Photoshop with Logan #4 – Freedom Ahead | Logan Susnick | Skillshare

Photoshop with Logan #4 – Freedom Ahead

Logan Susnick, Photoshop Master

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5 Lessons (26m)
    • 1. Class Intro

      0:21
    • 2. Place new text

      7:51
    • 3. Remove old text

      6:47
    • 4. Blend new text in

      3:40
    • 5. Final touches

      7:12

About This Class

In this class, you will learn how to replace a piece of text on a sign. This text is in a perspective which makes this project just a little more challenging. We will clear the sign to make room for the new text and we will blend it in so it looks like it belongs there. We will distort the new text and use the patch tool for the cleanup.

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Transcripts

1. Class Intro: Hello, students. And welcome to another photo shop with Logan Class in this class. We're gonna take this sign and make it look like this. We're going to replace the text. We're going to remove the old text, make the area smooth, and put two new text on top of it and make it look like it's to really think nothing complicated, very simple. So come on, join me. 2. Place new text: So first we need to decide what we're going to replace in this image. If you look at the content of this, you know, you have the sign here and then you have one word. You have another word. As you can see, these have some noise in them already. There's a bit of black here. See how much darker it is? Um, this side, there's plenty of noise. You see this noise here? That's like a jpeg compression. You know, this is not really on the sign. Basically, you have to decide if you want to replace the whole thing, where you want to replace just parts of it. Now I find it that it's harder to match something then to do it from, you know, from zero from scratch. So I think here because of this. You see this change? E. I mean, this wouldn't be that hard. You could use, like a mask with a gradation to create this type of effect. You know, like if you wanted to just change this text, you would then have to match what's going on up there. I think, dad, for this example, to make things easier, we're going to replace the whole, you know, text that We're gonna leave this sign here. It's it's up to you to decide what you want to replace. Like I said, sometimes it's harder to to match everything. Now if you want things to look more authentic, you probably wanna, you know, maybe preserve as much of this original is possible because it has that really kinda noise and scratches and things like that. But you could also add this later, Teoh give it kind of this, you know, distressed feeling. So let's let's let's say we're going to just replace the text and would start with that. So let me just you know, I don't like to work with a background lamb wouldn't call this original. And I might as well just duplicated and called this main because we will be using it like that and, ah, let's create a text layer now for this. We're going to use the basic Helvetica. We don't need anything fancy. So caution, uh, freedom ahead. Okay, I did something similar for for promotion. So, um, you know who make it philosophical or whatever. So for the color, we're gonna pick something that's as close to this. You see, this is dark. This is almost black. I want something that's faded. Maybe something in between said this was a little light. Maybe a little dark commune. It's too dark. Something in between. I don't know. I wish it had a bit of a Yeah, this is fine. It's brownish. So that's that's our text. Roughly. Now we get a said it approximately in the same size. Or let's see this. I usually like optical for summaries, and I like how it puts the letters together. We're not going to change any of this. This is already on bold. I think that's fine. This seems a little tall here. I mean, you could you could futz with this, you know, do something like this if you want, but we're not gonna do that. So basically what you can do, you can just rather than playing with numbers, just do the transformation. You know, do the command T or option T and just hold a shift key and kind of stretch it out a little , see what happens here until you get to the to the right size here, approximately so this the sea here And, uh, let's Let's say that this is This is approximately at I'm gonna hit. Enter Susie. What? It is like 75. Whatever. If you're like me, you may want to enter an actual round number 80 but then the bottom part we want to select , I double clicked on it to select it. We want to use different sized text. Maybe a little bigger. Let's go with 50. Yeah, I think that's fine. Approximately, we can always change itself. Uh, this is our approximate text and weight and color. And now what I'm gonna do, I'm gonna duplicate this layer. I'm gonna drag it down here to duplicate it. So this is our are what we can leave that we can call this text and then would have turned this off. And I'm gonna again go to command T or control t for transformation. And now I'm gonna hold command or or control, and I'm gonna drag it. But you see, when you're in a text layer, you can't really control every one of the edges. You see how it goes? A kind excuse. So we can't do that. I'm gonna exit literally escape, and I'm going to right click to convert this smart object. Now that this is a smart object, Aiken again do command to you. See how now this has this X here. So now I can command or control click on the edge, and I can roughly put it here on this edge. Take this one and put it here. Crab, this one again, I'm gonna holding control or command and do it like this. You wanna you see this left and you kind of you probably want to keep it straight. So you don't You know, otherwise you're gonna lose perspective. So you want this this side to be straight? It's only a matter of what you're gonna line it up with here. And we can we can say go for the top part of caution approximately. And here's top part. And here we want to go for the bottom. And also, we wanna, um, we can stretch it out a little, you see, But the end kind of changes the way it looks. Eso it's best to keep this edge straight and also line it up. Make sure that both of these lined up to the bottom. Don't don't switch. You see, like caution is smaller text and the original. So if we were to switch, obviously things would change. So create this kind of edge also. You see, N I'm sorry. We should go for the outer outer Reg here because and his way inside. So we're gonna go like this. So So the furthest point that you can select because this is center text. So we're gonna do it like that, and then just straighten this edge and go for the top on. Yeah, I think that's pretty good. I'm gonna get enter here, and I can't really see it. But let's turn to soft and you can see that this looks actually pretty decent. Now, this is not the only way. This is kind of the fastest way to deal with this command. T Normally, there's a vanishing point that you could use, and you could you could do that with with actual with actual text. You would cop Well, we're going to do the same. A different video that that's really precise. But we're not doing it like that. So we use command t we we control t. We command clicked or control. Click the edges and we just kind of put it in position. Now, we we use the bottom, the text original text a little bit to guide us. But we really need to get rid of it. So now that we have our text positioned, we're gonna for the next stage. We have to get rid of this this tax to place our text on top of it. So let's do that in the next video. 3. Remove old text: So now we're going to clean up this main level. We're gonna leave the original there to compare with for comparison, and we want to go in here and remove the stacks. Now, the easiest way to do it. And in this case, I think I think it's gonna work. Fine, because the way how will not clean, But it's fairly uniform and also noisy, which helps us. So what we're gonna do is we're gonna use the lasso tool to make selections just a regular life. So and we actually, we're not going to use my We're gonna use the patch to Really? But I was thinking last so because basically, that's how it behaves. You just select an area that you wanna that you wanna replace. You go around it with the last so type motion, and you move it, you click and drag to another area that you want to replace with. Now, you probably don't want to go too far because yeah, you can introduce. You see, it blends it nicely. I like to stick in the in the same area, so I'm just gonna go down here and you need to look out for any recognizable areas. Now we can We can fix that easily. But you don't want to copy something that's easily recognized. I'm just gonna go in, like, a couple of letters at the time just to make it a little different. And her goes now we can actually. Well, we'll come back to these later. Let's deal with a Here, do these three. Now the areas are getting smaller. Now, you see, there's this would be recognizable. So I'm just going to do it from here, doesn't it? Doesn't really matter on. I think we can do this in one piece. You could shift and had you see shift, there's a plus. And then option or old there's a minus two reduce certain areas just like a regular Lhasa. So you just drag. Now I'm gonna do it like this to show you see, it picked up this area, so basically what you can do, you can just select that again and and grab some other part. Now you want some of this noise, but you don't really want it. You don't want to repeat the same one. Or maybe you could repeat from from a different area. So, um, now what I'm thinking. Maybe we'll just get rid of. I'll show. I'll show you why we'll get rid of this, and we'll get rid of this and this. Um maybe this so like this. It's not at smudged now. Basically, I just want I think we can reuse thes this. These two distressed points, whatever they are, they're like, holes or something. Or maybe somebody was shooting at sign. Whatever it is. So what I'm gonna do, I'm going to switch back to the last. So actual last. So help. And, um, what I'm gonna do is just select this whole area, and I'm going to right click and do layer via copy. So now we have holes Just gonna call tolls and see what that is, and I can turn that off. I have that saved that. I'm gonna continue actually cleaning this, so I'm gonna go back on it, Jay, for the patch tool. Select this whole thing, including the smudgy area, and just do it like this. There it goes and do this from here. Whatever. End. There you go. So this looks This looks pretty good for the bottom part. Now let's do it for the top. And yeah, you want to get closer Word? There's noise, you know you may wanna get, but if you get very close, you will get that smudgy smudging because it's it's looking at everything that's there. Now, you see if you if you go too far, you're gonna grab right outside. So this should work. Yeah, this looks OK again. The first couple of letters. Now you see this noise here? There's something there. Some kind of Ah, smudge. Let's try to preserve that. She it even blended it nicely for us. Let's leave that, See if we can If we can bring it back in later, and that's fine. I'm gonna go for the rest in one piece. I'm using a mouse and I using my tablet. So we're gonna do it like this and again. See, we don't want this because we have it here. This looks okay. I don't know if that was had this we don't want on. That's it. So now we have the clean, clean area. Toe work will clean relatively clean. But, you know, now we can put our text on top of itself. That's good. Now, depending on what you're doing, you know, Let me let me zoom out to the actual you see, this'd actually looks Looks fine. As is, if you're doing, you know, a small photo like this. Really? This is you can you can stop right here and not do anything else because this is good, but depending on what you're trying to do, Um, as you can see there several things here that need to be that can be fixed first in the text. Now, when you're doing the actual text, let me just go back to the text layer. The original. When you have text selected, you have options here. Make sure you're on smooth because that's going to give you the smoothest edges. But as soon as you do some stretching, you're gonna there's gonna be some jagged edges there. So we're going to see if we can do something about that. Because you see how this looks. There's all this J. Paige noise and everything. It doesn't look that sharp. So you know somebody if you pay attention, see, at this level, you could see a big difference. Obviously, we said we're not going to deal with the color kind of brightness difference you could do that, too, but we want to maybe add some noise on top of this and just make it blend a little better. So let's do that in the next video. 4. Blend new text in: so to blend this sin, we really need to just deal with the with the edge of the text a little. But one of the ways that we can do this. We're gonna duplicate this text layer, and we're going to call it text noise, and we we will place it under this tax. But for now, let's just leave it here so we can see what we're doing. The first thing we can do is a blur it to you. We can use Ghazi Ambler. See, that looks actually I was playing with this before. You see, if you go for four, you see how how far the edge goes out, it's It's a little too much if you go for one. I don't know if there's really you know, there's a little bit of a difference. Just a touch. But you know, this J pig noises is pretty heavy. So maybe maybe to see, it's already getting kind of dark. But I think once we do the next step, it's gonna get better. So in the next, the next thing that we can do, we can add noise. We can go to noise, add noise, and I was looking at this before. And as you can see, uniform vs Ghazi in gives you see just ghazi in has its very, very busy, I think in this case, just, you know, I don't really know what the actual difference here is, but I can see that this is too much. And also in this case, normally I like monochromatic noise because it doesn't really attract attention. But here we actually have Jay Peak includes kind of colored noises. Well, so we want we want to use this one, and you see, the more you go, it just kind of gets brighter, and we don't We don't need that much contrast. You know, you can go saddle, or you could go something in between, basically, just go until it's too much and then go back a little bit. That's how I usually do it. So 20 was too much. I think 15 is gonna be okay. So, uh, let's apply this and then we can move this noise under our texts, and now you can see you see, if I move it now, it does make the text much bigger, and the and the edges is much kind of blurry. It's almost like a drop shadow. So what you can do, obviously you can you can change the opacity and that I think pretty much resolved issues. He just gets your agile little but a little bit smoother, little noisier. Now you can play with this. You can do more noise. You could do less blur. You can even go by hand, do do something or or, you know, do some sharpening. There's so many ways that you can do it. But the point is, you know from the distance that we're gonna be using this image. Looking at it like this, it's pretty sharp. When you turn this on, you see, it just blurs the edge enough for you to to blend it. So this is this is much better than the original. Obviously, if you were going like this, you would you would have to use some other techniques really distressed this edge or again . Like I said, sometimes it's difficult to bland, not to blend, to blend, and it would be much easier to just recreate this sign. And this way you can have uniforms kind of noise in the in the whole image. But you know, In our case, this is not really that visible. I think this does enough and gives you an idea of one of the ways that you can do this. And now what we can do is let's see if we can do anything with those with those holes and see if we can add some other kind of noise in the image. 5. Final touches: So let's see if we can add these holes back into the image. Now, Clearly, these holes air not ready for this as is so we need to First, we can add a mask to the Slayer. Just click here, made a mask, I'll take a brush and I want to make it bigger with square brackets. I wanna have all this is fine. It's a hard edge brush. Now here's the brush Letter B. And I'm using X to switch between these two colors because I'm in the mask. I just seemed black and white. So really would black. I wanna I want to just go around this and just cut out the parts that I don't need. I don't need the black that's from the letters. And you just want to get close, get your main parts separated. Now again, this is black. You could, you know, depending on how it blends with the background, maybe you can always get this back because it's just a mask. But we'll assume that we don't need all the black areas. So I'm gonna make the brush bigger to get rid of the rest groups. Ah, good. We do that. You gotta be careful on. And once I do that, I can go back to a smaller brush. I can pick up a softer brush and just go going to these These parts. Really? Just get rid of the black because it's really coming from the letters. So we'll see. I will deal with that. And like I said, you can always use the white brush to bring it back. Now I'm doing this kind of blindly. You could be good now. Well, now that we're disclose now, you can get your layers back and really see what? That what that looks like now, Obviously, we want the holes above the text there, there. And now you can tweak it. You see, the black edge doesn't really It doesn't really work while because it's kind of throwing this shadow or something. So you can you can do it like this. You wanted out here, but maybe not over over the letters. Although, you know, I'm zoomed in. Ah lot. I don't think anybody will be seeing something like this. So you have a little busy. Not This just looks decent if you want. Now I have these on the same exact layer. You could separate them and put him in a different position. I just let them fall into the same place they were. I'm just gonna go around the satchel more. And, uh, I think this is OK for this effect. Now what you could potentially do? Um, Let's see. Let's group everything that's here. So the whole thing, this is all our new stuff. So I'm just gonna do Commander Control G to create a group. So this is our Well, let's leave it Group one. I can also group the text itself in a different group, so I could call this next group and see, this is just the text so holds on top of the text. I can now create a mask That's just for the text. And I could go in and with the black brush on the mask for the text, I can kind of chip away on the text here. See, I can break pieces from the text if this looks right. You know, maybe maybe it doesn't. Maybe it does. I don't know. Yeah, I think it looks It looks better. Definitely on the here. And you know, this is how you could add some other distress to these letters. You could you could take one of the some wild brushes like these and make a brush really, really large and, uh, not only make make it large, but you can actually applies. It's not getting bigger, you know. Then you can just click here, see this kind of stuff or make it make it sharper and then blend it with different blend modes. There's someone in many ways that you can have noise noise to to an image. And so we added that, and we have this area here now, this was something that we left. We already have it in the background, and I think this should be fairly easy. I'm going to create a new layer here within within the group and, uh, whatever. I'm gonna call it Fog, whatever that is. It's not really fog, but it's like a smudge there. And, um, really, you just you can just use the brush and pick up this color. Now I'm holding all interruption to pick up some color like this, Or you can just go for something more gray. You can even grab it from here. And now you don't wanna do it very hard. You wanna reduce your flow? Probably to very, very low number. And you wanna have a slightly bigger brush, Make sure it's soft. Maybe you don't want to go bigger than this is. But, you see, I just do this a couple times now. Whatever this is, this is not the only way to do this. Obviously, you can play with different blend modes, but for this, you know, we just wanna blend that over our letter. So once you have that, obviously you can You can reduce your capacity on it. And you know this. This works from for what we're doing. Like I said, the more you you want to get picky, you can get picky with it. We can reduce turns, parents, even even mawr and maybe add a little more. So? So there you go. I think this is This is good enough for Well, we're setting out to do for just a simple advertising message. I think this works really well. Now, let's see the difference down this Larry's This is our group. This is our original before and after. So, as you can see you see, this is lighter this is darker. You could add a mask over the letters, maybe a blending of ah, colorize or something like that. But this is pretty good and definitely looks like one whole thing because we used to send these two and this doesn't even look like it's from a different place. So there you go. Not too hard. There are more complicated than the more common, you know, picky techniques of doing this. But like with anything else in Photoshopped, depending on what you need to do, you can always spend much more time on this. But you know, for our purposes, I think this is wonderful. So that's it for this class. I hope you enjoyed it. I hope you learn something new. And if you like it, please give it a thumb's up recommended, and I will see you soon in the next class. Take care