Photoshop In-Depth Compositing and Design 1 & 2 : Castle on A Cliff | Nawaz Shariff | Skillshare

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Photoshop In-Depth Compositing and Design 1 & 2 : Castle on A Cliff

teacher avatar Nawaz Shariff, Graphic Designer • Art Director

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

4 Lessons (35m)
    • 1. Introduction

      2:32
    • 2. The Beginnning — Painting on Wall

      10:43
    • 3. Castle on a Cliff — Matching Perspective, Lights and Shdows

      8:16
    • 4. Castle on a Cliff — Masking and Blending Colours

      13:51
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About This Class

I have Divided This Complete Course Into Projects Based Classes, For Easy Learning of Various Design Concepts and Techniques.

2d01d6d1.jpg


This course will be a great entry point for you into the fun and challenging world of image compositing.
From brilliant conceptual designs to high-end product photography, many of the pictures we see are actually two or more photos combined in Photoshop.

Compositing is a very crucial skill for you to have, it will help you both creatively and professionally. Whether you are working with products, Fantasy shots, creating concept art, or editing images. It is something you will utilize every day as a designer, and mastering it will take you far ahead as a professional designer.

And in this project-based learning course, we will build a strong foundation for compositing and design, starting with understanding the main ingredients for making a composite look realistic, that is by matching the Lighting and Perspective of different images.

  • Beginning with a simple example of placing a painting on a wall,

  • And as we advance, we will be creating fantasy shots

  • Cut out and place people in different backgrounds and environments.

  • Conceptualize creative landscapes

  • Create Custom Brushes

  • Master the techniques of selecting any object in an image.

  • Most importantly tackling the difficult task of selecting hair in all its details to create a surreal composition.

  • Double-Exposure Photography

  • Create Pet Caricatures

I have tried to deliver every section of the course to be clear and to the point.

  • You will have access to all the work files needed to complete the lessons,

  • Along with extra images to experiment with

  • And the final layered PSDs of all the chapters.

I hope my humble effort can help you in your design journey.

Dream Big, Keep Learning, And Let’s Get Started!

Meet Your Teacher

Teacher Profile Image

Nawaz Shariff

Graphic Designer • Art Director

Teacher

I am a graphic designer and an art director from India, working professionally, and teaching various aspects of design for over 10 years. I have a great passion for Compositing, Typography, and Motions Design.

Now as I venture into training online, I am extremely happy for the opportunity to share my knowledge with the world, and also learn along the way.

Dream Big, Work Hard, and Keep Learning :)

See full profile

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Transcripts

1. Introduction: Welcome to this course on compositing and design in Adobe Photoshop. Now what is compositing? Broadly put it is creating artwork by combining multiple images and making them look realistic. From high-end product photography, 2 billion conceptual designs. Many of the pictures we see online and in print, or actually two or more photos combined together in Photoshop. And this course will be a great entry point for you into the fun and challenging world of image compositing. And hi, my name is Nawaz Sharif. I'm a graphic designer and art director, working professionally and teaching various aspects of design for over 10 years. Now, as I've entered into training online, I'm extremely happy to have this opportunity to guide you through all the important details, styles, and techniques required to be successful compositing. Compositing is a very crucial skill for you to have. It will help you both creatively and professionally. Whether you are working with products, fantasy shorts, creating concept art, or just editing images. It is something you will utilize every day as a designer and mastering it will take you far ahead as a professional designer. Then this project-based learning course, we will build a strong foundation for compositing and design. Starting off with understanding the main ingredients for making a composite look realistic. That is by matching the lighting and perspective of different images. Beginning by creating a simple example of placing a painting on a wall. And as we advance, we'll create fantasy short, cut out and place people in different backgrounds and environments. Conceptualized creative landscapes. And master the technique of selecting objects in an image. And most importantly, tackling the difficult task of selecting here in all its detail to create a surreal composition. I have tried to deliver every section of this course to be clear and to the point, you will have access to all the work files needed to complete the lessons, along with some extra images to experiment with. And the final layered PSDs of all the chapters. And we'll also be adding a new bonus. Listen to this course every month. I hope my humble effort can help you in your design journey. So dream big cape learning. And let's get started. 2. The Beginnning — Painting on Wall: We're going to start off with a simple project. She'll give you a better understanding of what we're looking for when you're selecting two images to combine. And as we move along, of course will deal with much more advanced topics and techniques. So let us begin to open up the exercise files. You can also follow along with your own files. Open this desk background. Now my compositional idea for this image is to have a painting on the wall. It looks kind of empty, so I want a painting there. So let's go ahead and add that. We opened up the other two files, frame and the artwork. Frame initially did have an image on it, but I did not like it. So I'm going to replace it with this artwork. Let's go back to the background. And the first thing we have to look for in the background is the lighting direction. You can clearly see it's coming from the right-hand side. It's much more visible on this cup. And if you have any difficulty seeing that, can go ahead and add an adjustment layer, the levels. To try increasing the white value. You can clearly see the direction of the light is coming from the right side. Kinda the same thing with the shadows by adjusting the black levels and see its direction. And delete that. And the perspective on this is pretty head on. It's like the camera is centered. Don't have much perspective distortion on this. And let's go back to our frame. We have to bring in our work in this and just click and drag the layer into this file. So let's go ahead and first convert the layer into a smart object. This will preserve its resolution as you transform it, rename it as R and hit Control T. And hold on to scale it from the center. Enter. Now I'm on this painting to be into the inner rectangle. See this one. But now it's covering the entire thing. So we are going to mask it. Use the rectangular marquee tool and drag out a selection precisely to this point. Right? And does mascot, again just select it from there? Layers, panel, Add Layer Mask option. Perfect. One thing if you notice we have laws. The inner shadow can see it has a natural shadow here. And we have pleased the painting over it. Now since the background of this frame is already white, you can just blend in this painting. Go to the blend mode to multiply. And as you can see going back, our shadow looks great. So our frame is ready. And the first thing I'm gonna do is unlock this background. And group these things. Control G, name it as painting. Let's also rename our frame. We can just drag it again, clicking onto the group and bringing into our background layer. Let's look for good position. Seems nice. Not liking the outer layer of this. Kind of big. So let's try to mask it out. Select the frame I'm going to Control. Click on it. So it creates a selection. I'm going to the Select menu and go to Modify Contract. Now, let's see about 60. Kid that look good. And click on the Layer Mask. Alright, so the next thing we have to look for are the shadows. And as we know, the light is coming from the right side, the shadow H will be around here. And then let's select the frame. Zoom in and double-click on the layer, and click on drop shadow. When you're in this panel, you can actually click and drag the shadow edge. Clicking and dragging. It is quite harsh. So let's soften it by adjusting its size. Thing. About seven, looks good. Yeah. Let's go for 10. See how it looks. Somehow. Still need some adjusting. Let's go back and track the Intuit is below. We are going to need another shadow on this, which will be much closer to the actual frame. So click on this plus and then test. It will be much harsher. So let's reduce its size and drag it in a bit of opacity to 25. Okay, that looks good. Another thing which we have to look for is the intensity of light. As you can see, the frame is quite evenly lit, but the room is not. The light is from the right side and as it goes along, the intensity has to decrease. So let's get to it. I'm going to add a levels adjustment and make sure it affects only the painting group. So we have to create a clipping group of this and hold down the Alt key. And when you see this down arrow appearing, is click that. And this layer will affect only the painting and nothing else. So double-click on it. And as you can see, let's reduce the intensity of it. All right. Now we do need to affect the entire thing. The light is from the right side. So this part of the area should be brighter. And as it goes along, the intensity should produce. The best way to do that is to just add a gradient as a layer mask for the levels. So click on the Layer Mask, I'm going to select the gradient. Make sure it's the black and white. Now, whatever is black, I'm going to hide the adjustment and whatever is white. So let's click and drag. Need to increase the opacity on this. Let's try it one more time. Now, as you can see, the levels has no effect on this part, will gradually is affecting the other side. I think it's still too intense, so I'm going to reduce the layer opacity to about. Let's try 70. Then zoom out. And you see more room, look more realistic. I think the intensity is still a bit too high. So let's try 60. Okay. There's still something seems to be off, and I think it is the colors. As you look here. The color of the shadow, not actually agree. Kind of has a reddish tint to it, but our shadow is completely dark and gray. So let's try adjusting that. Let's go back to our frame, the shadows, and select the color. Let's try sampling or not, these shadows. It's too bright. You can see which color it's leading to. It's pretty warm shadow. So let's bring it down. Okay, Next, also copy the hex code for the color and apply it to our other shadow as well. All right, Let's zoom out. There's one more thing which you need to do is zoom in. You can see the edges actually looking very sharp. Contrast to other things. And see liquid. This is actually quite soft. So we need to adjust the sharpness of this frame is quite easy to, since we already have a mask on it. Select the mass, can go to its properties and add some feather. Feather of about 1.5. Good. So there you have it. 3. Castle on a Cliff — Matching Perspective, Lights and Shdows: So in this chapter, we are going to do something a bit more challenging and a lot of fun. Let's composite a castle on Eclipse. You can go ahead and open up the cliff one file. If you remember the background from our first exercise, we did not have to care much about the perspective. As the image was quite flat, all we had to do was make the lighting. But in this image, we have to analyze a perspective. So let's see. I've got my rulers here and hit Control R to get them. I'm going to drag out a guide. Now this line is what I believe to be the horizon of this image. I level. It's a place where you feel like the land and the sky is meeting, although it's not so clear on this image, we have to kind of approximate it. And the horizon line defines the perspective of an image. So in this case, we are going to put a castle somewhere around here. So the castle has to be above the horizon. So if you look at this castle and there's another castle, dust for example, you can see it's horizon is around here. The top part, and most of the image is going down. So the castle is actually going below the horizon. So in this case it's not going to work. And you can clearly see, in short from somebody top-down. So we have to look for a car solute has been taught from down, up. So let's open up our castle. You can try with all of these castles. It figured out they are going to work. But in this exercise I'll be using Castle three. You can also try the castles. They should work because they have a similar horizon. So in this, if I drag out a guide, you can see that most part of the castle is going above the horizon line is down. So I think this is going to work perfectly for our image. So let's bring this image into a clip. All right, let's get rid of this layer. Then guide. The first thing we have to do is converted to a smart object. I can right-click and hit Convert to Smart Object. And I actually added a shortcut to this because you'll be using the smart object a lot. So we can go ahead and add it from the Edit menu. And it keyboard shortcuts can go to the Layers panel. Lay down. Should look for the Smart Objects Convert. Now if I hit Control Shift O as the shortcut, let's rename our castle. Eats, make it a bit smaller. Although the lighting on this is not quite perfect. As you can see, it has lot of lighting on this side and goes a bit dark on this side and may have to match the lighting. Once we composite it, I think it's going to work fine. Now let's first create a very rough mask around the castle and see how it looks. No point in doing precise work and finding out not going to work right. So let us do a rough mask and see how things work out. I'm going to use the Polygonal Lasso tool and just click around it. Okay, the important selection, let's click on Add Layer Mask. Let's bring it over here. Hit Control T to transform. I want it towards the edge of it. Needs to be a bit more small. Right? Okay, now what I'm gonna do is turn the entire thing into black and white so you don't get distracted by color. And if we are able to match it in black and white, I'm sure you're looking at maybe a lot easier. Let's go ahead and add black and white layer on this black-and-white adjustment. Let's start with the lighting now. As you can see, it's quite late on this side and gets darker towards this side, would also be a shadow of this cliff. So we'll see how to match it. Now I'm going to adjust the contrast of this image first, they seem to be a mismatch between the cliff anti-causal. The castle seems to be a lot more contrasty. So I'm going to add a levels adjustment and make sure it's clipped to the castle so it doesn't affect our background. And hit the shortcut Control or G. Or you can just hold on Alt and click between the layers to clip it, to rename it as a contrast. Okay? The Black output levels on this. Just a little bit. It seems fine. And let's go ahead and match the shadows on the castle. As you see, the clip is quite dark on this side, but the castle still seems to be lit. So we need to darken this area. So let's go ahead and add another levels adjustment. May cure. It's also clipped to the castle. Rename it as shadows. Let us adjust the values. I'm going to darken it visually to, to kinda match this cliff. Right now we don't want to affect the entire castle. So I'm going to mask the levels adjustment and a layer mask and invert the mask and hit Control lie in order to, to black. Now I have to painting the dark values on the layer mask. So he'll be to select the brush. You need a soft brush. Make sure the opacity is around 20. Selector mask and start painting. Then hit the bracket keys to change the size of the brush. Let's paint and we're focusing mainly on the lower parts. And as you move up, you don't have to paint as much. And if you all click on the mask, can see it. In some more. Contain the opacity of the brush by just hitting the number on the numpad. Hit 450. Let's turn it off and on again and see it's blending quite nicely. In the next lesson, we'll create a precise mask or the castle and blend the colors with its environment. 4. Castle on a Cliff — Masking and Blending Colours: We're going to use the lasso tool. All right, let's fill the mosquito bite. Van Gogh's areas, pressing Alt Backspace, and fill it with the foreground color, which is white. Hit control D to deselect. Now I want to bring in some part of the cliff to the foreground as well. We turn off the cliff, select the background. I want this part to be in the front. So let's use the Quick Selection Tool. And select this part. Doesn't have to be precise because we'll be blending in the castle in debt. And just make a selection. Okay. Let's go turn on the castle again. Select the mask and hit Control Backspace. To use d. Background color is black. Okay? And let's start creating precise mask. I'll be using the pen tool. Since a lot of straight lines in this, it wouldn't take that long. I'll hit P for the Pen tool and start creating a mask. Now I've created this path. We notice that I've left out the flax on the castle. We'll be painting that in later. Now once the part is complete, you can hit Control Enter to turn that into a selection. Now we want to invert the mask. So hit Control Shift I inverted, go to our castle, select the mask and fill it with black. Let's go ahead and paint in some more details. Can double-click on the mass. And I'm going to change its density to about 60 percent. Now I'm going to use a paint brush with white as my foreground color. Can hit X to toggle between them. Right-click and silicon soft brush. Make sure the opacity is a 100 percent. I'm going to just click and shift click creates a straight line. Click, click. Contain the size of the brush by using the bracket keys. All right, let's take back the density to a 100 percent. Zoom out. That's looking nice. Alright, now let's bring in the bottom part of the castle into the clip. I'm going to use a soft brush and just painting. Shift click on the mask. Can see it has some nice transitions on this castle. I want this to be visible on our clip. Click again. Just paint in months I get this. I'm going to reduce the opacity of the brush. Continues from here. Electron 40 percent hit the Number 4, and that value will change to 14. Alright, once we are here, I'm going to use a different brush. I'll be using a brush called the Cloud and provided is brought to you in the exercise files so you can load up using this menu. Click on Import brushes, select the round brush and load it. Although it says cloud, it works great for fog. And also at smaller sizes, we can use it for breaking up organically. Lot of masks. I'm going to use it to bring in a lot of the foliage with you we have in the original image. You should click again, can see these lines here. To bring them in. Let's change the opacity to 80. Okay, it looks good in black and white. Let's turn off the black and white adjustment layer. Blending in. Okay, we need to adjust the colors. Now, as you can see, this kind of a reddish tint to the mountain on the clip. And many to apply a similar I just meant to our castle. So I'm going to use a curves adjustment layer. Make sure to clip it again. And let's go into the red channel, not adjusting the whole thing. From the drop-down menu select. Let's try increasing it. Till we match colors offer. That looks pretty close. Okay, Now the thing is, I want to add some more light towards the front side of the castle. So let's add another levels adjustment value. We don't want to affect everything, so flip it to the castle and add a Layer Mask, turn it into black. And let's go ahead and paint in brightness to the customer. We use a normal soft brush. Pin tin. Can see it's affected. Feel like we need some more blending in on this side. Okay. Zoom out. And I'm going to paint out some of the shadows like this. Levels adjustment shadows and highlights from some of the parts. Make sure you're painting with black because we are hiding the vector. Now in for some final touches, I would like to have some bread gloom around this area of the image. So I'm going to create a layer, empty layer, call it as blue. Just paint it in with some bright light. The size of the brush. Like to sample some of the colors here. And that seems good to just dab. And we have to change its blend mode to screen. All right, Let's go ahead and add some birds or something. Just for fun. So add this image here. Convert the background to complete by it, so it will be easier to blend in with our image. Let's drag it in. To pick a smart object. Right-click Smart Object. Rename it as Bert. Scale it down. Since the background is completely white, you can just use the multiply blend mode on this string. Got to reduce its size. We don't need all of them. So let's mask it out. Add a layer mask. Make sure you're painting with black as a 100. Start painting. All right. Now one last thing I would like to do here is to adjust the value of these greens. I think they are a bit too green compared to the clips. Let's go ahead and adjust that. I'm going to add another curves, adjustment. Clip it to the silica, the greens, try reducing it. Go back to the red channel as well. All right, now we don't want to affect the empire entire castle. So add a layer mask and invert it to black. And let's go ahead and paint in using a soft brush. Too intense. So let's reduce our opacity to 50 percent. We slowly and precisely letting it's deliberate, too intense. So I'm going to reduce the opacity of the layer to about 70 percent. Let's zoom out. Yeah. And that's our castle on the clip. You can continue to experiment with the other class limit is I provided, and also use your own images as well. We move on to our next chapter.