use this technique to get rid of them. Now this is going to increase the time you spend brushing. But I think it's it's a fun process and one of the things that you have to learn him for show they have really patient on some stuff if you want to get really good quality and paying attention on the details, is where What is going to set you apart from the rest of the people? Because usually people just rush things and start creating really things. We fastest to start publishing stuff and get things done, but you will notice it. If you know where to look. You will start to see the imperfections, and I create them myself when creating two tours, because I have to kind of rush things because I have to get things done quickly so I can publish more tutorials before asking for tutorials. So sometimes I just show your technique and not going to full detail. But here, on the on the wings, what you can do is if you're the same setting on a tool, you will see that it's gonna take a while until you get rid of them. So what you can do is just increase the the flow a little bit and also the mix. And when you pay and you'll see this is has it like a harder effect on the brush and just start painting all the factors here and get everything nice and smooth. And as I said, this is gonna take a while. But it's gonna make a huge difference. As you can see, just let me show you. See that? Do you see this? This is awful. There's no way you can. There's no way I'm gonna print this for myself until I just come back and make everything look smooth and the same Here. You can see the difference, so avoid that. See, this year with this tool, you can fix it, click and just take a look just quick and smart. That shadow over the highlight and you don't have to worry about the edges because this is clipped to the model. So you can you're safe to go with that. I'm gonna show you what? It how it looks like before and after. I mean, assuming 100% again before and after you can see how much better it looks like you need patients and any time here, because it's gonna be Maybe this is the most items from a part of part of this manipulation . Now, once you're done with that, you can reactivate the can reactivate the effects and that it Now you will see that the skin problem looks too dark. If you want to bring back some of the contrast and the shine on her, what you can do is create a curves or level's gonna use curves also clipped to the model. And you can increase the contrast a little bit and not too much, just maybe, like that. And now I'm gonna invalid to the layer mosque so that none of the effect is visible. Get the brush to used in a bass city of 30 and flow maybe 30 as well. Make sure the brush is really soft and paint with white over the areas where you want to recover that that light those that contract that you just created with with the with occurs . Okay, so pain like that. I'm using a really low opacity and flow because I want to gradually build up the effect where I need it, especially here on her arms, her legs and her face. Make that stand out a little more. Okay, let me show the before and after before and after. So that kind of a bit of retouching is involved in this manipulation, and it really depends on your your skills on retouching and how far you want to go into the retouching part of it. Now the Mollo is we're done with her. The next thing we want to do is start creating the light effects. I'm gonna show you how to create the effects here on the bottom and how to add those wings on her eyes and make the light behind her. So that's what we're going to do on the next part 6. Create the energy effect: let's move on. And the next thing we want to do is create those energy lines here. I thought of them as being the souls of this skulls of here. So let's do that. We will create a solid color. We will use something really radish late. So change the blend of this too hard light. The next thing we want to do is double click to go into the layer styles. And now we will drag this underlying layer the white one to the left with option click. We're going to split it, and we want to have most of this colors visible right over here. You don't want to have something really restricted. Lie. So we wanna have something pretty visible like that and click. OK, now, this layer mask, we're gonna inverted with control command. I The reason why we have it, have it like this is so we could see where this white will be. This this effects are now with the brush. Use a soft brush, opacity and flow 100% color white. What you want to do is paint over the eyes of this skulls over here to reveal the effect that we just painted one there. So not only on the eyes, but actually what? You have holes? I think so. We have to modify the blend if options as I can see. Yeah, just a few ones. Do not overdo. We do not paint too many of them because you're gonna crowded too much. I'm gonna go back into the layer styles because I want to reduced this a little more. Like so. Here. From here, we can control the lighting. Sort of. We wanna have something like that That looks okay to me. Yeah, you can use this value Can see 0 10 13 45 I think that will work the next thing we want to do in order to create those lines. Those like she's sucking the life out of this depths calls already what you want to do. Just let me just click once there. What do you want to do now? Is duplicate this later? Let's name it soles. Okay. And we control Commander, you can duplicate that. We will rest. Arise it right. Click. Rest arise later. Right Click. Apply later. Mosque Now we have this points here standing alone Another thing that we want to do is double quick going to the layer styles and remove this effect here because when you duplicate away, it's gonna inherit this settings that would have here we don't need them one toe have this visible like so. The reason why we duplicated this is so that we have this effect standing right on top of the original ones and let's leave it on. Souls copy what we want to do next. It's changes the blend mode to not let it burn. Color bird. You can see it's re dark. Now what we want to do next is get the finger told us much, too. Let me see if I can find it, cause I use it just from time to time, and I don't really know where it is. Yeah, here is so get this March 2. Increase the strength to about 70 or 80%. 75. I think it's a good number. Let's see how it works and what you want to do here is first percenters. We want to use a soft brush or about maximum 20% hardness, and you want to use a brush off about 100 pixels. It depends really on the campus eyes that you're using for my canvas size 125 pixels is okay, and what you want to do is click on this point. If you don't see them good enough, leave them to normal and then you can change the line mode. After you're done, just click on that and just drag up So you will see you only a bit of practice with bears. To be honest, you will see that is not going to work right away. Now probably 75% is too much. Let me just lower it to 70 or actually to 65. The reason again, layering or multi pass is so critical. Make multiple passes and you can control the effect a lot better. A good way to make this look a little more realistic is to follow this the shapes of the skull. So, for example, here, instead of doing something straight, I would do something like this and gradually just move it up can increase the brush size if you want. Now keep in mind that if increased the brush size, you will also increase the the distance. We're this to works, So if increasing brush size lower down the strength a little bit. I'm gonna undo that. Do it again. You know, something like that can actually even bring down parts of that if you don't like how that looks like. Now, if you start from the bottom, I think it's gonna work better because you're not gonna mess with the ones that are on top , which already smudged. So probably start working from the bottom up also when you don't want to split them. So if you just make one stick with that and just move it up do not split the effect into tour multiple like branches. You don't want that. You don't want to branch them. You can merge them to one another. That's perfectly fine. But do not split them like a had there. Okay, Now I'm gonna choose the blind to color bird like I had, and now going to duplicate this with Control Command. J and I will change the bandage off this to screen. Now, what do you need to do now is on this one in the competent is on screen. You double click on it to go into the later styles, and we're going to go back to the the blend. If options start working with this, maybe with the whites now the whites is not gonna affect anything. So we wanna work with the blacks, not looking. Read that good. Maybe because the ones that are here are too dark. So let me try with leaner burn Actually, pretty much look the same. Maybe on multiply with control command you you can open the hue saturation and probably like things up. You're on the bottom. Let me leave it on color burn again And with the hue saturation make things a little brighter. Yeah, like that. And I will activate this and go back here and yeah, do something like this if you wants. You can also change the tone on the top layer, which is on screen. You can make it more a little darker or you can change the tone of them of those lines, and I will probably would like so at the end. When we use the camera, we're gonna This is gonna look a little batter couple going to use the H yourself module to change the rats a little bit. So now have the energy here. Let's create those wings on the woman's eyes. Now it's very easy to do that. I used in image, which I have right over here, off money. Go open this image with the magic Want Ally will use a tolerance. Um, about Let's see, 36% is OK. Make sure you check contiguous and click on the sky and the blue sky. This will select the entire sky and gonna all click the letter mosque so that it creates an inverted layer mask. Otherwise, he's gonna hide. You're going at this with the command I control are you can invented, and I want to also get rid off. This blue edge is how you do that. Well, it's really easy with the refined edge, right click on the letter mosque. Choose, select and mask. Or if you're using an older version for the shop, maybe it's going to refine edge of something like there. Basically, you go into this screen and first you choose decontaminate colors. Next, she has the edge. About 20% on the negative side. Increase the feather to three pixels. No, not more than that and a critical interest. Then you can gradually reduced E the and you increase the feather and see what you get. Click. OK, Now you'll you'll said, is gonna create a new layer when you use the the contaminated color is going to create a new layer. Just in case you have a backup with the letter mosque, you will go in here. You're pretty hard brush and just mask out any imperfections that you have. I'm not going to review all the while the whole edge thing here because I want to move on. But make sure you create something cool and that you don't have really nasty edges like for example, this one over here. So details like this make a difference. Attention. Now I will apply the law a mosque, right click and choose the plight later mosque and with the lasso tool I will select the entire wing like this and cut it with control X or Man X. Go back to my manipulation. I will paste that wing over here with control Video Command V. Now I will press control or command t and scale it down. The next thing I want to do is place this wing horizontally like this. Press enter. And now, when you load the free transform again with control T you will have a perfect square here. Perfect a rectangle. And what we want to do now is make it so like a V shape. How you do that? Well, right. Click and choose Distort. You want to bring this down and you can see the It's kind of stretching it a lot. So move it a bit more towards the the left and then right click again and choose warp. And with the war, you can click your entire segment and just squeeze it down. So which is pretty much we want to leave this thing going up a bit is gonna give it looks like it's, I don't know, more aerodynamic, I guess. And it looks pretty nice and I'm going directly the answers they stored again and just move this slightly to the side and probably know this down of it like so. And that's I think it looks nice. Next Oprah Center to accept my change. Press control command T again wrote it this and make it smaller and you don't have a too big, but make sure it goes outside the head. You don't want to have something like this making it bigger. It looks a little better Like that Cover the eyebrow or not really depends on you. I think it looks better if we cover it because we have this strong, dark line here which works nice. I will not copy the other wing. You should. But I think with this one looks better while it looks good anyway, just duplicated for us control community, right? Click, flip horizontal right quick and flee Poor is until I said Okay. Now the tricky part here is was not really tricky. But you cannot live it like this because you can see her. Have it stilted. So we have to compensate for that. How you do that well began with the free transform toe control t again or command t right click and choose this store. And here we have to imagine the plane off. What are have is stilted. So you have to come to reproduce that with with the distort rules, you have to imagine that this is your plane and you see from facing and have, like, tilted. The easiest way of doing it is using this top right anchor point and movie like so and this one down and like that. So I said, If you move it like so it's kind of like just flipping like just turning this away. See that? And that's what you want to do. Just imagine how the plane would be and just do it and I'm gonna live it there. Probably rotated slightly XO, and and we have the wings as easy as that. Let us, like both of them, control command e to merge them. So I have them all in one layer and listen. This wings off course, you have to make some shadows underneath so created newer under knees. Get the brush to reset the colors with the D key, a soft brush capacity 30 on floor 20 and just paying some soft shadows underneath. If you're wondering how I change them, how it changed the A passenger flow without touching. This is using the keyboard number, so the keypad. If you press eight, for example, you can see the opacity goes to 80%. If you press and hold the shift key, impress a number. For example, six is going to change the flow. So, for example, opacity and flow 20 and 30 to shift three. And his how changes really quick and it's saved a lot of time. So this kind of tricks, it's it's it's nice to learn them because it's going to save a lot of time on the long run , which I think it's it's really worth it. Next, I created some smoke here, coming out again. Get the brush to on a new layer. Uh, this call this kind of to vivid. So eyes paint long like that and opacity and flow 100%. If you go to 100% you don't have to press 100 Just press zero and it's gonna go to 100%. And if you want to go capacity zero that you have to press 01 is just going to 1%. So just thanked once there and once there and with this much stool again, a smaller brush and just create something like you something really weird out here. This service moke thing. If you don't like this, just don't do it. I think I looked cool. So that's why I did it. Okay, I'm gonna leave it like that. Oops. You can even change the color if you feel if you want to, But I'm gonna live it like that. Probably use a black moods. Collaboration? Yeah, you can try. Plan was, if you want. We lived on normal and probably just drop the lightness off the color just of it. So we're done with the energy. Let's greet the light behind her and that we're ready to move on and quit those letters and create that effect of zooming in in rotating met defacto. Let's name these smoke wings and create a new later. And actually let's group everything that is related to the model so that we have everything into one of groups. Like all the layers control G and name base model. Everything is here. I should I should not include that in the model later. But anyways, I'm gonna live it like that. So on this new of that I created, I will drag it underneath the model and on top of the background. And I will change the black none of this to screen like the brush to with the Beaky capacity of flow 100%. And I used sort of this aqua looking color and I used the big brush I'm gonna increase. The heart is just a little bit to about 10% and with a quick once over there. But I want a bigger effect. Okay, actually, let's use my inverse technique, which is start with really dark turn dark color. Use a big brush, even dunker. The darker you go with the screen blend mode, the less effect you will get So quick ones there that increase the lightness of that tone, decrease the brush size quick again and then use a really strong one with the small brush. This will make the light a lot more intense in the center and last visible on the outside and probably even more intense right over there. See what you get before and after. I think this looks nice. The combination of blue wand Radha thing looks looks cool. So we're done with this without with the light effects. Let's create that ring off strange letters on the background, which gives this really mystical look to this manipulation 7. The Ritual Circle using text and the Path Tool: in order to make that ring of letters there on the background, you need a fund which you will find on the resource is folder. I use a fund off Celtic characters which, if you want to stick with that mycological thing that I told you about, you should use a Greek letter. So I will include fund with Greek letters. But for this dude, I will stick with the ones that I already have installed on my computer. But I will give you both of them so you can use whichever you want. And I will create a new layer. You will need to select the Ellipse to which is the one inside of the inside of the vector shapes. And we want to use a path. We don't need a shape, even though it's gonna work the same on this new layer, we will start drawing a shape. If you press the option key, you will start creating. Instead of doing this, we're going to start to expand this from the center off where you clicked. And if you also President shifty, you will create the perfect circle and create a circle like so and we're gonna center this anyway, Now we have the path. If by mistake you select another layer or change the tool and you see it goes away, the way you recover it is go to the path Channel and just in the past tab. Sorry and click here and then you can move this In order to move it, you have to select their stool over here, which is the path selection to, and you can move it around. Make sure century on the woman's wings and her body. Go back to the layers. Select your empty layer. Let's name this text. And with this path active, we have to select the horizontal type till the text to now I will search for that font. It's I don't I don't remember. Name of itself. Take something like that. Standard Celtic Room selected here is important to click over the path. Not inside of it, because if you type, if a quick inside of it, there's gonna add the text inside of the circle, which is not what we want. We want the text to follow this path. So when you see that line crossing, just click right on top of that path. The text will automatically show up well in photo shop, Sisi is gonna add this Lauren ipsum text, which is OK, because anyways, we're not gonna understand any any of the letters here double click the to select the whole text. Simply just double click on the T icon, something on the later spell it and increase the brush while the Russian of the text size until he gets something that you don't want to make something really huge like this. This is not what we want. The smaller the text, the better it looks, but too small. It's not gonna working either. So something in between about if you see, have a gap here. What you can do is go and grab this past selection to again. And when you see this to these two arrows, just click and move this. Move the text around until you hide that Make sure you don't drag this click and hold Makes you don't drag it inside causes gonna john the text inside of that she which is not what we want. And there I still have to remove some of the spaces I can see here. All right. That like that and like that and one more here and we're good to go now. We have the text now. The problem is that we have. The problem here is that we have too much letter, so we have to increase the spacing. How do we do that is double click here in the text, we click the character. I can hear from window to his character, Pierre. Increase the spacing off the letters because there are too many letters here. Let's see thinks I think that looks great. Now let's change the color as well. Double quick and use a rad tune just like we used floor order for that energy on the bottom . Okay, now have the text. We have the spacing. Everything is ready now. We want to have some lower out double quick and add some drop shadow. And let's use the screen blend mode you can use out of low if you want. Instead of drop shadow, it's the same and use a red color. But if you use the drop shadow, make sure the distance had to zero in. Just increase the size and probably the spread a little bit. It's too strong. I think that's decrease the spread a bit on like so. And if you want to intensify the effect on the edge of each letter, what you can do is add inner glow. The next thing you want to do is duplicate this text layer with control. Ben J. And you want to rest, arise this right click and choose rest arise, type and delete the later styles You don't Even the next thing we want to do is create that zoom affect those lines that you see here merging here. And for that we will use filters. What do you want to do is grab first, The elliptical marquee tool with control Command are you can show the rulers so you can kind of create a split while this create this split the circling four. Cause you can create a selection now like that. And what you want to do is you want to grab you want this election to be as biggest as your text. Okay, on something like that, and then just, uh, adjusted so that the selection goes across the letters. The next thing you want to do is go to filter, go to blur and choose, um, radio blur from here, we will select the zoom blur, and we will increase the amount A lots to about that's living in 100% and choose the quality too. Well, let's leave it on good and click. OK, now you can see that we have that effect. You can do it again if you want. And if you want to have a stronger effect, we will actually duplicate this leader. The reason why we created this selection is to contain that effect inside of this off. That selection, otherwise is gonna expand also outside. And it's not what we want. We just want this to go on the inside. You will see that some of the letters like, for example, this one have this edge over here when you can do is use the the razor and with a softy razor. Just get rid off the off the hard edge and that's it. And just take a look. A quick look at all of the letters and where you see it simply get rid of it and that's it . You'll see that the fact intensifies after we do with a look at this letter. Now we're gonna change the layout of this letter to screen, and we're gonna drag it underneath the genuine text that we have there. Okay? And this is the effect. Now, in order to see the Love batter, we're gonna duplicate this a few times with control Command J 34 times until you see this effect shows up a lot better than select all of the leaders controlled Manti and change the landmark back to screen. Now we have to make that selection again. So let me get rid of the rulers, view clear guides, and I'm gonna do that selection again. I'm going to start roughly in on in the middle of that circle you can imagine more or less . Where is the center and make the selection again. Make sure the selection goes across these letters. And now goto filter go to you can say that selection, actually, if you want to have it, if you wanna guess with that centuries and draw it every time. And now I'm gonna get a filter, distort and I'm gonna choose twiddle. And here you want increase aside while the the angle to about 200 not more than 3300 degrees were okay Actually, it's too much. Let's do it again. Filter the start and twill. And actually, they used last about 180 degrees and boom, There you have it. That's how I created this lines, moving like it was gonna It's gonna quit motion and I think it looks nice. And that's how I created this those lines over there. Now, if the colors don't convince you, don't judge it when you reduce the zoom cause it's got three effect. The layer styles are are viewed different when you reduce the zoom. So until you you merge, everything is not gonna show as it really is. Now we're done with this. The manipulation, it's it's done. We're done with that. The next thing we want to do is make the final adjustments, which is what we're going to do on the next step. 8. Post production effects: Now let's move on with the most process before we do that. Actually, I forgot to add a couple of things. One of the image on images in the background, which is this orb off color which I created in photo shop. I want to place this behind the model on top of this light, and I want you to black mood to screen. This is just to give a touch of color to the whole thing and we move it slightly higher right over there and then some particles off fire off there on top of everything, I think I used this image over here from on Splash, not comments and great place to get stock images. And we're gonna put this on top off everything right over here on. We want to make it a bit bigger. The only thing that we need from this photo is this. Flying Amber's right over there and change the blend modes to screen to get rid of the off the black background. And this is how it looks like. You can make it even bigger if you want, so that you have bigger Amber's and even sticking part of that fire looks looks nice, but if you really make it to big, you'll have to blur this just a little bit. One pixel or so in my case is not necessarily because I did not make that too big. So I think it looks nice. I will live it there. And now we are ready to create the final effect. We will do the same thing that we do with the background. So what I will do Just create a new layer on empty layer and I will press shift option command e or shift all to control E on on a wind on Windows machine right, click and choose Convert a smart object, the smart object. And now I will create the effect with camera raw. So if you don't have for shop CC, just save it as a tiff file and opening back in photo shop, I came over all fielder and again here I have the final edits that I created. I will give that file to you with that precept. Actually, I'm gonna choose load settings, and inside the resource is fuller. You will find the Nikkei final dot ex MP and load that and full shovel adjust. Just add those headings that I created on the original. You can see that even making this myself. I do not have the result that I got from from the original. And that's because a lot of factors, mainly because of the color tones that use the contrast, so you will never end up with the same, not even myself. Making it again. I did not end up with the same result, but it's pretty close. So one of the problem I see here is that the background is kind of to greenish, so I could fix that with the temperature, I could move this more tours the magenta side and probably more a little more towards blue . And one of the things that does not that present does not incorporate is the filters that I used. I used some radial filters like, for example, this one over here. Actually, let's do it. One for the woman here, a little taller like that and probably a little whiter. And whenever you add a filter like this, make sure you click this icon and choose reset local corrected setting. So that resets everything. Everything to zero. We will choose outside because actually that leads us inside because I want to add it everything inside. If you want to use the outside, you can choose outside and probably increase the feather. And I don't know, you can create this slide vignette effect and probably change the temperature a little bit . Now, my advice is that you increase the federal quite a lot because if you don't and if you have something like this, watch what happens on the wings if you change the temperature. Part of the wings are blue and this other part is not tempted. So if you change the temperature, makes you increase the feathers. So they have a nice transition. Even though I would not mess with this too much because we will change the temperature over off the overall image. And when we're done with this, this is just to create local correction. So I will rather stay with the inside and probably increase the clarity so that the woman stands out a little more A. What else? Probably increase some contrast highlights. I would probably lower them a little bit. Also, you have the brush so you can paint with a brush. For example, the wings and then reset the local corruption settings. And you can. Then once you painted, you can see the areas that I painted. I could, I don't know, any clarity there, I don't know, maybe increase the highlights of lower highlights. I don't know. That's really up to you. What I will do, though, is I want to darken the bottom part. Somebody use a filter like this, a linear filter again reset local aggression settings. Otherwise, is just gonna get the previous settings that you use when you skim a rock, which is not what we want. The space between the green and the red is the transition area. So once you make a correction, you will see the what happens. This is the transition area, abs. Let's undo that. The bigger the distance, the smooth transition, and I won't make this a bit bluish. Maybe I will increase the clarity, drop the shadows a little bit and exposure just a bit as well and make it just a bit colder . Not much. That's enough, because we also have the vineyard effect Now. Once you're done with, that's like the hand icon. This will go to the overall settings and on the effects. You can make more one of a vignette effect if you want to. The mid points, probably for this one. I had it here because the other campus size was a little bigger and I will probably leave it right over there. What else? On the calibration. You can do some pretty cool things here. With the channels, you can switch the colors. You can see how that changes. Look at the reds and the and the greens. This one will. You will see a lot better on the H itself. For example here, this red things that we have here, Um probably too saturated. So I will probably the century it that a little bit from there or the illuminates Drop it. This will keep in mind that this will affect everything that text and the skin as well. So you might wanna faint something and then just do it and four shop. After we were done with it, I'm gonna click, OK to accept the camera. Raw change. And you can see the effect now. We're not done yet because we have to add some lights. I'm gonna get a new later. I will set it off screen, and I will now paying some lights here with us off brush. I will sample some colors here and see what we get. If I being just once there with the darker tone, this will create server or a fantasy looking effect from light that comes from behind. If you're a photographer and, like have of spotlight on behind, you will see that Or actually, even when you photograph against the sun, you can see this effect really clearly on on objects, Actually, not only on on the body. Okay? Probably this will look better and here as well. But that's too blue is Let's go more towards yellow. It looks better on That's kind of too strong. It looks a little better and read dark blue tone around here and probably around there. And then yet another one smaller brush over there. Anything that looks better Now, you could do something around here as well. You could try using radish tone really dark just to yeah, it's too strong. The darker the background, the darker the color you paint with has to be because you can see too strong. So really, really dark has to be when you paint on this side over here. Even there it's way too strong in my opinion. Has to be really subtle. I think so. Great. Now, now you're done. You're done with this. I will add yet another one. Another layer off solid color and I will choose a really bluish dark blue is still necks like so And use the bland mood exclusion and check it out. This is what it does on the shadows. It's gonna add this color and on the highlands going to set the opposite. That's what the exclusion blend mode does. You know, on the extreme, this is what it looks like. Yeah, I think that applies. And you can throw in some color lookups actually on the Bagram. I think I forgot to add that. That's why we cannot see Yes, I forgot to other. Let's let's do that here and see if it works. Um, I used to pre such process, which you will find on the researchers Fuller or you need to do is quick. Here she was. Load through the lot and look for the files that I'm gonna at now. One is PSD box B, A 21. It's not gonna work the same, I'm sure. But anyways, I'm gonna put this at 40% and then another color Look up with the preset be as the box B A 22. Yeah, it's not work is not working the same. Not even close, Because this should have gone on. The background is gonna have the model as well. So it's not working like that. Mike, I want to let me try some others. See, maybe I find something as well. That's great. Okay. And probably a, I don't know, some curve solar levels, just thinkers. A whole contrast contrast of the whole thing. Here we're done. It's not looking as the previous one because I forgot to add those color look ups and something. I also added some feathers and just to create a little bit off that fulfilled, I added, This father's here and then I blurred them. You can you can find them on the resources folder, and you can add them there and just at as many things as you want, like flying doves or crows or whatever you want to adhere to create more depth of field and or motion on the whole scene. One other thing you can do if you don't like the colors is a used maybe a graded map or even the hue saturation or the mix of the channel mixer. The TelMexL is great, but you have to know what you're doing because you can make some pretty you can pretty much mess up the image of you know what you're doing with curves. It's a little easier if you go to the blues because I want just to live with more yellow. I think it looks great, especially on the highlights. Yeah, that looks a lot better. And on the greens, if you leave a bit more green there on highlights and a little more magenta on shadows, check it out before and after is what's gonna to was kind of too cold. So this is the final effect. Let me show you the postproduction effect group everything. So this is how it looks with camera raw and all the effects that added, and this is before. So you can pretty much change the whole thing here if you know what you're doing. And if you're using the filters and and the adjustments correctly now you need a good screen for this because sometimes you I can see that here. I burned this out. This is not what you want. So you have to be careful with the adjustments that you make and take a look at the history of and see what you're doing. But this is pretty much how I created this manipulation. I hope you enjoy it. We've seen I think we've seen a lot of things. I covered quite a few techniques. Let me know what you think of this off this literally. If you if you you've got stock on some place or you are not understand some of the things that I showed makes you drop a comment and I'll be happy to to reply and explain whatever needs, whatever you need to know. So thanks for watching. And we'll see you next time.