The Mockup Creation Course for Adobe Photoshop and Affinity Photo | Lindsay Marsh | Skillshare

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The Mockup Creation Course for Adobe Photoshop and Affinity Photo

teacher avatar Lindsay Marsh, Over 300,000 Design Students & Counting!

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

47 Lessons (5h 56m)
    • 1. Course Preview

      3:27
    • 2. The Course Guide and Resources

      2:57
    • 3. Introduction to Mockups

      5:19
    • 4. Creating Mockup Experiences

      4:39
    • 5. Shadows & Highlights

      7:40
    • 6. Introduction to Shooting Your Own Mockups

      1:07
    • 7. Tools anyone can use to shoot mock-up images

      5:01
    • 8. Planning your Mock-up

      3:29
    • 9. Composing your Mock-up

      3:49
    • 10. Setting up a Lay flat T-shirt image

      3:39
    • 11. Setting up a simple white space mock up

      3:16
    • 12. Setting up a curved Mock up

      8:01
    • 13. Premade Mockups - Jacket

      13:17
    • 14. Premade Mockups - Book Cover

      9:36
    • 15. Coffee Cup Project

      9:20
    • 16. Coffee Cup Project 2

      11:33
    • 17. Coffee Cup Project 3

      10:19
    • 18. T-Shirt Mockup Section

      9:19
    • 19. T-Shirt Mockup - The Tag

      8:52
    • 20. T-Shirt Mockup - The Warp Tool

      8:12
    • 21. T-Shirt Mockup - Downloadable File

      1:14
    • 22. T-shirt Full Pattern

      7:11
    • 23. T-Shirt Mockup - On People

      8:14
    • 24. Cardboard Box - Using Perspective

      8:01
    • 25. Art Poster Project - Warp Tool

      16:25
    • 26. Art Poster Project - Warp Tool

      5:37
    • 27. Bottle Label Project

      10:26
    • 28. Bottle Label Project

      16:16
    • 29. Brand Presentation Project

      10:17
    • 30. Brand Presentation Project

      9:32
    • 31. Brand Presentation Project

      9:06
    • 32. 3D Product Box

      7:41
    • 33. 3D Product Box - Adding Our Graphics

      8:43
    • 34. 3D Product Box - Shadows

      8:00
    • 35. 3D Product Box - Final

      5:28
    • 36. Adding Multiple Copies

      3:33
    • 37. What's Next?

      1:35
    • 38. Lesson1 AdobeDimensions GettingStarted

      7:02
    • 39. Lesson2 AdobeDimensions GettingStarted Part2

      8:54
    • 40. Lesson3 AdobeDimensions GettingStarted Part3 Materials

      8:00
    • 41. Lesson4 AdobeDimensions BusinessCardProject

      10:20
    • 42. Lesson5 AdobeDimensions BusinessCardProject Part2

      4:47
    • 43. Lesson6 AdobeDimension CanProject

      13:16
    • 44. Lesson7 AdobeDimensions PlacingObjectsonBackgrounds

      9:26
    • 45. Lesson8 AdobeDimensions All4Cans

      7:29
    • 46. Lesson9 AdobeDimensions All4CansStacked

      9:24
    • 47. Lesson10 AdobeDimensions EditinginPhotoshop

      7:05
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About This Class

This class on skillshare is split into two main courses, the first class (this one) features the theory sections that apply to all students as well as the sections I teach on using Adobe Photoshop and Adobe Dimensions to create mockups. The second class will feature Jeremy Hazel and his sections that use Affinity Photo and Blender and that skillshare class link can be found below...

Jeremey Hazel using Affinity Photo and Blender to Craft Mockups
Class Link: https://skl.sh/3hLLNmr

You can find most of the course resources in the project & Resource tab in the class. Because Skillshare has a file size limit for uploads I have also uploaded all of the sections .zip files on a google drive folder where you can download all of the resources in one place, including the two sections (t-shirt and branding presentation sections that were too big to upload in the resource section on Skillshare). You can find the google drive link here below...

Google Drive Resources: https://drive.google.com/drive/folders/1xnRn-28jBuTNYfsD3IjatFLepYmhD0no?usp=sharing

Have you ever wanted to learn how to create those awesome mockups you see everywhere these days? Do you want to present your design work or product designs in the best most professional way possible, making them both unique and polished? Do you want to create stunning presentations for your portfolio? Then this course is meant for you.

This course is massive spanning multiple projects and software. We will first learn basic mockup theory, how to best layout our mockups. We will talk about proper shadows and highlights and crafting wonderful rich mockup experiences.

We then teach you how to set up your own studio to take photos for mockups including t-shirts, iPads, bottles and more. Learn lighting techniques and photo editing techniques to make your mockups truly custom and unique.

We will go over the basics of pre-made mockups and how to customize those extensively.

Next, we learn how to adapt our designs and graphics to any photo imaginable, even free stock photos. We will give you the foundations needed to place graphics on t-shirts, apparel, mugs, boxes and more. We will learn how to apply graphics that have perspective and use warping tools to warp objects along curves to create product label presentations.

We tackle a presentations of for a  branding project so you can find ways to best customize and develop a mockup that adheres to the brands style, making it a stunning portfolio centerpiece.

We will create a 3d Box from scratch and learn how to layer in shadows, highlights and details to create any box style needed for any presentation.

There is even a whole section dedicated to using 3D software like Adobe Dimensions and Blender to create fully 3D product mockups that are hyper realistic. No prior experience needed in the 3D software as it will be taught from scratch.

What makes this course truly unique is it gives you multiple software options for learning mockup creation. I, Lindsay Marsh will be walking you through projects using Adobe Photoshop and Adobe Dimensions and Jermey Hazel will walk you through similar projects using Affinity Products including Affinity Photo but also a free 3D software option called Blender. So no matter your software of choice, this course is for you! 

Also included is a wide array of finished fully customizable mockup templates compatible with both affinity and adobe products! This includes branding presentations, t-shirt templates and more.

There are project files included along the way so you can work side by side with us without the hassle of creating your own designs first, giving you time to learn the overall process first. 


This course does assume you know the very basics of Photoshop or Affinity software but only very basic knowledge is required to take this course. It is gentle enough for most learners to follow along.

So, if you want to step up your presentation game and produce some killer custom mockups then let’s get started! 

 

 

Meet Your Teacher

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Lindsay Marsh

Over 300,000 Design Students & Counting!

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Transcripts

1. Course Preview: have you ever wanted to learn how to create those awesome mock ups you see everywhere These days you want to present your design work or product designs and the best, most professional way possible, making them both unique and polished. Do you want to create stunning presentations for your portfolio than this class is meant for you? This course is a massive, spanning multiple projects, and software will first learn basic mock up theory. How to best layout are mock ups. We will then talk about proper shadows and highlights and crafting wonderful rich mock up experiences. We then teach you how to set up your own studio to take photos for mock ups, including T shirts, ipads bottles and more learning, lighting techniques and photo editing techniques to make your mock ups truly custom and unique way will go over the basics of pre made mock ups and how to customize those extensively. Next, we'll learn how to adapt our designs and graphics to any photo imaginable. Even free stock booze will give you the foundations needed to place graphics on T shirts, apparel mugs, boxes and more. We'll learn how to apply graphics that have perspective and use warping tools to warp objects along curves to create product label presentations. We tackle a presentation for a branding project so you can find ways to best customize and develop a mock up that adheres to the brand style, making it a stunning portfolio. Centerpiece way will create a three D box from scratch and learn how the layer in shadows and highlights and details to create any box style needed for any presentation. There is even a whole section dedicated to using three D software like Adobe Dimensions and Blender to create fully three D product markups that air hyper realistic. No prior experience needed in the three d software's as that will be talked from scratch. What makes this course truly unique is it gives you multiple software options for learning mock up creation. I Lindsay Marsh will be walking you through projects using Adobe Photoshopped and Adobe Dimensions, and Jeremy Hazel will walking through similar projects using affinity products, including affinity photo but also free three D software option called Blender. So no matter your software choice, this course is tailored to you. Also included is a wide array of finished, fully customizable lockup templates compatible with both affinity and do be products. This includes branding presentations, T shirt, templates and more. There are project files included along the way so you can work side by side with us without the hassle of creating your own designs first giving you time to learn the overall process . This course does assume you know the very basics of Adobe Photo shop or affinity software, but only the very basic knowledge is required to take this course. It's gentle enough for most learners to follow along, so you want to step up your presentation game and produce some killer custom mock ups and let's get started. 2. The Course Guide and Resources: welcome to the course. I'm so glad you decided to join both Jeremy Hazel and I on this mock up creation journey. I wanted to take some time to let you know the basic outline of the course, as well as how and where to download. The resource is used throughout the course. You can find most of the course resource is and the project and resource tab in the class, because skill share has a file size limit for up loads. I have also uploaded all of the section ZIP files on Google Drive folder, where you can download all the resource is in one place, including the two sections, the T shirt and branding presentation files that were too big toe upload in the resource sections on skill share. You can find the Google Drive link in the project description. In the course, the course starts off with a section for everyone, including lessons that talk about mock up theory as well as lessons on taking your own photos at home for mock ups. This section is not software specific, and it's for all students. After the beginning sections, the course begins to split off, depending on which software you choose to use. I will start off with Adobe Photo Shop as we begin to learn how mock UPS air set up using smart objects before crafting our very own. Then I'll walk you through several mock up projects. Secondly, there's an Adobe Dimension section where we start off with learning the basics of three D software and finally will put together a full mock a project after the beginning sections. You can also choose to use affinity software like Affinity, Photo and work with Jeremy Hazel as he works through similar mock up projects with you. There is secondly, a basic blender introduction and Project. Blender is a free to download three D software, and it's great for those students who may not have access to the adobe software or subscription. Also, feel free to check out the other software projects. As both Jeremy Hazel and I have different and unique approaches to our projects, you might learn something new even if it's not your software section of choice, so never feel limited to crossing over to each software section and checking it out. We hope to continue to add new projects and lessons, so the courses time goes on, feel free to join our student Facebook groups to post to work and join in on the discussion . My exclusive graphic design student group could be found in the Facebook search bar by typing in learned design. Go Freelance. Jeremy Hazel has an excellent group that is focused on affinity software. You couldn't find hiss by typing in the Complete Guide to Affinity designer in the Facebook search bar. I don't have Facebook. That is okay. You could stay updated and joined discussions on my INSTAGRAM page at Lindsey Marsh Design or my YouTube at Lindsey Marsh, and you can post your student projects and the course in the Q and A sections as well. So I look forward to seeing your projects and let's get started with the theory lessons right now. 3. Introduction to Mockups: mock ups can take ordinarily boring product presentations and kick them up a notch. Mock ups help people to really see how a design will look on a final product like T shirts , hats, bags, milk bottles, posters, boxes and more. They can help sell products and advertising, or they can help you sell your own created products or a peril. They could make the difference in helping your portfolio look polished and professional, And they can help tell a brand story by crafting mock ups that incorporate similar colors, style objects and textures. There are many free mock ups you can find on the Internet, but they may not always fit your needs. You may see the same mock ups over and over in people's portfolio and product photos, making them lose credibility as a designer, creator or artist. One of the best skills you can masters, how to best present your hard work in ways that support and show off your unique style, or increase product sales with amazing photos. Take, for instance, this T shirt design looks pretty cool, but applying it to a real photo helps the viewer see the little ripples in the T shirt how the illustration reflects light, and they get a better idea of how the color looks on a real live human. It makes a big difference. It has been shown that photos that present a product in a realistic environment drives up sales more than a flat product photo. You see this all the time when shopping for furniture. Which couch can you see yourself sitting on the photo of the couch in the room with certain lighting can help the consumer see the texture and color of the couch better. Same goes for something as simple as a coffee mug. Which one would stop you scrolling on your instagram feed, not the plane design. For sure. Mock ups are also great. For example, package presentations. While there's some free or premium mock ups you can purchase or download, not all of them will fit the exact product specifications you're wanting to show off. This custom created box, for example, has an isometric angle showing off more of the total design both the side and the front, and this could be helpful and showing a client of box or a product design in its entirety. And that difference is even more dramatic with portfolio and design work presentations. We can present our design or bringing work like this. A series of perfectly ordered photos, but weaken supplement those photos with a wow or hero image that really helps to show that brands look and more detail like in this example, There are several ways to create mock ups that we're going to cover this course. First of all, you can use a wide variety of free and paid mock ups to create presentations. There's some really good ones out there, and we're going to learn how to customize them to make them more unique and interesting. This is great for those looking to create something quick, but still apply a slightly custom look to it. You can take an existing photo and place your own design onto it by using a wide variety of software tools. This is done by layering shadows and highlights, along with blending modes to achieve realistic textures. This works well for glass bottles or products that have complex lighting that is hard to replicate. You can also take your own photos and edit them, although this method takes a bit more time setting up in taking the photos. This is the best way to get that totally unique custom look. This is also great. If you have a physical product you want to sell in present. Another option you have is you can hand draw your products in mock ups. This works well for boxes and products that have unique properties and shapes that may have not be standard. Once you learn how to draw highlights and shadows and work with perspective, it's not as intimidating as it seems for products that have a continuous rounded surface like soda cans. Bottles are cardboard tubes. Sometimes it's best to put those together using a three D program. There is one called Adobe Dimensions, an adobe design program that is a great simple introduction to three D software. Because it's pretty simple and easy to use, you can quickly take stock. Three D models are. Download new ones and apply your flat design to a three D product or package and haven't wrap around 360 degrees around the product to master mock up creation. There's a few basic foundations we need to establish. First of all, we need to learn how to create realistic shadows and highlights. We need to know how to select the right colors, background textures for your presentation. We need to learn how to arrange the different environment elements to create backgrounds that support the presentation and do not distract from the main focal point. And lastly, learn which mock up method and software will work best for that particular Marca. So let's go ahead and get started and you're gonna talk about creating a presentation experience. 4. Creating Mockup Experiences: just like with interior design. Putting together mood boards can assist you in putting together your mock up presentations . This is the case for the color you will use for your background, perhaps any texture or any type of materials or angle you might use. Take, for instance, this fake brand I created for a record label, Roadway Records. I sore several photos I thought spoke to the brand style and sourced my color inspirations . From there, I took the chosen color palette and did what is called a color study with color studies. You place the local different colored backgrounds to test out your color palettes. Versatility. When you start to put together a T shirt design and later on a T shirt mock up, you will know which colors go best as a base T shirt color and which color combinations to use for logos or slogans. This works well for illustrative T shirts as well. For instance, we can discover which colors were better, and it saves us so much time. This helps you know which parts of the logo needs to be different colors. In this case, it may work better to have a two tone logo, having your mood board helps and figuring out background colors and textures. And this example, we know that using a gritty road texture might work best, keeping with the brands overall tone and voice. There are a couple decisions we need to make when coming up with the basic layout. Our theme for your markup Do we do a top down look? Are a flat lay, as they call it in the photography world. Flatly, mock ups are not only super popular, but they're also very easy to set up, as we do not need to shift or change the perspective of her products. There is also the isometric perspective. The isometric grid, as you'll find out later in the class, can help us one. Setting up our perspective for mock ups that require more dramatic angles a little bit harder to set up. As you have to fit your design onto something that uses perspective or different angles, they tend to have a more realistic appearance and show off more than one side of a product . You can also do really photo mock ups where we simply place a logo slogan design onto an object or product like this milk jug. These look the most natural, as they have shadows, highlights and angles from riel products setups you can set up and take your own photography and apply your graphics afterwards and software. If you're not a photographer at heart, that is okay. There's plenty of free and premium photos you can download or purchase they can easily use in place of a photo you take yourself once you figure out color, and what angle or perspective you're going to use now we need to figure out texture. Texture adds so much realism to product mock ups. Here you can see a box I created without any texture added, and this is with texture added. Sometimes it's that texture that makes a mock up a really come to life. Look out, though texture can easily be overdone, so be very careful applying it. Make sure you use textures that would naturally occur around the product or on the product . You would not want to use a rough texture on a can or lotion bottle or a steel matter metal texture on something that would be on clothing or cotton, for example. Now we need to think about the layout of your mock up. Will you be presenting multiple objects to introduce a brand or just a single object or product like an art poster? This is where we can start to set the scene and add complementary background elements to boost the presentation, for example, with his art poster were bringing in the poster to packaging to bring everything together. We also have to think about sizing of these different elements. What do we want viewers to focus on? First, never let a background element outshine the main focal point. The product or the design background elements should help support the overall narrative. Also, what sides of a design our product will you reveal? Is it the back of a T shirt design that's the most impactful that might change? The way you lay out your mock up is at the front of a brochure, for example, doing reveal a little bit of the inside to Does it lay on the table flat on a surface. These are all great questions when starting to plan out your layout 5. Shadows & Highlights: drawing and creating shadows and highlights is the trickiest part of mock up creation. They can dramatically increase the realism of a mock up if used correctly. When there are highlights, there are also shadows highlights, maybe small, like little glares on the screen. They could be a thin line, indicating where a light source is coming in from the side. Highlights and shadows could be simple or come complex, depending on the light source. First of all, we have a direct light source. This light sources common we're outside on a sunny day without any clouds are when you shine unfiltered light right onto an object. This cast sharp shadows without any blurring their intense and have zero fading. It's either there are not there. Direct lighting can be helpful in situations where your object will be shown outside on a sunny day, or, if you want to have clean sharp edges to your shadows. The more popular shadow type you see in mock ups is in direct light. This light is muffled by an object somehow, so the light is no longer direct. You see this in photobox set ups all the time where you can cover your light source with a filter. Indirect light sources could be light from a lamp with a shade or inside or on a cloudy day outside. If there's anything between the object and the direct light source, it can change the appearance of the shadows. For instance, this Styrofoam Cup this was taken on my covered back porch with indirect light coming from the sides of the porch. You'll notice how the shadow tends to feel blurry or softened. It tends to have darker shadows toward the bottom of the cup, and it radiates outwards and slowly loses its intensity. When we draw our own shadows for mock ups, we need to study these effects. And after this lesson, I want you to study shadows on everyday objects in your house. What does the shadow look like on a bright, sunny day outside? What does that same object look like in your bedroom? What does it look like with multiple light sources, like a living room with more than one lamp? Once you start to study shadows and highlights, you'll learn how their cast you always need to figure out where your light sources are and commit to that light source throughout the creation of your mock up, this means of shadows are cast to the right than the light source must be coming from the opposite side. That means shadows will never be drawn or casted to the left throughout the mock up, and the same goes for highlights with multiple light sources. It does get a little bit more complicated in this mock up of a cardboard box. You'll notice a thin line of highlights at the top left of the box. This is because the light source is coming from the upper left and you'll notice the entire right side is covered in a dark shadow. That's because the light sources being completely blocked by the left side of the box. You will also notice a thin shadow line on the highlighted side of the box. This is because the box likely curves at the bottom, and because of that curve, it cast a small, thin shadow right underneath, even though it's on the highlight or the light side of the box. So study those little details, and they make huge differences and creating that sense of realism a popular lighting theme you see in mock ups these days is showing a direct light source right on top of the object . This poster has a window as its main light source and cast it directly on top, creating an interesting effect. You could see it here in the examples. It has a super modern appearance as it embraces the light source and makes it a part of the visual experience. Highlights can look different based on the material of the object to. This milk bottle is made of glass, so it reflects the light source. You can almost make out the window pane in the glass. You can also see the glass cup reflected in the picture as well. And this is easy to create, using three D programs like Adobe Dimensions, Cinema four D and Blender. Very difficult to create this by hand, but it is possible if you become ah, highlight and shadow master. Shadows also giveaway in objects position relative to each other. Bringing this cash shadow of business card further away from the card adds more distance to the object From the letterhead below. You can given almost stacked appearance toe objects by adjusting their shadows as such shadows that are closer to an object make them appear close to the background. There are also shadows that move closer and further away from an object that indicate distance from the background or a table. This mask string has a shadow that pulls away slightly here, indicating that that portion of the string is higher up than the rest of the string. This seems like tiny little details, but it's those attention to details that make your mock up shine. Highlights can be added to an object for a curved appearance without highlights. This album cover looks super flat, although we know it has to fit a record inside, so it cannot truly be totally flat. Soto add that little bit of dimension to the album will add a sliver of highlights to make it feel more rounded. Also with shadows, you'll notice this has a soft light source, but you also see several layers of shadow intensities. One layer of shadows is very dark and intense right next to the album, and it slowly gets lighter. As you move away from the album, this paper curl slightly upward on the upper left hand side. Notice how the shadow changes there. It extends further out from the other shadows cast from them or even side of the paper back to adding rounded elements. Toe objects. This three D custom mock up has a thin, darker black shadow cast across the top to give the appearance of the box folding down onto the top. To create the box flap, you will notice a very thin white line around the box to indicate where the light source just gracefully catches the edges. You'll see the sharp shadow cast to the left, indicating a direct light source. Here are some three D cans created in adobe dimensions. Once again, you could see that darker shadow right below the object in the lighter shadow, moving away from the object. This would be an indirect light source. You could see the blurred highlights on the can, also indicating an indirect light source. You can also see to highlight points here that indicate curves on the top of the can. In a lot of cases, super complex, hyper realistic shadows can be achieved by taking a real life photo of the object. In this case, I took a photo of one of my kids breakfast bars I was able to trace over the highlights and shadows to create my own box on top. Once I added texture and a logo, I was ready to go at some wonderful built in shadows. From my photo, I left untouched hand drawing. Those shadows would have been really tough because of the soft blurring effect. Sometimes just using a photo just makes it a little bit easier. You could also use three D tools, like adobe dimensions to set your shadows and highlights two on products. This does require having a stock three D model or the exact object you want to use. If you're putting together design an object that is very common, like T shirts, this should not be an issue for us. A software comes with several stock three D objects like that. You can study light and shadows and any three D program, plug in an object and change the lighting source and direction to see how it behaves. Creating realistic shadows and highlights takes time to master something I hope you really get comfortable with throughout the rest of this course. 6. Introduction to Shooting Your Own Mockups: All right, gang, welcome to this section of the mark. Of course. Now, in this section, I'm gonna go through what you could expect from this section of the mock. Of course, this lesson here is just an introduction. So what I'm going to do is I'm gonna go through and I'm gonna show you how I shoot mock ups and all of the mock ups that I'm going to shoot will be used in the affinity section off the course. So whether you're in photo shop, whether you're in affinity, these tried and true methods with the tools that I'm gonna use allow you to create mock ups regardless of whichever software you're trying to use. So there are common things like using white objects so that you can colorize them, making sure your lights aren't too crazy and making sure that you get the appropriate flat lay in the right shapes. So we're gonna cover a lot of that when we shoot, and I'm gonna show you how to shoot a variety of different objects. So that's what we're doing in this lesson. If you want to go ahead and shoot your own, this election will be valuable to you. If you decide to use predawn mock ups, then you may just want to skip to the section that matches your software. All right, let's go ahead and get started. 7. Tools anyone can use to shoot mock-up images: All right, folks. Jeremy Hazel here from Seven Seasons Studios, and I'm really excited about this course. I wanted to do a mock, of course, for a long time. And my biggest value in the mock up course aside from Infinity photo is showing you how to shoot them. Now you're in my office here. I've got 90 square feet, and this is a standard, just wide old card table. So what I'm going to do, I'm gonna show you how to make the mock ups for this class using everyday materials. So I will be using my Panasonic Limits camera. However, I will a lot of times shoot mock ups using my cell phone, right? Very simple. The important thing with cell phone is you can get camera APS that have raw capabilities. I still like raw, even on a cell phone. So even if you don't have a professional camera, you can snap a professional picture with your cell phone. I'm not teaching cell phone photography in this course. So good news is there's a course for that later on down the line somewhere. But what I am going to do, I am going to forego all of my fancy studio lights. I'm not gonna be using my soft boxes. And I'm gonna show you a little bit about what I work with when I do mock ups because what I want to show you is you can work off from bare bones material and achieve some really awesome results. So one of my favorite places to go is the dollar store. So I've got a couple different mugs. We're gonna be doing some mug mock ups here. I've also got a set of flip flops because apparel markups, air huge and speaking off apparel. The first thing that we're going to show you how to make is this full flat using this basic white T shirt. Now, you might have seen a theme here. Everything that I'm using for mock ups is white, and the reason is we can apply color layers to the mock ups. But if you have, say, a bloom, aka it's very, very difficult to change the color of blue and a black mock up, that's just impossible because there's no real light and dark values. So I liked working white, so all of my mock ups are done in white now because I'm interested in glasses. Well, we're gonna go ahead, and we're gonna be doing a couple different glass things, right? So we're gonna go ahead and shoot this bottle, and we're gonna shoot this candleholder and because on four going all of my fancy studio lights and such, we're gonna be using these $5 target L E D lights. Right? These things are your basic desk lamp. I like the L Edie's because you don't really have a bright light. You have a lot of diffusion there. But again, any desk lamp of work. What I want to show you is you can make do with anything and to help with spotlight. I've even foregone my flash, and we're just going to use a standard old, ever ready type of light. Right? So this is just a dollar store style flashlight. Now, what am I gonna do about soft boxes? Right? Because a lot of times when you go to turn these on, it's gonna be super bright. I've made my own basic diffusion box here. This is a piece of parchment paper from a cut out T shirt box. So all I did is I cut a square and I stretch parts from paper over it so that this thing when weight is applied will sit in front of that light and defuse that life through. So I don't get the harsh light. So everything that I'm gonna be working with you can buy at any sort of department store, any sort of general merchandise store. And what I want to show you is you don't need fancy equipment in order to do what we're doing with mock ups. When it comes to backdrops, I'm gonna use just a plain old black piece of cloth. And when it comes to different reflectors and such, we're just gonna go ahead right now and we're gonna make just simple posterboard. So what I have here is two pieces of foam board, one black, one white. That's all we're really gonna be doing with this. So everything that I'm going to show you is commonly available. And the goal in these mock ups is to show you how to shoot on a budget, using minimal materials in the space that you have now, the one piece that I am going to use, which helps out a lot. I'm gonna go ahead and move the camera here through the magic of editing. You're not going to see me get up. I have a fixed position to do my lay flat. So what happens is the camera is going to be mounted to that fixed position. There, you'll see my audio panels. So that's the one thing that I am going to use. However, you just need to find some way to suspend the camera from the ceiling. I don't care how you do it, get inventive, get creative. So that's an introduction to the type of tools that I'm gonna be using. Everything that you're going to need. You can buy the department store. I'm not going to use any special equipment. Let's go ahead. And it started with the lay flat now because I have to shoot with my camera. I'm gonna explain everything that I'm doing while I'm getting ready. I'm going to snap a photo of my set up, and then I'm gonna narrate why I made the decision that I made. So let's go ahead and get started in this mock up course 8. Planning your Mock-up: All right, folks, in this section, we're gonna be talking about shooting mock ups. So this is a quick three minute theoretical lesson. Before you begin planning your mock ups, the first and foremost thing you want to be thinking about is your audience. Now, if you're shooting mock ups for yourself, the audiences, you. But if you're looking at selling your mock up packs, you want to be thinking about what your customer wants to do with it. And the thing that I'm going to talk to you about very in depth is the power of potentiality. When you think about marketing, the potentiality of what your customer could do is a powerful emotional driving factor. So let's say, as an example, that will give you a real life example. We were going through and we were at the furniture store for the Kobe thing, and they had this beautiful multi piece dining room set up. Looked like a set up for a family dinner. And my wife looked me and said, That's kind of cool and I said, Yeah, I said, we could probably get that. Listen, we could have the family over And she said, How many times the last six years we've been together, have we had family over. And secondly, you're an introvert, so you don't much like people in your home. But it was interesting. The way that they had staged it allowed me to feel that I could potentially have people over. And so it was a real consideration as to whether or not to buy a table that we probably would never use. So when you think about mock ups, think about what your customer or your audience is going to want to do with it, because let's say that you put the mock up in there and then you put some sort of a word in there, right, cause you're selling state posters or something. What is it? Where is that poster hanging? That the person who buys that wants to believe is possible? The same thing with business style mock ups. A lot of times you'll see mock ups with people gathered around an iPad and everybody looking like they've just solve world peace and such. And it's because with that technology, whatever the solution is in the iPad in the way that the products presented, it's possible that that team could achieve a high level of performance. So think about potentiality of the product. What is it that the person who is going to use your mock up wants to believe that they can do also think about giving space. This is important in Les Flats because if I see a lay flat and there's 900 little things running around in there, there's no room for my product, which is why I bought the mock up of the first place to breathe. If I'm putting my designs and my illustrations on, say, a coffee mug and the coffee mug is this much of the design and everything else is taken up with plants and weird stuff like that. That's not going to be the mock up for me. So always consider what your audience wants to be able to do. Think about that when you arrange your mock up, which is a totally separate lesson, and make sure that you are harnessing the potentiality for your product because that's going to drive the emotional response. If they can picture themselves with their brand in your mock up looking the way that they wanted to look, you will have a higher conversion. All right, let's go ahead and get into how to actually composite these 9. Composing your Mock-up: bar I folks welcome back to mock up, so this lesson is going to be more technical in nature. This lesson really harnesses Ah, lot of the mock ups that you see, and I drilled it down to a fundamental Siri's off four things. So we're talking about composing here, mock up shots when you compose your mock up shots what you're going to want to be thinking about first and foremost hardest. The rule of threes, right? In photography, we talk about those thirds areas being essential to point of focus. Now. I'm not here to talk about the rule of thirds, but even in the design world, if you've got three objects on the shelf and they have three different levels, you're going to have more visual interest. Odd numbers, for some reason, tend to work better in design compositions than, say, even numbers. So usually when I look at mock ups, there's no more than three or maybe four things I would say Keep it to three. The only time I see four is where they're trying to create a lifestyle mock up in which they've got the hat, the sunglasses, the boots, the shirt, the coat right, and they're selling the entire experience. Now the other thing, Keep focus in mind. Remember that the I will go toward those things that are in sharper focus. So if you want this customer to be seeing your product at this point, make the rest out of focus. You could do lens blurs. You can go, Go. Schindler's you can do anything you want with it. Really? Sometimes the way that I shoot, I tend to have a lot of extreme focus in the back part. And I keep the front part generally hazy. So we're gonna be treating our mock up the same way the third thing that you're going to want to keep in mind. And I mentioned this and other videos make space. Now what do I mean by make space? Do not crowd your mock up when you compose your mock up. Think about what somebody wants to be able to do with it. Then think about the space that they need to present their product and put first things first. Now, the other thing that I'm gonna tell you, I call it angles, right angles and accents The way that you look at this When you start shooting, look at the angle at which it's presented as an example. If I'm doing a technological piece, let's say on an iPad. I don't want to lay that iPad completely flat because then when the person who's using it has to put their image on it, they have to perspective, warped that thing down until all of a sudden, you can't hardly see it. So think about it. Usually this is reserved more for cinematographers, Let's say, But think about the angle that you're shooting and the accent pieces that you're putting with it so you might have three pieces. They might have good focus in your shot. But yet if the angle is wrong and it's not strong, you may have issues going forward. Your mock up won't be as good as it could be. Now, the last thing that I will tell you you're going to want to pay attention to your lighting . Sometimes you want an ambient soft light. Sometimes you want a very hard light. If you're doing a lot of screens, you don't want a hard light because now you have to take multiple shots or you have to go through and heal the image. And when you put your mock up in it, it could very easily get jacked up. So think about your lighting. Think about your angles in your accents. Think about your focus. Give it room to breathe. And I guess I went to five. Consider the rule of threes when you do your mock ups. All right, let's go ahead and shoot of you. 10. Setting up a Lay flat T-shirt image: Alright, folks, let's go ahead and marry. Why made the decisions that I made? So you might see the camera cord or the microphone court come into the shot. But turns out I'm to get down on the floor here, and I'm gonna be working right alongside you. So the reason I made the decision that I made when it came down to the black background is I wanted a good contrast with the white shirt. So what you're going to see me do here is take this black posterboard and I'm gonna overlay the pieces because what I really want to do when it comes time to edit this thing, I want to be able to just one and done right now. Every time you do a shirt like this, you want to make sure that your caller is pressed really well. I've pre iron this thing, and you want to make sure that you've got minimal wrinkles. Now you see, down here along the bottom, we're gonna go ahead. We're gonna tuck this under a little bit because I like this to be solid. If you don't want to go ahead and do that, you can always just go ahead and cut it out in your clipping mask. Plus, what you're gonna want to do now is this is gonna be wider because it's supposed to be on the side of your body. You want to tuck the sides in because nobody wants to buy a shirt that makes them look frumpy. So what you want to do is you want to make the sides taper in. Okay, so we're gonna put a little bit of taper on it. Gonna smooth that out a little bit. There's gonna be no perfect. If you wanted perfectly perfect, you would have done a vector image. Right. So now I want the front of my sleeves. The top portion here. You see where this is? I want to tuck this just a little bit in, okay? I don't want to flare out a lot, so we might do a little bit more tucking, and we can change this in post. So what I'm looking for here is a nice, solid crease, and I want this crease to be on the same on this side. I'm gonna go ahead and tuck this in as well. I'm gonna make sure that we're good here. Now, Some people will put there to show paper inside of this. I personally don't like that look, So I don't I like my fold flats or my life lacks to be actually flat. And if your sides aren't perfect, that's okay. Turns out the magic of editing. We're gonna be just fine. Okay. Now, don't forget the tag. Make the tag stick down. You don't want the tag sticking up. Get that right where you think you should be. And remember, people are gonna be looking at this shirt to determine whether or not it will fit their body. So that's pretty darn good. I'm happy with that. Let's step back and take a look. Now, why did I make the decision that I made regarding the lighting? Because I want a very bright light down here because I want the wrinkles. Now, looking at this here, I know I've got to come in with this side a little bit more. All right? Maybe not that much. Okay? Make sure we didn't undo any of our work. All right? Now, when you shoot it, make sure you shoot it raw. I like Rob because it gives me the opportunity to go in and post and fix some things so pretty happy with that. Let's go ahead and shoot. 11. Setting up a simple white space mock up: Alright, folks, let's go ahead and take a look at how did you just your basic average everyday white mock up So a little bit about my set up Each one of these videos is just going to show you the set up. So these videos air about how to set up your shot. So I'm using everything that we talked about, everything that I said I was going to do. Now we've got this white poster board in the back here. I've got a green screen here. What you don't want to do is you don't want to get so close to the green and you don't want to shoot against the green because it casts a shadow against everything. So you have a brightly colored wall of some color. Make sure that you've got something around it. If you put it up against the wall, whatever the tint is on that wall will come back down onto your set up. And as we want this to be kind of a white neutral set up that would absolutely destroy it. Now, the other thing that I've got here, I've got my led desk lamps and I'm gonna reach over here, and I'm gonna get my handy dandy diffusion box. And I'm just gonna set my diffusion box over top of that light. So I've got one light coming into here. Now, the other thing that I'm going to do, I'm gonna put another light here. And this is another trick that I use. Ah, lot of times you can take a paper towel, put a rubber band on it, and that will diffuse this light so that you've got it coming from two different sides. And just to make sure that we don't have any under lit areas, I'm going to take a destroyed cardboard box, right? That's right. And I'm gonna go ahead. I'm just gonna place it right about here so that they don't get any under lit section here now, following our rules of composition to be covered earlier in this course, I've got three objects. I wanted to do a coffee cup because I wanted to do a white mock up. It's on my table, and I wanted to keep it very, very minimal in terms of the color. So I went with my cell phone, which was black, and I found this composition book anybody that's gone to any sort of school knows what this is. So it's something that's also relatable. So what I'm gonna do here is I'm going to set these up now. The thing that I want to primarily show is the coffee Cup. But we're gonna do a coffee cup and we're gonna make this side modifiable So I want a lot of surface area here. I don't want the cellphone totally overpowering it. So I'm gonna go ahead. I'm gonna set it right about here. Now, the shadows for this thing are going to be coming this way because this light is a little bit more aggressive, so I think that that's pretty good. So what I'm gonna do, I'm gonna go ahead and take a shot like this. And now remember our lesson from composition when we talked about angle with this one, I'm gonna be right down along here and I want to pay attention to that horizon line where that board meets that table because that's going to be the horizon line when I do compositing leader that I need to line all of my images up against. All right, So that's how I would set up your basic white Let's go ahead and take the shot 12. Setting up a curved Mock up: All right, folks. Now, let's go ahead and let's shoot the most complicated one out of all we're gonna dio we're gonna go ahead and we're gonna take this bottle because I want to show you how to do some curvature. Mock ups. So, in affinity photo the curvature function is not as great as it is in Photoshop. And being able to shoot a curved objects, especially glass curved object, is going to be a bit of a challenge. So notice that I haven't changed my set up much from shoot to shoot to shoot. I like a good ambient light once I get my lighting right. It's just then a matter of manipulating these two lights, figuring out where to put my deflector there so that we get a good even lighting. I tend to do a lot of my lighting adjustments in post. So what we're gonna do here is, first of all, because I want something in the bottle, we're gonna go ahead and fill the bottles. We're gonna have the editor go ahead and speed this up there because quite frankly, I'm gonna be super slow with this Now why am I filling the bottle with colored liquid. I'm filling the bottle with colored liquid because I need a color in order to remove and change inside of there. Not saying you can't do it. If not, but it's one of those things that makes it just so much easier. Now I really like the bubbles in this as well. So I chose a carbonated beverage. The bubbles are gonna add a little bit of atmosphere. We could do some frequency separation on it if we so choose. The challenge with composites is not only do you have to shoot the image a lot of times, but you also have to edit the image a lot of times. So now we have our completed bottle. All right, now we're gonna go ahead. We're also gonna be using this flashlight now the flashlight. When it comes to the back of the bottle, we're going to need something to defuse it, similar to the paper that we've got there. So what I tend to do is I take just some average Kraft paper. You can use whatever type of old paper you want, right? Certainly, printer paper will work. And what I'm going to do now is I'm going to go ahead and I'm going to trim this paper toe fit this bottle and what that's going to do for me when I shine the flashlight through it, that means it's not going to come in all business, right? So we're going to get a much subtler life. We don't want the paper to interfere with the bottle, so I think that that's pretty good. They're gonna go ahead and trim out the neck. Just a little techniques like this usually come also after a tremendous amount of headache in several hours of just being extremely frustrated with the fact that you're lighting isn't going correct. All right, throw some masking tape on the sides here. You don't need a lot of it. You don't really want a lot of it because that will also impact the light that's coming through. So don't go crazy with it. Not trying to adhere to the bottle for the rest of its life. Let's see. Let's do this. Rip the neck off it right there. Go. Okay, go ahead and hug that up. That looks pretty good. All right. Make sure that cap stays on. You don't need a mess. right now, the good news is we can go ahead and we can edit out a lot of this stuff in post the goal here. We're gonna be taking three shots and what we're going to be doing, we're going to be combining the three with different lighting to make sure that we get the best shot possible. So what I'm gonna do, I'm gonna go ahead and I'm gonna shut off the overhead light here, and I'm gonna drop down my camera settings in terms of the exposure. I'm going to shorten this shutter speed time so that I get the least amount of room light possible to maximize my set light. Now go and clean this off and I'll show you where I'm putting my lamps. The 1st 1 that I'm gonna want. I want a lot of light right about here. Now, there's a really intense, uh, highlight there. That's OK. What I want to do now is I want to turn this guy off because I want to maximize this. So I'm gonna go ahead and turn that down to right about here, all right? And then I'm gonna take some shots that I'm gonna position the other light on the exact same side. And the third time, we'll actually take four. I'm gonna go ahead and take this light and I'm gonna shine it through that bottle. Now, you guys are seeing at home what that's doing. I'm gonna position the light right about here because I want the label to be right about here. So I don't really care about this area. Don't like that which it does not matter. All right, so let's go ahead, take the shot and then we'll see you there On the other side are I gang. Welcome back to Affinity. Now, I know we're talking about doing the bottle shot, but I wanted to kind of show you as opposed to some of the other shots which were pretty straightforward, how I went through and how I took these shots so that you understand how you would put him together to composite. So this isn't Photoshopped exclusive. This is an affinity exclusive. These are the four shots that I use to create the mock up. And so what I did really is I kept my camera on the tripod and I took a good back lit shot . You see my coffee cup there in the background with the flashlight. Turns out we're gonna be able to get all that out. But the reason that I did it that way is I wanted to make this area lighter than the rest. Then I went through and I grabbed some heavy right side light. Right. This is gonna give it a nice kind of reflection there. That's a little bit intense, but I can then pare it down on the other side. I then did the same thing on the left hand side. You see this little area right here? Notice that I turn this light off. This is on that left side. And then along the top area, I wanted to get some top lighting, and that's gonna help me a little bit with my shadows and grabbing some of that. All right, now, how does this work? Let's go ahead and take a look at what we created here. This is the finished rough for the composite there, So I've obviously taken in some materials. I've added some background in some shadows, but you see the areas of the bottle that we've been able to use notice there's my backlit area. The label is going to go right around here, so I didn't have to worry too much about these bubbles. But I was able to pull some of the carbonation in and do some clean up down here and along the neck. So that's kind of how you would shoot this thing. I just wanted to give you some guidance in terms of what you could expect and showing you that you could take multiple shots created, clipping mask and then edit them out in post. All right, let's go ahead and get into the next one. 13. Premade Mockups - Jacket: So we're going to start off this mock up course by doing something as simple as possible to kind of get used to working with and creating mock ups. So the best way to do that is to show you a mock up that's already been created for you. You can find all sorts of free photo shop mock ups online. All you have to do is Google it. But I've downloaded this sweater one from graphic burger dot com and also provide the link with all the other lengths in the Link resource. And we're gonna work with this one, and we're gonna show you kind of how they're put together. So when we create our own from scratch will have a good idea of the basic working components of mock up. So whenever you open up a photo shop mock up that you download online, you can scroll through all of these different layers, and there's usually a layer that has this red highlight to it. Not always, but it seems to be a very standard marker of the layers that you can double, click and add your own graphic to it. And a lot of times, when I look at mock ups to kind of see how they're built or constructed. I like to toggle on my visibility to kind of see what component it is that that layers affecting so I can go ahead and toggle through these and find out what exactly that layer is pertaining to. So if I go down to the hoody and topple that on and off, it has the hoody layer or shadow. Sometimes they're labeled correctly, and sometimes they're not. So you can always toggle, and you can notice the shadow toggles on and off so you could see how these mock ups are built with lots of different layers. Some are very simple, and some could have 20 or 30 layers to them, depending on the customer custom ability of each mock up. So let's go ahead and do something very simple. We're gonna replace this graphic with a logo that I already have. So when you're ready to replace one of these layers, let's say, let's toggle This one office is called the Kangaroo pocket right here. Let's say we want to change that color. We're gonna go ahead and click right here on the smart object thumbnail right in this left side, just double click. It will open it up in a brand new window, and this is where we can edit that area and then will close it and save it, and it will automatically populate on the final mock up. So we want to change the color of this pocket so we can double click this and just do a color overlay. Or we could do something a little easier. And Teoh a rectangle tool and draw over top and was great about using the rectangle. Tool is I can double click this and be able to change it much easier than going into doing a color overlay. So what color do I choose? I want to create a sweater for a fake museum, and I have a handy file for you. It's a vector file, and it's got a bunch of fake logos on their and brands that you can use eso you could practice when you create your own mock ups or we move throughout the course. You have kind of some logos toe already to slap on there, and you don't have to sit there and create your own logo for everything. And so for this, I want to create it for this marsh museum of modern art. Just kind of a fake museum brand I came up with. And I have some brand colors, so let's get a pop of color. This is kind of how the color of the sweater will be kind of blue with the's bright neon colors. So what would be a really good accent, pocket color, something And maybe this bright orange we could just give it a try. And so I'm going to just double click the swatch. I'm in Adobe Illustrator, by the way, and double click this watch and I have this hex code. So I find hex codes really easy to cut it, bring back and forth between illustrator and photo shop and try to do color matching some sample that hex code and is pop it right down here, See right here in this area and click OK, And so now when I close down the window, I'm just gonna close it And thats gonna ask me if I want to save and you're gonna say yes and it's gonna automatically populate and change that pocket. So now that pocket is orange and I could do the same thing. Go back and change the color and it will automatically populate Close the window and just like that. So let's see what other objects that could change here. So let's talk all the other red layer and that's gonna be the entire sweater. So let's double click on this smart object thumbnail, and this could populate with what is on the entire sweater. So this is what we want to do. And this is your safe area, which is really handy, that they included this. This is where it's gonna actually show up on the Hoody. So it's going to show you all this stuff is not even going to show up on the hoody, just the part within this safe area. So that gives us a good idea of where to place the logo. So let's bring in some of our assets. We can take a sample of our blue color. We'll get to stew a rectangle tool and just paste that same color in there and bring that below soup can kind of see the safe area. So now we need to place our logo on top of here. So we already have this prepared Do a vertical logo. I think that would fit better on the sweater than a horizontal logo. So now we have to think about policemen. This is a big deal. We don't ever want to put an object too big on a sweater. It overwhelms, especially with logos. You don't want to have it so small that it gets drowned out by the sweater. So you wanna have something a nice in between size or right about here? Of course, we can always go back and easily adjust this. So let's go ahead and close this tab out. It's gonna ask us to save and we're gonna save. It's gonna automatically pop onto the mark, a mock up and there we go. It one hadn't popped onto the mock up. What we couldn't do is we can go back in and lower it a little bit. Go sometimes you have to go back and adjust. Let's go ahead and toggle off the safe area because I believe it's populating with the safe area on. So let's turn that off and let's put this logo down. Just a hair. Let's see how that looks and looks like it needs to be shifted over to the left a little bit and there was a little error that came up. And some mock ups have errors like that. But sometimes if you ignore those errors, it continues to do it well. So I'm gonna shipped it over to the left. When I close this I went to save and it does say, could not update smart object file because the file was not found. I believe it has to deal with maybe this file not being available, but that's OK cause we're replacing in any way. So I would just kind of ignore that for that Sometimes will run into those errors with ones you download online, and that's okay, cause you could still push through and work it out. So now that we have our logo positioned and we have the color we like, we can continue to modify this So there looks to be another layer that we could modify, which is the sleeves in the bottom here. So let's see what layer that is. Sometimes if they don't layer it, it's sometimes hard to find. Let's go ahead and locate that There it is cuffs color, so we can simply double click this anytime. You kind of see this presentation with the color slider in this icon, it means you can double, click and go ahead and change the color. So let's find a complementary color. So perhaps pink might look really good as a compliment because we already have kind of this . Bright yellow is the pocket, and so the pink will kind of bring out those two colors and logo, and it seems very thematic, like a theme or sticking with some very simple color palettes here. We're not trying to use too many colors out of the brand, and I think it works really well on the sweater. And so now we get to kind of zoom in here and see what other little details we could modify . And this is what's great about downloading Photoshopped Mock ups Online is once you understand how mock ups air created, you can change a lot of things about it and make it as unique as you'd like. Eso. Let's go ahead and look at talk along some layers and see what we have here. So we have the hoody here, and here's a shadow layer. We're gonna talk a lot about how toe hand draw shadows. And this is exactly what the mock up creator did here. See that? How they kind of hand drew the shadows using a brush tool. And we're gonna be able to do that with our own mock ups. And that would usually be on its own layer that you could toggle on and off. Ah, background texture. Looks like I can change this background texture by dragging in any texture I'd like or cantata lit off and haven't be on a simple background, which we can do, and then you have your background layer. So what I'm gonna do is I'm gonna add my own background player and there I'm going. Teoh do some colors here, so let's dio the rectangle tools could create a new layer by doing this and I'm going to double click the the object here and we can make it blue to gonna make it blend in. We can make it a little bit darker to make those colors pop out a little bit more. So I made it the same color. They kind of compete, and it's hard to see the border of the object of the background. But if I make it a little darker, you're sticking with the brand colors. Yet you're also providing just a little more contrast between your object in the background . So this is where we can customize it. We can make it a brighter color. We can, you know, put kind of a watermark in the background. We can provide our own texture that might be a part of our brand. So let's go revisit our colors. Look at this bright orange. Let's see if I can't find out the hex code for that. So just double click this watch over here to get a copy and get my hex code. And let's see if I can't change his color. Super quick paced it in there. Well, now we have a really bright orange to kind of really be high contrast with the object. So let's add a little bit of a branded element here, so let's take a little small component of our logo. So maybe these little arches here sleep. I need to ungreased that. Let's drag it all the way in here. I'm just making kind of like a watermark in the background to make the mock up feel more custom. So I'm just kind of dragging this bigger. Just making a little watermark element, and I can always double click this and make that a color overlay just to its double clicked this area right here. The vector smart object right here in the text just to bring up the layer style panel on this could do a simple color overlay. We could click on the background color and make it a little darker to add a branded element there. And there we go, just a simple watermark to bring out the brand in the center, but also have something in the background to tie it all together as a branded presentation . So that was pretty simple. Let's see what else we can customize. And that was adding our own things at the bottom of the background here, um, we even just toggle that background texture off and let's see if we have this texture. I wonder if we could do a blending mode, which will talk about a lot in this class. They're an essential part of mock up creation, undergo and select this background texture. And here's how you access your blending modes right here in your layers panel. Right now, it's normal, but we can let certain pixels behind it through to create different effects, and we'll go over this even more so you can see how a little bit of that texture comes through. But yet the color still remains, and that is the power of blending modes. And I talk a lot about that in my courses. If you've taken some of my other design courses, you will be right at home with that just adds a little bit of pizazz and texture to that. You could bring in your own texture and do it different blending mode to bring in texture to that flat background. But let's say, Well, toggle that offer now. I just wanted to kind of demonstrate that it looks like we have This is very highly customizable, so you'll see a couple components about this. So this is a a changeable color, changeable shape color, just like we've been changing before. We can change the color who can even make that orange. How cool is that and click off, and this is a layering mask and once again layering masks are a big part of kind of cropping certain parts out so that if I change this color, it only changes the color on that specific shape. And we're gonna be doing a lot of that when we create our own mock ups. So I thought that was need to add a little orange on the inner hoody and looks like there's draw strings that you can change. That's the shadow of the drawstrings, and this is the actual string chords. I'm assuming you could probably modify this any way you want and change the color, but you can. Wonderful. So if I make those yellow, that would be really, really interesting. So there we go. It's our first mock up that we created for, ah, sweater for a museum and she could see the original mock up, and you could see how we kind of changed it up a little bit to make it her own. And I think the background makes a big difference and making it unique to our brand. It doesn't have the default background. We've really kind of changed more than just the sweater and made it an overall presentation . So this was the very very simple. First project. We're gonna do one more already made mock up of a book cover, and we're gonna take a book cover we've already designed. We designed this in a previous design class, but you can take any book design or any pictures, and we're gonna work through this. So we get to know how mock ups are set up before we start to create our own from scratch. 14. Premade Mockups - Book Cover: Now we are going to do a book cover mock up. So this is when I found on graphic burger dot com Aiken Supply the link or he couldn't find it by this typing and book. When you go to the mock up section in that website, and this is a very simple one, we're not gonna be able to customize this one quite as much. But I have a couple of book designs I created that we can test out on this. And so, just like we did with the previous design there certain layers. There's one that has a little red toggle on and off, and you can travel that on and off to find out where that what that layer changes. And so this changes the front cover right over here, and it looks like there might be another one. So here's a folder cover and here's a folder spine, and so this one will probably change the spine of the book. So let's go ahead and go into cover and what's going to find that red layer? Total that off just to make sure And let's double click onto this smart object From now on , it's gonna open up that separate window. So this is where we can go ahead and add our book cover. So let's try it with the first book cover example I have. This is a book cover that I designed in the graphic design Master Glass, so I'm going to use this one as an example. So this is already laid out as a final printable file with the spine, the front cover in the back cover. So this is how a printer or a publisher will want to have your final cover of your book. So how do we adapt this to a mock up? There's a couple things we can do. We can isolate the spine and isolate the front cover as a separate file and exported as a J peg and then bring it into this extra window and save it. That's an option. We can even grab the elements we have right here in the book and just pop it over. I'm just copying and pasting it in here, and we could line it up. And the things with mock ups you have to be aware of is most mock ups are done using the metric system So if you're in the United States and you're used to inches, you're gonna notice that the sizes or more European sizes they might be a little bit taller and dimension. So you have to kind of these are mock ups that you use online, so you just have to kind of get used to maybe a slight change of dimension. So if you're usedto six by nine inch book cover, they're gonna use maybe a different sizing. For that. It's not gonna be a dramatic difference, but you might need to adjust the height of your design or the width to match the European size presentation. But when you learn to create your own, you can create it using your own sizes. Read a scale this down to kind of get a nice look. It's all about presentation. Doesn't have to be exact cause it's not gonna be printed, so it's just as long as it looks good. It could be slightly off in terms of with as long as it's as realistic as possible. So let's go ahead and close out this window. We're gonna click X could ask us to save Yes, we're gonna save it and it's gonna automatically apply this to the book cover. So there it goes. It automatically populated. We can always go back, double click and change the size if we want to bring in more of the outside. So now let's do the spine. So I think they have a separate folder. They really organize this mock up really nicely. So here's the red layer. This is going to toggle it all on and off to find it. So let's double click on the smart object thumbnail. And now we have a spine. So he couldn't craft and create the spine right on this layer and say that or if you already have a book cover saved, we could just take this layer is gonna copy and paste right in here. You could to save a J peg of your book and do the same thing, or in this case, to make it a little easier. Since it's got like, all these different layers here, what I could do is I can just use the crop tool. I'm just gonna crop my spine. And sometimes spines on mock ups could be thinner than your actual spine. And so that's when you might have to go in and increase your spine size to match the mock up. Mock ups aren't gonna be perfectly sized. If you're getting them online, they're gonna be the specific size. So what I can do now that I've cropped, that I can save this as a J peg, I just just another way to do it. So here's just a simple J peg. I could do the same thing I did before and just drag it over or copy and paste it right in here and we can go ahead and right Click this and we're gonna make this a smart object. Any time I have photos, I bring in. I like to make them smart objects because when you make it a smart object, you're basically making it scalable. And so I could make this really starting to go ahead and convert to smart object this little photo that I brought in and I can make it really small and adjust it and press enter . But then the great thing about making it a smart object is I can go ahead and make it bigger press enter and it doesn't picks a late and doesn't blur And that's the power of smart objects, which is pretty much all working to use or making mock ups. So all I did was I right? Clicked, and I just went ahead and made that a smart object so that I didn't have any picks. Elation, cause I didn't need to size this quite a bit. It's not gonna match the spine perfectly. The spine looks to be a little bit thinner, so sometimes you have to rework your text just for the presentation purposes, because the mock ups not gonna fit perfectly. And that's OK. So let's close our window click save and automatically populated the mock up on the spine so you'll notice this mock up has this really heavy linen kind of texture on top of it, which I'd like to have a more slick looking book. So now that we're learning how mock ups who are created, we confined that layer and eliminate it to make it her own. So let's go ahead and find that layer. It's going toggle off. Maybe we can find something that says texture. There it is overlay, texture, weaken, toggle it on and off, and we can find that that is where that is located. We can go up and we can reduce the opacity. So it's still there, but not a strong. So I can see that looks, I think a little bit better with that reduced. And so let's do mountain, see what some of these other layers dio. So there's your book cover. There's your shadow right over here. So we talked a lot about how shadows are cast. So I'm gonna toggle this on and off right here. Shadow. You could see how much of a difference that makes, So this is a soft light shadow, so it's taken inside or taken in the light box. It's not like a direct lighting source. This is an indirect lighting source, so it's nice and soft and blurred out. We're gonna be able to create our own shadows by using the brush tool and painting them on . It was, Go ahead, toggle this on and off so big difference and adding that shadow. And so we have a background to change the background color, so I'm just double clicking right here on the swatch. Change background color and let's see if we can't bring in any colors. We think would look really good. So the green looks really nice when I use red. That looks great, but you don't want to overpower the red and the flowers. You want this red to remain the main focal point. So using red looks really great. But it also competes with the main focal point of the book. So I think sticking with a green might work best for this book or even a gold. The gold looks really nice, so I mean, it doesn't matter which one ast long as you're not competing with that red. So there's the table right there. I guess that all they did was draw a rectangle and with the when they drew the shadows and made everything look a lot more realistic. That is just a simple rectangle that they added, and when they painted on and hand drew the shadows and made it look three dimensional. Who will be doing a lot of that later on in the course? So let's go ahead was collapses folder and we have this other folder cult spine that we're gonna un collapse. And let's see other little details that we can modify here, So looks like there's a texture also on top of this, since you could see they added a little bit of highlights on this layer, and that's what we're going to be creating ourselves like a little bit later on. But you'll notice the difference, and that is flat. And when you add just a little bit of highlights to coming in from the right side, it adds so much realism and richness to the spine. So we can also reduce this texture just like we did over here. We could just reduce it, maybe instead of 25% reduce the opacity just a little bit. We like to have a little bit of that in there, but maybe not as strong. And I think that's about what we can customize here. They're just playing around with a background a little bit to see what we can do. See that works okay, because it's not as red. It's not a strong, so that could work, too. So just whatever you can do to find the right background just like that, this would normally take about, you know, a minute or two. Add everything to just get a J peg. You bring it into the to the window and you save it or you can edit it right on here. This is just like any old photo shop layer. So when you save it, it will automatically populate on the mock up. So hopefully this get is getting you excited about creating your own. Now that we understand the very basics of how some of these layers of smart objects work, if you don't understand smart objects or layering mask and detail, don't worry. We're gonna get lots and lots of practice. Um, the next project we're going going to do, we're going to kind of do our own thing now. So we're gonna go ahead and do this mock up design right here that you're seeing is a preview. Next, we're gonna be creating everything else from now from scratch, we're gonna be doing all this ourselves and creating our own custom mock ups 15. Coffee Cup Project : So we're gonna create our own custom mock up in order to start off with a really easy project. It's going to be a simple logo on a coffee mug. Or it could be a graphic. Whatever you wanna put onto the coffee mug, we're gonna do to different projects to practice this, doing it two different ways. The 1st 1 is we're gonna use a shot that I took at lunchtime. I went to lunch at a really nice restaurant and I saw a wonderful backdrop, a perfect place to go ahead and take a sample shot. I just took it with my iPhone. So this is the image directly from my iPhone. You don't have to have a lot of fancy camera equipment or anything to be able to create your own mock up images. And once you kind of do this a few times yourself, you'll find yourself going to stores and all sorts of places and doing your own. Little mini shoots were taking that picture of wood, for example, at a store and getting texture, ideas and texture samples, or you'll take a picture of a product that has a blank side. You'll take a picture of it. Once you learn how to create mock ups, you'll get really excited about taking some of your own photography and background shots for this. So that's what we're gonna do with this example. So I'm gonna open up the raw J peg right from the phone into photo shop this spring. That photo right in and the iPhone did an excellent job. It's a really great cameras. IPhone X. It's not even the latest one, either, and it did a good job. But we're gonna do some slight tweaks, maybe do some contrast and brighten it up to be able to make this mock up ready. So one thing we can do is go over to our adjustments panel and just do a little brightness contrast, clicking on brightness contrast, just increasing the brightness ever so slightly. We don't need anything too dramatic. If we do it too much, it starts to get washed out in the background in the cup, blend too much together. So we just want a little brightness to make everything pop. And let's kind of see if we can increase the contrast to kind of bring those shadows and highlights out in the mug and what's great about adding adjustments in your adjustments? Panelas. It's added on separately or on top, so I could just toggle that on and off. If I don't want those settings or it can double click this icon and be able to adjust it right back to where it waas and it's great. It's like treated as a separate layer. You're not actually doing the edit on the photo itself, so you're not permanently editing that photo. You're just adding layers on top. Let's do another one. We're going to go over and do curves on the adjustment panel, so I'm clicking on curves. And this is what brings out highlights and shadows so you can see all the pixels that have low dark black settings over here and the pixels that have really bright white settings over here. And the curve helps you bend certain colored pickles, pixels that are brighter or darker, and it bends them to make them brighter, darker. So if I wanted to take all of my dark pixels and my blacks, I can go ahead and press on the bottom of the curve and move it up, and it's gonna brighten all my really dark um, pixels. Or if I wanted to take my really bright ones and dark and those I could drag it down and make it darker so you'll see this curve being used a lot. So what I want to do is I want to bring out a lot of these dark areas a little bit more. It's still a little too dark for my for me. So I'm just gonna bring some of those pixels, kind of do a curve just like this. And then if you I were to take some of the bright pixels and make him darker, you can pretty much just increase the contrast of the photo of world. I can toggle this curse layer on and off to kind of see the effect that it has. You'll notice it kind of brightened up a little bit of the background. And if that's kind of the effect we want to go for, we can toggle it on and often see if we like the curve adjustment. Just doing some things that kind of help the image feel more polished before we quit our logo or illustration on it. Another thing I'd like to do, especially when I take my own photography is see if I need to sharpen anything. Sometimes it can get a little blurry. If your hand was a little shaky when he took the photo. In this case, it's It's a really great shot. I had a lot of really bright lighting. This was taken in a UPS kind of, ah, upstairs restaurant and had a lot of sun coming in from the top. So it provided a beautiful backdrop, lots of lighting. So I'm not gonna need toe Really? Sharpen. This is much because the camera had enough lighting to really capture everything well, but sometimes I just like to go and make sure I can sharpen it. Some schools select our photo, go down to Sharp and sons, go do a quick little sharpen to see what kind of give it a little bit more of a crisp look . So we didn't have to do a whole lot to this or already ready to add a very simple logo on the top of this monk, and I'm starting off with this project for a good reason because it's gonna be a very simple mock up to use We're just gonna place the logo right here. We won't have to do a whole lot of warping to make it wrap around the mug. We're just gonna do a simple small logo on top, so it's gonna be super easy to do. What we're gonna use and talk about is smart objects. So smart objects and Photoshopped contain the original photo source or image source. So that means I can continue to edit an image. And if its a smart object, I can. It still retains that original image. So we're gonna do a little bit of an example so we can go ahead and get our logo's popped up. This is the fake logo Examples Vector resource file that you can download also have transparent PNG files for those who don't want to work with the vector program or they don't have one. I also have just PNG files and can use for this two. But what's so great about a deadly illustrator is I can highlight the logo working a put on the mug. I can drag it right into the mock up, and it's gonna create its own layer. Gonna put it right here and size it up. So what we want to do right now since I brought it in from Adobe Illustrator, it makes it a vector Smart object. But we want to make it a smart object. So we're just gonna right Click this and this is the same. If you bring in a PNG, you're gonna want to right click and you want to convert this to a smart object. We want this to be smart. We want to be able to retain the original image, so we're converting it to a smart object. So what's great about smart objects? Just like we did the first to mock ups where we were able to double click on the smart object thumbnail and opens up a new window. We could do the same thing. Now we just created a mock up just like that. So now I can switch out this logo if I want to. So let's say I don't want that one anymore. And let's say I want to bring in a burger bar or something, or maybe coffee and cream. Let's bring in coffee and cream. Apply that, and all I have to do is close out the window and save it just like we did before and what goes and went ahead and replaced it. And we can scale this up and make it bigger. So it has a bigger footprint and press enter. So now we can go back, double click the space and bring in our original logo again. Close it out and you could see how easy it is to switch out. Logos may have to do some adjustment on the sizes to get it right. And so, just like that, we have something that is we can exchange and change out. What we want to do is we want to label this so we can really keep track, because when we start doing really complex mock ups later on in the course, we want to be able to label things so we can really keep track of what's going on. So I am going to right click, and you can add different colors to your layers so you can label it so it tends to be the ones that the smart objects that you can change out tend to be read. So we're just gonna mark that is red, and that indicates logo on mug from Let's go ahead and just title this background image. And so now we want to kind of start to weaken use folders as well. So if I want to go ahead and grab those three layers, there's all have to deal with the background. We can put that in a folder, so I just want Hadn't clicked. One held downshift. I'm going to click him all. I'm gonna just go ahead and click down here on the folder. It'll go ahead and put everything in the folder or everything that's highlighted into a folder, so it's kind of nice. So that's everything with the background. You can call this background, and that's just keep helps keep it organized. It's not really required to put things in folders, but I think it's very helpful. So now we need to be realistic, because if you zoom onto this, it just looks like a flat logo on a mug. It does not look realistic at all. There's no highlight shadows, reflections, bouncing of light going on. It's just this flat black logo. So how do we get this? To show some of this reflection of this spoon, See the spoon right here we really want that spoon to reflect in the logo itself. We're gonna add another layer on top of the logo and use blending modes to let some of the pixels underneath end. So it'll let through some of that reflection, so this gets a little complicated, but it's no problem, because we're gonna do this over and over and over again throughout the course. 16. Coffee Cup Project 2: So here's what we're gonna want to dio. We're gonna want to take this background image. This is the background image we have, and we want to go ahead and just make a duplicate, and we can just copy and paste a duplicate. Or there's a little keyboard shortcut in photo shop, which is Command J. And it's just gonna make a copy for you at this kind of a nice, quick shortcut, and I want to drag. This is the top layer. I want this to be above the logo. So now we're gonna use blending modes toe let certain pixels behind this top layer through , so it'll show the reflections but also show the black underneath coming through. So let's go ahead and cycle through our different blending mode options by going to our blending mode area and are layers panel and let's see what looks the best, so you can already see that lighten. It almost looks a little bit better because it kind of adds that shine and lighting that happens when you have a reflective surface like a coffee mug. It's shiny. It's got kind of a gloss finish, but it's a little intense, so there's gonna be some better blending modes we can use. That looks a little washed out. That's OK. Scroll down. Try to find the right one and that one might hit the spot. This one's called hard light. We're gonna use hard light for this, But look, we just did that one quick little change and tweak, and it's letting a little bit of that spoon reflect through. So it looks like the logo is printed on top of the surface, as opposed to just being placed on top. It looks like it's a part of the material now, So I'm gonna talk with us on and off so you can see the difference that was before. And this is after huge difference here. You can even reduce the opacity of this top layer to maybe make the effect not quite a strong, so it's not as washed out. We could just reduce the capacity. You can really change anything you want here. This layer will always remain on top of the logo toe. Create this effect so you can call its glare. You can call it highlights whatever you wanna call it or to call it glare right now. or reflections call reflection so people would know when they look at you mock up or when you go back to revisit your mock up exactly what that layer does for the mock up. So here's the problem we have when you have backgrounds with mock up. So we put this photo on top, and it does a great job at making anything. We place on here feel like it's a part of the mug, but we don't want it to affect the background. Only wanted to be on this object right here, because notice how the background changes. We only want the mug to be affected. So there's a little kind of shortcut to be able to clip this to just the local area, because that's all we want to be affected with this top image with the blending mode. So I'm gonna select my little blending mode layer. My were little reflection layer, and I want to clip it to this logo. This is all I wanted to be on top of because I don't want the rest of the background to be affected, so I'm gonna hold down the option key. And if you're on a windows I'm gonna show you what key to press right here. And I'm just holding it down. I haven't let go yet. And I'm just click with my mouth or my track pad. Whatever you're using, just click once right down on that layers to that little arrow and boom it is Click. It is clipped on there. So that's how you make clipping mask. So now when I toggle it on and off the background doesn't change or shift it on, Lee is clipped to that areas clip down to the to the layer below, and we're gonna be doing this over and over again. So don't worry too much if you're still like what? That was complicated. It took me a little bit of time to get used to this process at first, So do not worry. So now when I go ahead and change my layer, I double click on my smart object to switch out the the logo. I'm gonna switch out the logo here, Go and put my coffee and cream logo in there instead. Maybe make it a little bit bigger and close out my window and save it. It's gonna automatically populate and you'll notice that it has the nice reflection in there, too. So that just looks so much better. And since it's clipped, so this this topic reflection layer with the hard light blending mode is clipped. It's only gonna show up on that layer. Kentucky. All that on and off. Huge difference here, and you could see how quickly you can apply logos to objects by using the same method of having the layer on top and using a blending mode and then just kind of clipping it on. The layer that you want to effect is very simple. It takes about five minutes. To do this. You could create mock up super quick, especially when you have your own photography or when you download photography from a stock website of a T shirt. We're gonna be doing that a little bit later. We're gonna be taking a T shirt image and just quickly doing the same process over and over in applying the same look toe. Add a little bit more realism to everything. This is a photo my buddy Jeremy Hazel took and his photo studio, and I think some of you guys got to kind of see and go through that process. This is the raw image right here. I went ahead and just saved it as a symbol J peg so we can bring it into photo shop and edit it right here. So I'm gonna bring in a J peg, and this is gonna be supplied to you and the copy cut project folder in the main resource is downloadable zip file. So I'm gonna go ahead and open up this unedited photo, and we're going to see what we can do to kind of make it prepped and make it ready to have a local applied to it. Let's go and unlock it. And let's apply some adjustments to it. It's gonna go to our adjustment panel can also access your adjustments appear by going to image and adjustments. This is basically where I'm getting them all. So if you have an older version of photo shop, that might be the route that you have to take. So let's do the same thing. Almost always used brightness and contrast to kind of do some small tweaks. I would like to have that a little brighter. Ah, the contrast A little bit. Mawr higher contrast cause right now, if I reduce the contrast, it looks really washed out and I want to have higher contrast so I can isolate the cup a little bit better. That's exactly what we're gonna be doing next. So higher contrast helps photo shop, pick out our crop out the image for us so we could increase the contrast quite a bit. And when you increase the contrast, you're increasing the, um your darkening the shadows and your bright ning the highlights. Let's see what else we conduce here. We can mess with our curves a little bit and we can bring out I'd like to darken my shadows a little bit so I'm gonna go on the curve and I'm gonna bring down my shadows and make them even darker to bring them down down his dark And maybe it can brighten. My highlights is very much similar to contrast, but you have a lot more control when you do it with curves. Just kind of make it just see how small of a change that is. And I can topple this on and off to see kind of the effect that it had on the mock up. So now What we want to do is we want to go ahead and make this final. I feel like I don't want to go back and adjust any of these. I feel good about that as a final image I want to isolate. So what we want to do is we went to combine all of these layers So I'm just gonna click at the top layer, hold down shift gonna click down here is gonna go into select all my layers and I got to do a little command shortcut called Command E. And it's just got a combine all of those adjustment layers until one layer or you could go back and just right click and just emerge layers that's right down to the merge layers. Or you can just do command E or I'll do the windows shortcut key show showing you on the screen right now. So now we just have a simple images has been brightened. The contrast has been increased. So now we're gonna have an easier time isolating this from the background because what I want to do is I want to isolate the mug and I want to be able to put it on my own background. I don't wanna have to have the background here. I also want to be able to change the color of the mug to. And so to be able to do that, you gotta be able to cut the image out. Or at least um, kind of get that image isolated. We could go and try the new object selection tool and see how Photoshopped automatically cuts it out for us. They're just up here to the object selection tool right here in your toolbar. It's only available in the last couple of years and photo shop. So I think 2018 19 and 20. And it kind of did a good job, and we could just go back and kind of clean it up and cut that out a little bit better. What you'll notice. It's not really doing the best job because it's kind of jagged here, and there's a reason why it's not cutting out really good. We can also do the magnetic lasso tool, which is kind of my go to to manually cut things out, so it's going to my magnetic lasso tool, but you'll notice it's doing an OK job but it's kind of jagged kind of jag, and that's because you have a white mug on a light, light gray background. And so it's having a hard time figuring out which pixels go to the background because you zoom in. You almost see a lot of gray in these pixels right here, so it's getting confused and not being able to define that line. So sometimes I like to manually cut out objects using the pin tool. Get the pin tool on, just manually cut this guy out. So I go over the pinto a lot in my graphic design, master class and other classes I teach. And, uh, it is really hard tool to master. But once you master it, you really get the hang of it. Hopefully or at a skill level now, where the pin tool is not as challenging as it used to be, clicking and holding to get curves and you'll notice coming around this curve, I needed to kind of click and hold down and get the curvature pin tool kind of start to work my way up, so switching between that curvature, pen tool and pin tool is very helpful. This is actually a hard one because we took the photo ourselves. It's not like this perfect already edited photo. This is just a photo straight from our camera. So does require a little bit more work than one that's already been professionally cut out , or one that's on a pure white background. So it's kind of our basic selection. Let's just make sure we kind of even that out a little. Smooth that out, I guess. Let me go ahead and get the pin tool. They would go just trying to smooth that out as best as we can. That's gonna be cut out a whole lot better than any of those automatic tools are gonna be able to do that for you so I can go ahead and do a little trick here. So I want to isolate this. I'm gonna right click, and I'm gonna go down to make us election is going to take the path that I just created with the pin. Dual is gonna make it a selection. Just go ahead and click on OK, just like that. And I want to be able to punch that little center part out so I might be able to just do that with the Magic one tool. I think it's enough contrast for me to easily select it, so I want to subtract the selection. So if you go up here, you can add to the selection and this is gonna subtract. And this might be review for a lot of you guys, and that's okay. So now it's on some tracks. Enough click here. It's going good. Punch that out. It didn't do a good job because this is a really tough voted or I really gave you guys a tough voter to work with. But that's okay. It's good to have a challenge. When you're starting to learn, it really helps push you further. So what we're gonna do is we're gonna have to take the pin tool. We're gonna have to draw another path 17. Coffee Cup Project 3: So we just made another path. Let's just make sure we have everything perfect. So it doesn't look wonky. Sometimes I have to select the curvature tool toe, get everything to curb. Appropriately. There we go. Perfect. Okay, so let's do the same thing. That's right. Click. Make a selection. What we want to do now, instead of adding to the selection because it's already selected, we want a punch it out. We want to subtract it. So go down to subtract from selection and voila! We have that punched out. So this is perfectly isolated were rated it. Go ahead and apply a layering mask to this. So what we're gonna want to do, go ahead and select our object here. I'm gonna do that command shortcut I did with the last project on basically duplicating the layer by doing command J. But what it's gonna do when I have a selection already made, it's gonna automatically create a layering mask, which is kind of cool. So I'm gonna do command J. And it's going to duplicate the layer. But what it also did is it applied a layering mask to it. So that's one way to do it. adjusted command J with its selected Or we can go back to where we were and we could just right click and duplicate the layer. So that's kind of a long way to do it. Or I could do a little command short cut. But when you do it the long way, it doesn't automatically apply a wearing masks to it so I can go down and go ahead, make a layering mask over here to mask it. You could see it made a little layering mask, which is gonna mask. Everything in black is disappeared and everything that's white is available. So just kind of crop, that background for us. So now we have this shape. So now when I drag it out here, we have a shape that's perfectly cropped, and we're maintaining the background for now so we can get an idea for shadows and everything later. But we could toggle this background often have this perfectly isolated if we wanted to. So let's do the same thing we did with the last project and add a little logo to it. So here's what we can do is we can. Before we brought the logo in and then we were able to make it a smart object, which is great. We can still do that. But if we want to have a certain area that you want people to put the logo on, maybe a certain area that's gonna be outside of the logo. So maybe locals, they're different sizes, Right? So you wanna have a really flexible, large kind of area that they want to put the logo on? We're going to get the just the rectangle tool was gonna draw a rectangle that's unlike a wide area that we would want their logo to be. And let me just adjust my stroke. Just go ahead and make that no, and just make my feel. I guess it was on by default some kind of different weird strokes or just made it a solid fill. It will be a solid filled by default. So now I'm gonna do the same thing I did before with the logo layer. I'm gonna right click, and I'm gonna make this a smart object. That is the key here, making it a smart object. We're gonna go ahead and put in place logo here. So now it's a smart object I can double click it. And we could maybe toggle that off because we may not want the blue to show up and we can bring in a P and G Dragon in or we can bring it over here. So if we want to do do our coffee logo once again, weaken size that right there in the middle and closed down or tab it's gonna automatically populate just like that, we could double click. We could make it a lot bigger. We have a nice big area now that we made a shape. We have a little bit more breathing room to make our logo bigger or smaller, and it's going to populate right there on the mug. Let's do the same thing we did before. Let's duplicate this layer right here. It's gonna be bladed mug, isolated mug layer you don't even need. This battle is just the background. We could take our isolated mug and let's duplicate this layer. We're gonna do command J or right click duplicate layer. And I could do the same thing we did before Dragon in front of the logo, and we're gonna use our blending modes to let some of this lights and shadows through. So let's go down and see what works best. Let's go and try hard light again and let's make it not as washed doubtless is reduced the opacity of that effect. And we could bring back our background since we don't have which have something to fill in there, and that looks a lot better, so we can toggle that on and off. And let's crop it down to the bottom here because what's happening is it's it's putting this whole layer on top. It's not just the logo, but it's doing it on top of the mug, too. So if I toggle this on and off, it kind of has a washed out look on the mug to So we just want to crop it to where the logo is. Three. To do the same thing we did before, and we're gonna hold down option and I'll show you the Windows key here, and it's gonna be able to clip it, clip it down to the layer below as you can see a little arrow and I'm so quick once it's gonna clip it. So now it's kind of clipped on just that logo it doesn't affect the mug. Now, that's exactly why we did that. You can see this is the basic equation for making mock ups is the smart object and being able to add the layers on top and changing the blending mode to add a little bit more realism with shadows highlights. And you can isolate the objects that you can Now put this on a different background. You're not stuck with this gray where we kind of took the photo. We're not stuck with that. We can put this on another background. So what we're going to do is we're going to add a simple color layer on top, so just gonna do a rectangle tool and let's make the mug. We can make it orange. So it's gonna click orange. You could do whatever color you'd like. I was gonna do a square that's gonna cover most of the mug is gonna cover most of the mug with an orange square. So now what I'm gonna do is I'm just gonna do a blending mode. We're going to the same thing. We're letting certain pixels through so we can just affect the mug. We're gonna go down and see what has the best effect. So if we do multiply So now the problem is we need to be able to clip this to the mug outline. Well, what's great is we've already done the outline of the cup. We've already isolate that before. So now we have to do is clip this little square orange color layer. We need to clip that. Two are isolated mug layer, which is right here. Here's our isolated mug that we created. It's our highlight layer. So we need to take it and drag it down to this one right here. This is our actual mug right here. So we're gonna clip this. We're gonna go ahead and hold down option, and we're gonna just clip it to our isolated mug. And just like that, we have a orange mug. Yeah. So now we want toe kind of adjust the logo a little bit here so we can go back to place local here. Let's go ahead and right click and make that red. So we can remember kind of where we need to replace the logo. So let's double click it and let's say we want to make it white. So I can just do, um, a simple color overlay and double click and bring up my layer options panel or layer style panel. And I'm gonna go down to color overlay, and I'm just gonna make it white, and I'm gonna go and close it down, and we were able to kind of add the logo that way. So now what's great about this set up? It's a little bit complicated. We're going to the same exact process, but with a T shirt design next. So we're gonna go through this one more time and many times after that. So now that I have that simple rectangle color that I just clipped down to that isolated mug, I can now double click This limit CO had just label this change color change. Mug colors really keep track of all these layers because when we get later on in the course , I mean there's gonna be at least 15 or so layers, So let's go ahead and double click this, and now we can change the color on the fly. We could do all sorts of different coffee cup colors, so we're going to the same thing with T shirt design we could change our T shirt color on the fly, and you could do this with anything. So that's kind of a nice pretty blue, and you can always reduce the opacity on any of these layers to give off a different effect . So this is 100% blues who can always reduce it a little to kind of add some of these reflections back in because no mug is that bright blue. So if I reduce the opacity, it kind of brings in a little bit of that original white color and kind of makes it a tiny bit more realistic just by reducing the opacity a little bit on that very strong color. Of course, now that we've isolated this mug from the background, we have more flexibility to put it on a different background and draw our own shadows, which will get a chance to do in other projects. Bring in my little fake, a little retro gamer. When I came up with in another course, go ahead and close the window and see how quickly it is to just pop on a new logo, and we can change the color and make it like gray white again. Maybe bring in a little bit of green. Who knows, You know So all these different things you could do you could switch out the logo and all that. So when we start to get to rounded corners, you'll notice how this is flat. This is just a flat square that we're able to apply the logo to, And future projects were going to be able to put things on, rounded a bend, our smart objects a little bit. So when we place the logo on it, it'll kind of warp it around. And so if you had, like, a this example right here, what kind of warps around? We're gonna be able to do that in future projects do. But this is a very basic project. We can create any of these quickly and 10 minutes or less with her own photography or a photo that you find on a free website, like a pencils dot com or unspool ash dot com, where you can find a blank picture of a product. You can easily now pop your logo on and be able to change the color. Now that you know how, isolate images and get all this set up 18. T-Shirt Mockup Section : Now it's time to apply illustrations and designs onto T shirts. Sort of learn how to do this in practice, what we've been doing the last projects. So in this instance, we took a photo in a studio, which is took it ourselves with their iPhone, just a top down picture of a T shirt. We're gonna learn how to turn this into a fully workable mock up. So let's get started. We need to isolate the T shirt first. Before we do anything, we need to isolate it away from that background and the great thing about taking a photo of this and it being very high. Contrast. So it's a white T shirt on this kind of black background. Were able to isolate the picture a lot easier because Photoshopped really understands where the T shirt ends and where the background begins. What's unlock this layer and let's go ahead and isolate it. Couple things weaken. Due to isolate, we can get our object selection tool, maybe cheat a little bit and see how good photo shop is with isolating this photo. All that worked brilliantly. We don't have to sit there and use the pin tool for this. I just need to go in and make sure I eliminate all the little black areas. And I could just do that by hand. Let's see the magnetic lasso tool to get a hold down option and quickly kind of subtract that selection out. It's gonna go in and just make sure everything looks pretty will cut out And that looks a little jagged So I'm just gonna take my polygon lasso tool Hold down the shift key Click Just a smooth that selection outlook Little jagged to me So now that we have it isolated let's go ahead and isolate the T shirt. We can do a layering mask to kind of crop it. I just did a layering mass. We could see the layering mass here on the right. So there's our T shirt. We can straighten it up a little bit. So here we are. We're ready to go once I'm cut everything out. I'm really happy with how the edges look. I'm ready to kind of make this a smart object. Eso gonna right click and I'm gonna convert it to a smart object and you'll notice Have a little layering mask here, so I can disable or delete the layering mask, and I get my original background back. Um, so you'll notice when I right click it. I make something a smart object. When it has a layering mask, you'll notice when I could predict a smart object. The layering mask goes away. It pretty much finalizes the layering mask to make sure you have all your selections happy and you're ready to just have the speed of final cut out. So let's brighten this quite a bit. Let's go ahead and put a background on here. I'm going just to get the rectangle tool here, and I'm just gonna do a generic colored background. And since this is a white T shirt on my when I put it on a dark background, so I'm gonna increase the brightness in the contrast on this quite a bit. I really want to see some of the ripples because it feels more authentic and organic that way. Me, we may even have Teoh tweak and add our own little ripples to buy, brushing it on using our brush tool. But let's see how this turns out. So we have our main T shirt layer here. Let's add a couple adjustments to this. We go to image adjustments and let's see if I can't do some brightness contrast. It's kind of go to 1st 1 I do. Let's increase the brightness, increase the contrast. We're already getting a lot brighter here. You see, we don't wanna go to Bright because that looks washed out. I want to be able to keep some of those ripples, but also make it overall brighter. But if I select the layer and I go up here and do image adjustments, I have students asked me all the time. What's the difference between the adjustment panel and doing adjustments here? If you do, the adjustments over here does it as a separate layer on top of everything. But if you select your layer and you go up here, it will do it as a nested adjustment on Lee on that layer. I know that's a little complicated, but once you do about 10 mock ups in this course, your ghetto definitely know what you're doing. So don't feel overwhelmed. Let's see if we can adjust our curves with this one as well. So let's see, we want to really bring out the darker colors because we don't want it to look. They do want to bring out those wrinkles. So here's kind of our darker pixels. I would see if we can't dark in the shadows but also increase our highlight so it doesn't look washed out. Curves can be very helpful. Now. We have our T shirt looking a lot better, a lot brighter, a lot more crisp rated at her logo onto it. So we are going to get the rectangle tool, and we're going to draw an area where we want the logo to be replaced. So just kind of a general kind of generic area. We could make this a little bit smaller. Kind of right there is where we want the graphic to go. We're gonna right click this. We want to be able to swap it out. So we want to make it a smart object. So now we can double click. It will open up into the other window, is going to bring in our retro gamer graphic, and we need to take away the background. So now this is kind of a transparent background, so now we close it and save it. It's applied to the T shirt. So now we want to be able to get kind of a more realistic lighting on this, because right now it's not at all integrated, so similar to the coffee cup. We're gonna do that similar thing and produce a copy of this T shirt layer, which is gonna make a copy of it. So we're gonna do command J make a copy, bring it on top, and then we're gonna do a blending mode to kind of let some of these little ripples and wrinkles and texture of show through on to blow go. And since the leg was black, you're not gonna be able to see it quite as well. But let's go ahead and kind of cycle through these to find one. I think that would work really good. We could do a hard light, and we can even kind of maybe back off the capacity a little bit, kind of see how it brings out a little bit of that shirt texture, and it makes it feel a little bit more part of the T shirt. And so what we want to do is we want to be able to clip this T shirt so it doesn't affect everything on top. So let's go ahead and clip this top T shirt Layers is called this effects or shadows or was called effects. We want to make sure we clipped that to just the logo. So we're gonna hold down the option key and go down. We're gonna clip it down to the layer below, which is three logo. Go ahead and title this a concussed see which one? So what I did is a single arrow, and it's now clipped to this bottom one. So now it only effects just the logo. So let's say we want to change the color of the graphic, so let's go ahead and go into the graphic. And here's kind of something you want to avoid. So if you double, click and bring up your layer styles panel the quickest way to make a change color change on the ground. An entire layer is to do a color overlay, but the problem with color overlays is they don't taken an account for blending modes. It ignores blending modes and blending modes is how we're able to get the kind of texture and effects that working with for. So if I were to save this, go ahead and say that it ignores any of the blending modes on top. So the best thing to do is go and click on her logo is to take off any kind of color overlay and just do a simple color change by adding a rectangle to a long top. We could just make it any old color here, let's make it a green and also clip it. So I'm gonna hold down option and just clip it to the layer below just like that. Then we can save it, and it's gonna take in account for blending modes. But now it's kind of washed out. I would love to change the color of the T shirt as well. So we're gonna do go through the same process, get the rectangle tool we're gonna draw over the entire T shirt, and the T shirt is already isolated from the background. So that's kind of helpful. So what we want to do is we wouldn't apply this blue kind of layer. This will be T shirt color. We won't apply this to the base T shirt layer. This is our very first T shirt on the very bottom. This was gonna hold down option. We're gonna clip it just like that and it clips it to the T shirt. And what we want to do is we want to apply a blending mode to the color the color layer right here. We're gonna go up and apply a blending mode, and it's gonna allow those shadows behind to really show up on top of the color. So this is what makes it look like a realistic color change. A lot of these could work very well, but I really find color, burn, color, burn and linear burn tend to have really good options here. Let's do a linear burn is I can change the T shirt color on the fly and look how easy it is . Do you change the color? Just like her mug? We just did. We can click on our logo, smart object thumbnail. And then we could also change this very quickly on the fly. And so we also have the issue here of the tag. So what we need to do is we need to isolate this tag and be able to make this tag, have our little brand on it. 19. T-Shirt Mockup - The Tag: in review. We have our top effects layer, which weaken, toggle on and off, and that applies a texture over on top of the logo the next we have the logo that weaken DoubleClick and we could. It's a smart object and what can be able to change it and apply it? We also have a T shirt color that we can go ahead and change at any time and that is clipped to the base layer, which is just our little T shirt that we isolated and cut out of a photo. And now we have the bottom layer, which is a just a square that we can go ahead and change the color at any time. So would you zoom in and will say, you took a photo yourself or you're working with another photo? When we applied, this went ahead and clipped this just orange square down to the T shirt. It also clipped this little tech. What if we want to change and put her own brand name on the tag? We're gonna do that right now. Let's go ahead and zoom in and see how we can do this year. What we want to do is we could take the pin tool and trace around here. Or you could just get this a very, very simple tag. I might be able just to use the polygon lasso tool and go ahead. Just kind of select some very basic shape here. Don't get the shadows, the shadows. We're gonna be fine. Just go ahead and get the tag itself. Pinto might get a little bit of a better selection, but we're just students Upton really quickly here. So I have that selected. We want to get maybe our paint bucket tool here. Want to create a new layer. And we're gonna name this tag and we're gonna make it white. And we're gonna do the same thing here that we've done over and over. And as we're going to duplicate this texture this this base layer right here is T shirt. We're gonna duplicate it. I'm gonna right click duplicate. Or you can use the keyboard shortcut command J duplicate layer. And what I'm gonna do, I'm gonna move it on top of our tag layers on moving this on top of the tag layer, and then we need to clip it to just the tag because we don't want it to appear on anywhere else but the tack. Hold down, option and go all the way. You look like you can't clip it, but you gotta go all the way to the bottom of all those filters and there is a little clip . So we're just gonna clip it, and now you can see that it's only has the tag clipped out. So just to kind of review, this is the extra duplicate. So I just got a call. This tag effects, which is all that's doing, is adding the texture on top of the tag. And there's the tag. That's a solid shape. So this is kind of those moments where you need It starts to get a little busy with layer. So it's really nice to go ahead and put all of these folders so we could go ahead and select both of our layers that deal with tags, and we could go down here and just put it in a folder and call it tag. So it just kind of helps you kind of organize all these extra layers that you're gonna be working with, and this could go into T shirt call it T shirt base. And of course, we can right click and label any of the smart objects that we can edit. So right here we can double click on the logo. We could even title this change logo here so we can start to see it kind of get a little bit more organized and take shape. So let's go back into our tag. What we want to do is we want to be able to remove all of this underneath. We don't want to have that brand. We wanna put her own. And we also want to use smart objects to be able to place their own logo on their hive. It automatically spin in the right direction and be placed there. So here's what we're gonna do is we're gonna either need to clone this out, or we're gonna need to use the content aware tools in Adobe Photoshopped to easily clone this out. So here's our tag that we have on top. This is the tag right here. This is what we want to be able to manipulate. We are going to have to, uh, clone this out. We're gonna have to use some content aware tools. So this is currently a smart object. It doesn't really have to be. All it's doing is it's given a little texture on top, and it's goes clipped to make that shape. So what we could do is we can rast arise this so we can be able to use the content aware tools, because if I have a smart object on, I cannot apply a lot of different effects to things. So let's go up to adjustments. You'll notice a few things were unavailable, if I have. If I have smart objects on and we really want to do the content aware fill. So we're going to go up to edit and you'll notice that the Phil and content aware fill options or berate out. You cannot do any content aware options on those, so we don't really need this to be changeable. It's just a nif ect, so we're going to right click and we're going to harassed Arise layer, so this is gonna no longer make it a smart objects is now. There's gonna be a plain old image no longer smart, but that's OK because we're going to be able to need those content aware tool. So I'm gonna select just the type is taken the polygon lasso tool and just last doing this together. And let's see what the content aware tools could do for us. So we go to edit, content, aware fill. So if you have taken my other classes, you definitely use this tool before. And it's gonna go ahead and take a sample of where it's going to fill it in. Oh, that's already doing a fantastic job already. What I can do is I can erase sample area so it doesn't sample. It only takes samples from maybe just that white. So any time you see the green, that's where it's taking the samples to recreate texture for this to fill in what you've selected. So we don't need to kind of take any of this orange with us, cause that's not part of the tag. We just wanna reproduce that tag texture. So now it's just taking samples from this green area to recreate something inside. It's using an algorithm, and it's helping us decide what how to fill in that space to make it look natural. We take away some of the shadows because I just want to take it from that sample so good it's like the tag was not even there. Click on OK, and this is kind of a case where, if you want to use maybe a a clone tool to if you have an older version of photo shop, he may not have the content aware fill options. Those became available it believe a couple years ago, and I can't remember what version, maybe 2017 and later. So if you don't have that, you can just do the same thing. Make your selection and it's a little bit harder. But you would get your clone tool, and you just do manually what we did with the content aware fill. You'd make your brush really tiny, and what you would do is you hold down option when I'll show you the windows keyboard shortcut on the screen. Click to take a sample, and then you'd be able to draw over it on here and you'd have to go back and keep doing samples, sample, sample and work your way down. But since we have the content aware, that was really easy. So now we want to add her own tag So we're gonna do the same thing we've done before. We're gonna create little object here. So let's create a shape using the rectangle tool just like this. Just kind of a long rectangle is gonna be our new label. And let's name this change label here. This will be a smart object. So let's right click Convert it to a smart object. And now we can do what we've done with the T shirt, but do it with just the tad and weaken Double click here and replace the label with their own label. So let's create one really quickly. Ah, we can even just do it right here in photo shop. Let's do example. Brand. It's gonna hold down shift. I'm just click it right back to 90 degrees. We have example brand label right here. We're not gonna need the background. Where is gonna need the text? Let's go ahead and make this text a dark color highlighter text go up here, you get like a dark gray and then we're just gonna save it just like we have been. And it should automatically populate for us. And there it is, of course, that doesn't look super exciting. So maybe let's kind of change typography here a little bit. Make it all caps weaken, go over to our character panel and just do a quick all caps. I just went right up here to this top option and did in all caps and center it. And so there's one thing we could do to make this way more realistic. So, as you can see, it's kind of straight up and down. But the label kind of slightly curves to the left. So let me zoom out a little bit so you can kind of see how it looks. So there's example. Brand will, of course, get a little logo on there if we wanted to. So here's where we're gonna learn how warped things we're gonna do this much more in the next couple of lessons. So I'm gonna show you a quick example 20. T-Shirt Mockup - The Warp Tool: So this is the power of smart objects. I'm gonna have my change label here, layer, and I'm going to want to be able to get that warp effect on there. So here's what I'm gonna do. Have this layer selected. I'm gonna warp this slightly. So I'm gonna go up to edit, got to go down to transform, and I got to do something called work. We're going to be doing a lot of this later. So I have this warped and Aiken bend and move this smart object and have it go more along a curve to kind of see it looking like it's curving along the label. And I'm changing these handles to give it a more curved appearance. It just doesn't look straight up and down your press enter. So let's say okay, I don't like a hunt. I want to be able to curve it a little bit more. All you to do, select this layer, go back through the same process, go to edit, transform and warp. And it's gonna remember your previous warp and you would be able to edit it that way. So just kind of going back through the same directions and it will kind of remember what you were working. And what's great about smart objects is it's going to remember what you've done. So it's really blurry and pixelated just because that's where they were resumed in quite a bit. So if we zoom out, that looks a little bit better here. Who zooming all the way out. But what's great is I can go in and I can double click and change. My smart layer here will say, I want to change it to something different and save it, and it's got automatically apply that warp over and over again. So I never have to do that same warp again. It will automatically change it cause it remembers the original, um, object. And it does that warp. So if that was a little complicated, don't worry. We're gonna be doing that a couple more times later on in the class with the warp. But that was pretty simple. We're gonna be applying a warp to around tube at some point later on. In the course, we gotta wrap more solid images around objects. So now we have a tag that is changeable. So we have this tag that can totally be switched out. We have the background color that can totally be switched out. We have the T shirt color that can be switched out. And finally the graphic on the T shirt can be switched out. So this is totally customizable. Now this T shirt can be made our own. And so let's talk about backgrounds just a tiny bit. We can have this be floating in midair, or we can go ahead and place it flat on a new background. Since we cropped this out of its original background, we can change the color, which is handy dandy. But we can also add some realistic shadows because it's not going to just sit there and float. And when we add shadows, it adds a sense of place for the T shirt. So to create a shadow layer was gonna add a new layer, and it's gonna be behind the T shirt, so we're gonna drag it all the way down here right above the background layers. So it's gonna be shadows. Call it T shirt shadow, and we're gonna get our paint brush tool. And so what I like to do when I paint on shadows especially softer indirect light shadows as I like to use the soft around brush Not gonna make it pretty big, So let's see how it looks here. I like to make it a little bit big. It's a little more forgiving, so I'm just gonna just try 316 pixels doesn't have to be exactly that. And I'm gonna paint on with black black shadows. And here's what I want to dio I want to reduce the opacity quite a bit. So let's reduce it down to 20% are let's do 30% 30% and we're gonna just paint on layers of shadows. So I'm gonna go in here, let me change the background color so you can see this happen a little bit better, so that's a little bit brighter of a color. So here we are. We're gonna be on our T shirt shadow layer and let's paint on a shadow. So I'm gonna click and hold campaigning on a shower. The reason why I made this opaque a little bit transparent is when I paint on with the shadow like that's a really light shadow. At 30% I can paint on top of it and make it darker. And so you gonna have kind of that layered. You know how I talked about in my shadows lessons about how it kind of radiates outwards so you can draw like a big shadow, and then you could come in and draw like, more intense shadows closer to the object. So that's what we're gonna be doing here. Let's do kind of our big shadow that's gonna be casted right down here. Let's just assume the light source is coming from the upper, right. So we're gonna have a lot more shadows here, or we can have a light source coming directly on top. So our shadows, we're gonna determine our light source and kind of give away our light source. So this makes it looks like it's floating, so this do it all the way around. So this is gonna give that appearance of floating. We can have a tighter shadow to make it feel like it's more connected to the ground underneath, so that might require us to make her brush a tiny bit smaller. Let's assume we have a top right light source direction Looks like the light source. When they took the images kind of kind of in the middle to upper left, so I might need to move those shadows a little bit. But just for the sake of timeless, couldn't keep it here to the left, maybe draw a tiny bit out here. And so what I'm doing is I'm going back in and I'm painting over again. And so when you have a 30% it's gonna add on top a darker layer. So this could give more blended soft shadows so those shadows could make a big difference. If you feel like it's getting a little dark and it's already really dark, anyone enlighten it. You can always has change the opacity of the main shadow layers. I'm gonna topple that on and off to see the effect that it had, and you can reduce the opacity, so maybe it's not quite a strong. But when I change the color, the shadows are going to kind of change with it. Let's do kind of a top down lighting source. It'll have even shadows all throughout the T shirt. We're gonna do the same thing, but we're could have nice, tight shadows all the way around. Since the lighting sources coming down, and the T shirt is casting a tiny bit of shadow in the edges where it lives off the table. You got to be careful with shadows. Not to make them too strong is it starts to look a little bit cheap, and you want it to look as genuine as possible. So there's kind of some shadows to weaken even pain on a much bigger rush. What we could do is we can reduce the opacity. Been more on like a very, very light shadow. Let's say 10% kind of pain around can. It gives it that soft blended look. It's not such a show. Harsh shadow, so we can even simply add textures on top of this. So let's go ahead and find a texture for this T shirt was a retro gaming kind of illustration on it. So we want to find something, uh, that would fit that kind of style. Let's find a nice wood texture. It's duck one right here. You can download any old texture to try out for this and bring it into Photoshopped. And since we already painted on the shadows, we don't have to do a whole lot in terms of making it fit nicely. I think it already fits really nicely. And just like that, we created a T shirt and walk up so you would repeat the same steps with a different T shirt. You can even download a T shirt from pixels dot com or unspool Ashour some of these free websites where they have kind of a blank T shirt and you can apply the same idea over and over. And when we continue further, we're gonna continue to do this to Thio more and more complex items. So eventually we're gonna be taking that warp tool and warping some things that are beatable. Toe put it on things that are not flat that are rounded and we're doing that. So anyway, hopefully enjoyed the T shirt section. We're gonna be moving on to the next one right now. 21. T-Shirt Mockup - Downloadable File: in the downloadable Zip file. In the course in the T Shirt Design Section folder, you'll be able to find a Photoshopped file that has all of the layers that created together because I wanted to. It's really hard to kind of teach in a video format when you have a timeline and you're moving through a project. Sometimes it's hard to explain the complexity of all these different layers that come together in a mock up. So I thought if I provided you with the Photoshopped file, you'll be able to open it up and kind of see how I work the layers. If you have any question about the order of the layers or what kind of blending mode you use just kind of giving you this mock up that you can use for your own T shirt design, but also to kind of see how it's constructed. So it'll help you a little bit better so you can collapse these folders and see how everything is stacks. It could see how many different layers was used to create this particular mock up, so we've done this one. That's great. Let's get a little bit more complicated. What if we wanted to add a pattern or an illustration that goes across the entire T shirt. So not just in the centre. We wanna have a pattern that's printed all the way around, Like in this example. We're gonna do that next. 22. T-shirt Full Pattern: going back to basics and going back to where we first started with this mock up a little while ago so you can kind of get rid of some of those extra file so we can start fresh with applying a pattern across the entire T shirt. So all I have here is our base layer, which is just the T shirt that we cut out of original photo. And we have T shirt, shadows and, of course, the background. That's all we have right now, so it's kind of do this process over again. But instead of making a small and print area, we're gonna make it much larger. So we need to go ahead and select the outline of her T shirt. So I'm just gonna get we have our little base layer here, which is it cut out. So that's the shape we need. Let's just get a, uh, Magic one tool. I'm just gonna select the outside and then just do a select inverse. So when I do select in verse, it's gonna inverse that selection, and I just have it. It's just a lot easier than having to hand selected again. So I'm gonna create a new layer on the top and I'm gonna call this graphic. This is gonna be where we're gonna put our graphic across the entire T shirt and we want to make it a smart object. But let's first fill it in with just any old color. Let's just do black for right now. Just doing the paint bucket tool and just filling it in. We went toe right click and make that eighth smart object so that we can double click the smart object thumbnail and open it up in a new window. So this is where we have a nice sample of where when we put our pattern across this entire area where it's going to be cut off on the T shirt. So this is kind of more of a guy, this little black T shirt. So we're gonna leave that as it's called, this guide, and we're gonna drag our pattern on top of it. So I actually have one for you guys in that downloadable fake logo Examples file. You can drag this in or use any old illustration that you might have on hand. If you have a PNG, that would be great to we're gonna bring this in and we want to change the color because black on black is probably not gonna look really good. So we're gonna do what we did before. And let's do our rectangle tool draught over the whole area. We can make it purplish blue and we can do hold down option. We're just gonna clip it to the graphic. So now we can change this color pretty easily and the blending modes when we save it whenever we do it this way, the blending modes will still be active when and still show up when we do it So we are able to change the color of the illustration. This black guide T shirt underneath tells us where it's gonna show up on the T shirt. So if we want to make this graphic bigger, we can expand it over the shirt into the sleeves. So let's talk all the guide off because we don't want the guide to show up. It's gonna turn the T shirt black, so let's toggle that off. That's just a guide. So let's close out this smart object. So now we need to clip that to the T shirt layer So let's go ahead and hold down. Option. We're gonna clip that. Just like that. It's on the T shirt. Of course, we want to show the little ripples and lighting effects showing through our graphic. So we're gonna need to duplicate our base layer so we can right click, duplicate, or we can do command J duplicate. And we always want that to be on top of the illustrations. Let's move it on the top. So now we're gonna do our blending mode so that texture can be applied on top of the graphic. This is just like we did before, but just a wider area. Let's do multiply. We also need to clip this to the T shirt below. And I think when I dragged my second layer on top, sometimes you're clipping gets messed up when you shift layers around, so sometimes you do have to click and do it again. So if you see things kind of popping out of the clipping, sometimes you just have to kind of go back and clip it back again. So we want both of those layers to be clipped to the base layer. So now they're both clip so now when I toggle the second, let's call this effects like we did before. So if I talk about that 2nd 1 that has the multiply blending mode on and off, he could see how it added all that rich texture on top and makes it look a lot more realistic. So it's really a very similar way of doing the other one. It's just gonna be doing a larger imprint area so across the entire T shirt, instead of just a smaller square that you can change eso fairly simple. This is a nice flat look. We don't have to apply any kind of warping or dimensions to it yet. We're gonna be doing that later, but you can easily change the graphic color now. So if we wanted to change this to green, close it down and if we wanted to change the base color of the T shirt. Now we need to add on a little color layer to change the T shirt color. So it's gonna be what we've done many, many times before. Let's say we want to make it purple. We're just getting the rectangle tool, drawing it across the entire T shirt and it looks like since I did that, I would had created that layer on top when there was already kind of some clipping action going on and went ahead and automatically clipped it for me. But if it wasn't, I would just go ahead and hold option and clip it to that base layer T shirt. It's now all these air really easy to change. Super Super Fund To do you have to do stuff. Click that one to change this color. Make that white, and you can do this with any combination of colors. You could make 20 different combinations very quickly to sell at your store or to show off in your portfolio or to do a brand presentation with a logo. And he could do this with yoga pants, hats, all sorts of things. This is easy cause it's flat. We don't have toe warp any of this at all. We'll get at another layer of complexity. If we had a product that wasn't flat and had ripples and and more complicated areas, you'd have to use the warp tool or perspective warp tool to apply on angle to it, and we're going to do that next or do one more project on a T shirt. I would want to do kind of a bonus lesson of how do you apply this idea? How do you do the same process? But do it on an image of with somebody wearing the T shirt, which could be what you want to do. Do a photo shoot with someone wearing a black T shirt and you can change your local. Or you can download a photo, which is what we're gonna dio and apply a logo to it and do the same process but with someone involved in the photo, and then we're gonna dio hardware Box. And that's when we're going to start to use the warp tool and the perspective warp to be able to do the same thing, but also add angles to it so that when you load the graphic, it's automatically applies any kind of perspective award that you apply to the smart object . So look forward to seeing you in the next lesson. Okay, 23. T-Shirt Mockup - On People: So now we're gonna go through the same process, but we're gonna do it on a picture of somebody wearing the T-shirt. So this is an example of a man I have. You can download any kind of person with a blank, clear, easy to see t-shirt. This is one I happened to find. Have a link to this in the links file and the downloadable resources. You can find that in the photo links. We're going to go ahead and begin with this one. We're gonna go through the same process. There's just some small tweaks that we're gonna do instead, I'm just going to unlock that layer. And with all of these, we need to be able to isolate that t-shirt. And I'm just going to get the Magnetic Lasso Tool. I just want to lasso and select an isolate the t-shirt, just like we did with the mug. A couple other projects. We're just going to slowly isolate this and blending modes. We're going eventually apply the blending mode to let kind of the ripples show through like we've been doing. And blending modes are pretty unforgiving. So you have to make a really accurate selection. So take your time when making a selection Pin Tool is pretty accurate like we did before. But just kinda make sure you have it pretty darn close. A really nice selection. You can always zoom in and get a better selection that way, especially down here. I just happen to like the Magnetic Lasso Tool just kinda for things like this that have really high contrast, it makes a pretty good selection. So I'm going to clean up the selection a little bit and I will be right back. So with our selection selected and let's create a new layer. I'm gonna do Command J to create a new layer. And since we already had a selection, it's going to automatically kind of cut it out for us. So just to kinda show you, I'm just going to move this layer around it just basically isolated the layer and put a duplicate on top. So now we want to add color. So let's do add our color to student rectangle tool like we've done several times already. Let's clip it down to this shape. And then now we need to duplicate. Go ahead and call this base layer t-shirt. T-shirt layers is why naming layers, it gets really complicated as while naming layers are so, so important, change t-shirt color here. Right-click, I can go ahead and start building this out. Let's make the duplicate layer so we can add all the ripples and blending modes. So Command J and we're going to make another layer. So here's the big difference is we have this kind of background layer. Let's kinda a new layer we didn't have before. We just had a plain background. So instead of having a plain background on this, we have kind of this bottom photo layer. And so this is really our base layer. And the second one will be what's moved on top. And that is what we can apply our blending mode to. So let's apply our blending mode. Let's do Multiply, see all the ripples coming through, and you can still see the blue. Let's clip it to our shapes, so it's not a square. It's going to clip this and hold down option, not option that I want to clip this as well. So boom, clip. In both of those, we essentially have the top layer for blending mode. We have the color. This is not any different than what we've done a couple times before. And you could see how blending modes are unforgiving. So you see kind of these little tiny areas that we can clean up a little bit. So that's why your selection. I made my selection pretty fast as why you really gotta make a nice clean selection when you isolate your t-shirt. So you don't have that kind of effect going on. Probably spend a good half hour going in and cleaning that up. Okay, So let's add our logo on here. We're going to get a generic rectangle tool. Have a specific area where the logo can be or the text. Let's move this all the way on top. Let's right-click and make this a smart object. I'm going to double-click and add kind of a graphic. I happened to have one for you guys to use, but you can use whenever you want. One too many t-shirts. Not very exhilarating of a phrase, but it works for an example, so it's going to place it on here. We don't need the color on here, and we want to be able to change the color. So let's do rectangle tool on top and then hold down Option, clip it. So now we can change the color of this. So let's say we have a blue t-shirt, we want something really high contrast. So let's do orange and save it. And we're going to have to move this layer down a little bit in the layering system because it's not adapting any of the blending mode from the the effects layer. So let's go ahead and change logo here. Let's stay organized. So we don't get lost in all of our layers. So we need to bring this below. Let's go ahead and bring this below that affects layer. Let's call this effects. And we can always double-click are Change local heroes make that red because we know we can change that layer. We can move this higher up on the t-shirt. Might need to lock that layer so I can move this up. Just kinda trying to find the right position for this type. And so let's say I feel like the ripples aren't showing through very well. I feel like I want to have the t-shirt have a better contrast. We can also add an adjustment layer over here and add a little bit more brightness and contrast to the t-shirt. So we're going to add a brightness contrast layer on top. And we're looking to bring out the ripples a little bit more in the t-shirt. So maybe little bit of contrast added. A little brightness taken away. And we don't want to apply that to the whole image, we just want to apply it to the graphic. So let's clip that to the graphic. I think I just since everything is already being clipped down to this base t-shirt layer, I should be able to drag it under and will automatically be clipped for me, I'm going to drag it right under effects. So that's before. And that's after just adding little richness and adding more ripples. And you can always double-click this and change. So I can kinda see it in action. Force. There's other adjustments we can add like curves. I still want to see a little bit more rippling action happening through the type. So I'm going to take our effects layer, which is that very top layer. And I can edit this directly, going to image adjustments and going to brightness contrast. Maybe reduce the brightness, but increase the contrast to see how those ripples are coming out a lot more when I do this. So she went, I reduce the brightness. You see kind of the effect that it has. Click Okay, and I think we're pretty darn close here. We can changed the t-shirt color to whatever we like, pink, purple, and we can double-click the logo, or I guess in this case the graphic. Unlock that layer and we can changes to our liking. This is great if you want to find a photo that works really well with your presentation and your brand. It's a real photo. You could do the same thing instead of taking your own photography, you can have find a photo just like this and be able to put it on any type of apparel. You can do the same method for pants and hats as well. So I wanted to show you the many different ways you can apply mockups and change things. Not just on a flat, simple top-down flat lay t-shirt, but also on a real person because I think that's pretty important to show it on a real person to kind of make it feel more authentic. So now that we've done a lot of different t-shirt options and you can kinda know how to put it on cloth and on a peril. We're going to move to something a little bit different and start working with that warping tool and Perspective tool by doing this box. 24. Cardboard Box - Using Perspective : that way, the next level of complexity with using perspective, we're gonna be able to apply a logo on both sides of this box and haven't looked realistic with using perspective, warp and warp tools. I have this photo that you can download to confine it in the links, or you can use any box that you want that has some type of angle or perspective to it to practice. We're gonna go through the same process over and over again, but with an added twist. So let's do our little imprint area. Let's just get the rectangle tool and draw kind of where we would like to replace or add a logo we're going to right Click this, and the first thing we gotta do is make it a smart objects of right click convert to Smart Object. And here's what we're gonna do with perspective when I go up to edit and do any of the warp tool. So if I go to perspective warp or if I do transform warp when I apply the effects, the smart, if its a smart object, it's gonna remember it. Let's do something called perspective warped to start off with so perspective. War is a little newer, so if you have a really old version of photo shop, you may not have this option available. That is okay, because when you goto transform, you can use perspective. Distort. There's a couple of older tools that you can use. Um, perspective Warp. It's just a little bit more intuitive to use. It's very similar to their older tools, just very easy to use. So now I have perspective warp on what I want to do. There's two steps to perspective warp. This is the first step, which is Do you have this little icon here? I'm gonna click at the top and you're just gonna draw the area that's gonna be affected. So you just drawing the area all the way out to the end, just dragging it and I'm gonna press, enter So pressing enter And now it's switched to this little pin icon, and now I can start to apply perspective to it. So I would apply this perspective that the box has. So I'm just following the lines of this side of the box. The left side of the box. It's kind of matching that perspective and what's great about smart objects. If you mess up and you don't do the perspective correctly, you could just go back through the same tool and tweak it. They're gonna press enter. I think that's okay. We can always find Tune it later. So let's say, Oh, I don't I want to Just one corner. I could take my layer, go back through the same process, go to edit perspective warp. And it remembers kind of where you were, so you can go back and make some final tweaks. Press, enter. So now we want to go ahead and double click or thumbnail like we've done before and add a little design. And I have a little something for you unless you want to design a box graphic. It's just a box, so it's gonna bring that in to the side. We'll do it kind of in the middle. Leave a little bit of margin around there. We don't want the background to show up is blue. So we're just gonna talk all that offer right now, and let's say that it should automatically populate. But not only that, it's gonna provide perspective. So it's good to remember the perspective that we put onto the graphic, so it's just a box. So let's make it slightly bigger. Weaken DoubleClick. Make it bigger so we can kind of see more of what's going on, and we can read it better. So now it's just it's pretty flat. It doesn't look like it's integrated at all onto the box, so let's change that by duplicating the space layer change. Left side will call this the left side of the box. Go ahead, make that red so we know we can change it. Let's duplicate this by doing command J and dragging it on top of doing the same thing we did before with blending modes and let's do hard light. So just too hard light. And we don't want to apply that to everything. We just want to apply it to the type or to the graphic. So let's go ahead and clip it. Hold down option and clip it to the graphics. And now it just effects the text so you'll notice with all of this. Sometimes you'll notice me. Use hard light. Sometimes you'll notice that I'll use multiply. It's going to depend on the texture underneath and how it's looking, which blending mode to use. There's pretty much just a handful that really work out well, which is hard light, overlay and multiply. Those tend to be the ones that look the best. So for this one, I'm gonna do hard light. I think it's really strong, that texture coming through. So feel free to always adjust the opacity on any layer. If you feel like it's too strong at any point, just to kind of bring in more the black but yet still have the texture on top, So I feel like that probably looks the most realistic. So when I zoom out, it looks pretty good. So we can even change out our graphic to stubble click. I could bring in a logo making a box for one of the brands we've been working for our working on how we can bring in the coffee. Maybe it's a coffee product box bringing her logo. Toggle that one off and go ahead and close it down and see how the little bit of the texture shows through. And it looks really good. And look at the perspective. We don't have to sit there and do that perspective warp over and over again. It's a smart object. So it's going to remember that perspective warp right here. You can even toggle it on and off so you can see the effect that it has on their. So let's do the other side in the same way for stew are rectangle and go ahead and do an imprint right here. So this will be our change. Right side graphic. We need to right click. We can't forget the step if we do not make it a smart object we're gonna go up to edit And you got to realize you're not gonna have all you have all these options Great out. So you'll always go. Oh, I forgot to make it a smart object. It's gonna remind you. And now you can go back and we're gonna go to edit. We could do perspective warp again. So let's do perspective warp again. Stroll the boundary of our object. We gotta press enter to enter into stage two. Now we have the pin and sometimes it takes a couple of minutes for Photoshopped to catch up working to the same thing we did before. But we're gonna draw it on this perspective right? is following the lines of the box where I think it would fall, and we can always go back and edit this. Nothing is final, so I'd like to kind of what I'm doing when I'm trying to do the box I use. This is my guy. So this lineup here would be my guide Teoh kind of a line here and down here. This line would be my guy to help me figure out where the perspective ends and same here, just making that straight. His press enter and let's go ahead and change it and let's apply our same logo. Let's close out that window. It will do the same thing, and it's gonna remember the perspective. It can even apply another layer on top. Add the texture. But in this case it's so dark. But I don't think any that texture is really gonna show up quite a swell. So that is OK, so there you go. We were able to add perspective very easily on two different sides by using perspective warp and if you don't have perspective, work because you have an older version of photo shop. But that's okay because you have other different types of warp tools if you go into your transform, and we're gonna be working with the warp tool a little bit later. So the warp tool is really special because it gives you a whole lot more control over warping. Its not just one side, it's you can can create many points of war pings that can put things on really complicated items. So good to be doing that in the next couple projects. 25. Art Poster Project - Warp Tool: Let's continue to practice with using the warp tool. And I have this downloadable J peg that you could bring into photo shop. We're gonna apply a simple graphic onto the poster. We're also going to use the warp tool to put things on rounded, rounded objects. And so in this case, we're gonna be doing an art poster and that our port poster is gonna be presented in this nice little design tube that matches the poster artwork. We'll be putting that together. So go ahead and open that J peg. It's gonna be called the paper poster dot p and G. And I created this little set up in AH three D program called Adobe Dimensions, which will be having a little preview of a little bit later in the course. But I set this up because when we talked about mock ups, we want to talk about setting the stage and how we present our artwork. So in this case, we're selling art posters online, and we want to present it in a way that's polished and professional. But it's not just kind of your typical poster where you hold it up where you put it on a wall. It's something a little special, and you can show some highlights to it by having kind of that angle to it. And but you're also showing the poster casing with it because it's all about the experience of the poster. Get shipped to you in a really nice, colorful tube, and we want to kind of show it more as a total package. And you're not just selling an art poster. You're selling the experience of having it. So I thought, laying it on top of the tube on the bottom and then also having another one on the side so we can really show off the matching artwork on the top of the tube. So when we're thinking about mock ups, it's one thing to know how to do them. But it's another thing to pick out how to present it, and this is a craft that you'll learn with time. What is the experience you want the viewer to see? Sometimes it's not the easiest angle to do, but that's okay, because we know how to use the warp tools in Adobe Photo Shop so we can easily switch out this poster design with 20 different kinds in a matter of minutes. So let's get this mock up set up. So the first thing we're gonna tackle is the poster itself. So we're gonna want to be able to draw around this, to be able to make it a smart object. So one thing I'm gonna do is I'm gonna just start out with a rectangle tool. It's gonna create a new layer and do a rectangle tool about Ah, this dimension right here. You can even open up a new document and do the poster dimension. Let's say it's two feet by three feet or 24 inches by 36 inches or it's an a four size. You would open that up in a new document to try to get that size, and then you just bring that in to try to get the right dimensions. But I'm just gonna go ahead and draw what I think would be a really good size. We can always adjust it a little bit later. Let's make it a different colors. We can kind of see our documents, so we need to apply this to that angle. So this is where the warp tools really gonna come in handy. So before we apply the warp tools or anything to this layer, we have to make it a smart object so it can remember everything that we do to it. So right, click Convert to smart object Important step here. Once we convert it to a smart object, let's go ahead and do the warp tool we're gonna go to edit. We're gonna go down to transform, and we're going to go to warp. So this is one way to warp, and you can slowly adapt it to the poster underneath. And you can even reduce the opacity so you can kind of see how they're laying on top of each other so you can match it. And I'm gonna show you This is kind of a long way to do it, and I'm gonna show you an easier way. But I want to show you one way to go about it. So we're just adjusting the different anchor points in the different handles to slowly adapt to the poster. You take that little handle right down here and despairing it right back down, trying to make it match as close as I can. It's gonna be made taking this handles, maybe moving it over and up to try to match it as best I can. And it's gonna take a few minutes to get it to match perfectly. So when I feel like I'm in a good place, I'm gonna press enter. And it's a smart object. So it's good to remember that same warp if I go back and go. Oh, I missed a little spot right there. I can select it. Go back to the original way. I went about doing the work tool, transform, warp. It's gonna remember it, and I could do some slight tweaks to it. So now let's go ahead and apply our poster to it in a double click are Smart Layer. I'm gonna go ahead and changes to change poster here so we can keep track of all of our layers. Call that base layer is your background layer, so let's go ahead and double click are smart object thumbnail and bring in a generic poster , or we can draw one. So this is gonna be a very simple our poster. I am just going to do some very, very simple shapes that was gonna get the rectangle tool make it bright colors. So let's do kind of an orange and let's get another rectangle tool draw and let's do blue. And we're just we're just making something super quick and artistic doesn't have to be all that exciting just for an example. And let's duplicate that layer and do maybe read. Okay, so now that we have the post for ready worker, just gonna close the window and it will remember the warp so it's gonna automatically apply it on there. Let's make sure we bring the opacity back to 100%. And there it is. Let's try it with one more different poster. Let's double click. So what I'm gonna do is I'm gonna get a picture of a person so I can see and make sure the warp tool doesn't didn't do it in a distorted manner. I'm just bringing in a person here so it can kind of really see how it worked. I'm just gonna say that this is really just a test. You can put any photo you want in. There doesn't have to be a specific one, and so that's how it's gonna look when put on there. I think that looks pretty good. So let's double click put our little artwork back in there. So one thing is missing is highlights and shadows. It's just a flat poster. It doesn't feel very riel. So we want to do the same thing we've done over and over and put that layer on top and kind of get some of those highlights and shadows in there. So let's dope duplicate or base layer where it's going to do command J to duplicate it and put it on top and do our blending mode, and we're gonna do linear burn. So I'm gonna talk all this often on to show you kind of what it did. So I'm talking. Toggle it off. You can look, just look at the poster, Don't look at the background and then a toggle it on so they kind of let a little bit that highlight that's on the base layer. It let this little piece through. I'm doing the blending moon, so that adds a lot more realism. Of course, it did all this kind of mess, too, because it did it throughout the whole background. So that's why we have the clip it. So I'm gonna hold down option and clip this to just the poster. So now it only affects the poster so very quickly done that you can add additional layers on top like brightness and and paint on different highlights as well. Eh? So what I could do is, I can add a layer on top has called this highlight, and let's go ahead and get just a white brush. Let me do we do a pretty big, soft round brush. I'm gonna paint on a little bit more intense kind of highlights here. I'm just painting on some highlights, clicking and painting on. So there's my highlights right here. What I can do is I can clip that as well to the poster, so it's clipped around the poster and it's not going outside of the poster and clip that down and we can call that highlight layer just to add a little extra papa highlights and glare. So now it's time to move on to the tube, so we have a little bit more of a difficult thing here to do. Let's do the top of the tube. We want to kind of put the same graphic of the poster right here on the tip. So we're gonna need to draw a place that we can change this very top of the tip. So we're gonna do the same thing we did before. Let's just get kind of a generic square or rectangle happening before we take the rectangle tool and adapt it. We are going to reduce the opacity a little bit so we can see how we can warp it on the background is gonna help us be ableto warp the shape to that this little into the tube. And before we do anything, we have to remember this step because if we forget it, we have to do it all over again. So make sure you make it a smart object object by right clicking, convert to smart object. Then you could do the warp tool so it will remember your warp tool when you change the image out. So we're going to do the same thing we've been doing. Let's do edit, transform and leads warp this guy over the end of the tube, going to slowly bring it to this area. And you may feel ah little limited with the amount of anchor points on points of transformation and handles that you have, maybe feel like you need more to be more accurate with your your adapting it to the curves . And if that's so, I'm gonna show you how to kind of customize the warp tool to be able to give you additional points that you can manipulate and edit. But for right now, I think for this pretty simple cylinder shape, we will be able to get away with what it gives you by default, but is to kind of give you a little preview of that. You have some different points of reference that you can add to, so you can add additional anchor points and transformation points by simply going through these options up here, which will do a little bit later. There's two hands. Sometimes that second handle is hiding, so you wouldn't want to make sure Grab that second handles a little bit tough to get it first, but there's a handle for everything. Press enter. So we worked that on here, right? Let's test it out. Let's go ahead and enter in here and we can draw our shape. But one thing I want to do is I want to go back into my poster. I'm just gonna borrow this poster. Look here. Just got a copy. These layers posting our little shape here so we can have a little bit of the same colors we have in our poster. Press enter and let's save it. It looks a little childish right now, So there's two things we're gonna dio. We're going to want to make that duplicate layer, so let's duplicate our base layer. So we're gonna do command J. We're gonna bring that on the very top. Where did you are? Blending mode. We're bringing in those textures and highlights from the tube right here. We're bringing that through. So let's go ahead and find the right blending mode. Let's do Let's do multiplies. We're gonna do the multiply blending mode for this one. We want to clip it because we don't want the background to be affected. Just just the tube, the top of the tube. So it's hold down option and clip it to the top poster layer. So now on Lee, it affects just that area. And so what that did is it? Bring brought in some of those highlights and shadows to kind of make it a little bit more rich, but we can brighten this up to, and we can also add our own highlights to it. And I'm going to create a new layer on top, and this is when it might be good to start arranging this into folders. So let's select everything related to the top and put it in a folder and call it cardboard tube and everything related to our poster. Let's create a folder for that. So now we can add a highlight layer here and we won't get lost with all of her layers. What highlight is that, too? Is that to the poster? Is that to the to area? So this will really help us. So this will be highlights for the tube and let's draw them on manually. Let's just do white. Let's do a I'm gonna continue to use my soft round brush since we're dealing with soft light and I'm just gonna paint once across and we have a 15% opacity, and I got to continue to paint, but I'm gonna reduce my brush eyes, and I'm gonna continue to reduce my brush size again and paint right on top. so it's kind of has varying levels of intensity as I make the brush smaller and it's painting on top 15% each time. So it kind of creates a really nice blended highlight that way. And we want to be able to clip the highlights to the tube so we don't have highlights coming out here and coming out here. So hold down, option and clip it, and we can even add an adjustment layer on top. If we would just want to brighten the whole thing. We feel like maybe that blending mode was a little too dark. We can go to where adjustments and do a brightness contrast layer on here and just brighten it a little bit and a little contrast. And then we want to clip that, too, the tube layer. So just hold down option. See how all these air clipped double arrow, all these air clipped to this warped top that we just created. Okay, so there's one more thing we want to add to this, and we want to add some typography onto the tube layer. So let's do the same process again. Let's do a long, slender, kind of edit herbal area. So we're gonna do a rectangle this time. So have the rectangle tool. Let's make the edit herbal area about this length and remember that this can't forget the step. We gotta right click and make it a smart object. And let's go ahead and warp it. So let's reduce the opacity so you can kind of see where warping and let's go to the warp tool. I haven't had the same curves on the tube, so you noticed how this curve This is a great reference point right here. See that kind of lying right here? Let's see if we can't match that same curve because this is gonna have the same curve throughout the entire tube. So that's it was really nice to have reference points, so you can know how things curve along, making sure these lines air fairly straight. The handles are nice and straight across second look a little wonky if you don't have them perfectly straight when you start to apply typography on there. So that's OK for now. We'll go back and tweak once we kind of see what something looks like on their suppress. Enter what's right click and make it red. So we know kind of. That's a smart object. Let's double click. Let's add some typography on here really quickly. Let's just do some black typography. Let's just do some very simple typography. Do the line tool strong like a horse of a vertical kind of separating line. Hold down option and drag to make a duplicate. Put our poster Siri's one. Let's do a little type hierarchy. Let's make this a little bit bolder. It's doing a bold wait and making that kind of a tallix so kind of just having a little bit of type hierarchy, that one a little bit larger. This is less important, so it's smaller. We have a divider line and we have a little 01 Let's make this boulder and nonmetallic. We can shift this more toward the center, and we don't need this background. Cem's gonna toggle off that background so that white background doesn't come through when I save it. So save it. Let's see how our warp tool worked. Oh, that looks absolutely horrendous. So you notice how before we added it on, it looked like it would do this perfect warping right over top of it and you can see how it just looks like it's warping on certain points, but it's not done. Have the smooth, rounded look. 26. Art Poster Project - Warp Tool: two things we can do to rectify this problem. And I wanted to go through this to show you that this is very common. When people use the warp tool, they think what they see when they're warping. And when they put something like a picture or photo in, it's gonna work perfectly like they're seeing. And it doesn't always work that way. So one thing we can do is we could go back to our work tool and do some edits while we have typography on here so you can see how it warps. And we can fix it by adding some different points, different anchor points and different handles We can add to our warp mesh, so the colors award mesh where you can add different points and make it more complicated instead of the default simple points that they give you so we can add things horizontally. Do it just like this so we can click, and it's giving us some more reference. War points here, and that's the key to making a good warp is having lots of points that you can edit anchor points and handles so noticed just adding that horizontal mesh to this is already making it look a lot better. And so let's also do this one. This is a split. So if you look at kind of the preview image here, it's gonna add two points, a horizontal and a vertical, so you can see the preview here of what it's gonna dio. You can adjust it. I like this one a lot because it makes the mesh pretty complex, which sometimes a complex mesh, can give me more little small minute controls over how it warps over the object. All right, this mesh isn't perfect, but you can start to see how would he have many points. You could start to really do some complicated curves and warping to specific objects, so that's a lot more a lot more complicated of a mesh than the default mesh that we had, where it only had maybe six little areas that you can change. This has a lot more, but I think it'll look a lot more realistic. It's press enter, so that looks a heck of a lot better. It's not perfect. We can probably spend a good, solid 30 minutes getting our mesh perfect, and we can always go in cause you could almost see like there's some a little bit of distortion right here. And sometimes it really helps to put a photo or a person space in there, because when you see a person's face, you'll really kind of see where things might. I need to be tweaked more than just something like typography or a solid color. So let's add a thin bar of highlights and let's go ahead, and this is starting to get a little bit busy. Let's take everything that's related to the type on the tube, which is gonna be this layer that we just created and the type and let's go ahead and put that in a folder. Call the type on tube. So let's add a highlight layer on top. So it's paint on a little thin horizontal highlight layer with white, and I have a soft, round brush. Let's make it a little bit smaller. I was gonna paint across a little thing of highlights, and we can even make a smaller and do it in the middle to add another layer of intensity with her highlights. And let's clip that so we don't have any of our highlights. Bleeding out of the area that we edit. We're gonna hold down, option and clip it. And there we go. We have a little highlights, which I think really makes a huge difference and adding a sense of curvature because before it wasn't even with the warp to tool, wasn't adding a whole lot of curvature to it. But it's adding that then highlights. See, that happened over here. Once we added that little band of highlight, it really helped it to help it curve because highlights and shadows all tricked the I and toe looking, uh, having something flat, Look around it. So there we haven't we have our poster on there, we have the top, and we have some type that we added to it. You could do the same thing when you're doing maybe a cardboard cookie tub. Or there's so many rounded things that you can apply when you start toe warped things. Three and three D objects. Photo shop is limited. Um, they're not to be able t to wrap it around a three d object unless you start to get into the three D tools and photo shop. But I find programs like Adobe Dimensions to be a little bit easier. So just kind of thinking ahead. If you're ever thinking about product presentation, kind of how to use these warping tools to apply and create your own custom labels and and create your own bottles and wrapping a label around it. So the next thing we're going to do, we're gonna do all of this all over again. But we're gonna start to get a little bit more complicated. We're gonna move into the intermediate section of the class. We're going to do this little product mock up. We're gonna do the same warping and perspective work tools that we've used in the last couple projects. We're gonna be able to create this flat Les of a bottle. We're gonna create it from scratch, and then we're gonna be creating branding presentations. There's a lot more fun way, more intermediate level projects we're gonna get into. We were able to go over a lot of the basics we learned really the ends and out of smart objects, adding highlights and shadows and using the warp tool. So let's start to get harder and harder and really start to craft some amazing looking mock ups. I'll see you in the intermediate section next 27. Bottle Label Project : welcome to the intermediate level of the course. We're gonna go much faster. We're not gonna spend quite as much time with the basic tools. We're going to start doing more complicated, more rich projects. Now that we know the basics, we're gonna recreate this hand sanitizer or lavender oil, and we're gonna be able to use the warp tools to be able to warp our own label and use shadows and highlight tricks to make it look three d. So let's get started. This is a P and G that you can download as a part of the downloadable resource is for this project. It's just a simple PNG graphic without a background and just a simple black bottle with some highlights on it. I'm gonna go ahead and talk a lot. I just created a red background and locked it so I can kind of see everything that's going on with the bottle. So let's add the label. Let's go ahead and draw a simple rectangle about the size of where we wanna have the label . So let's say we want to make the label almost the full length of the bottle and let's just make it white and let's reduce the opacity a little bit. So when we warp it, we can kind of see it a little bit better and make sure to always right click and make sure it is a smart object to convert to smart object before you do any warping. So what's going work this guy really quickly And remember your reference points. So see how this is kind of curving up like this. So that means the label will most likely be curving up so you can already see it start to look a little bit better. And remember your reference point down here on this, the bottles kind of curving downward. So let's make the label also curved downward to match it. Press enter, and our warp is pretty much done. Everything else that's going to make it look like it's wrapping around is gonna be tricks with highlights and shadows. So he made it back to 100% opacity. And let's add our graphics. We're gonna double click, and I have a little label that you can modify hand sanitizer. I mean, it's nothing too exciting, but let's drag this out and make it a little bit taller. to match kind of our label, and I'd like to feature a little picture of lavender there on the bottom. So I'm just gonna leave some room to have a picture or photo. But I like the idea of having kind of this border here like the border. So I'm just gonna bring in just the type. Let me see if I can't. Right click and UN group. I just want to bring in the type You can always bring in the border if you want to put a border on there. But we're gonna keep it simple and just do some typography. And I want to be able to bring in, you know, a picture of lavender or something kind of exciting. Also, want to take a sample of the lavender and put like a little horizontal bar to bring in the purple color? Let's make the type a tiny bit smaller. And let's just find a generic picture of lavender. There's a perfect picture of lavender. The reason I like it it's already on a white background is gonna make it really easy to blend into what the label that we already have. So I am going to download this one. My smart object layer. Let's make it a little bit bigger. Bring it down and let's move it down on the layering system. Just a little photo to give a little hint of the product. Let's just do a quick rectangle tool. Just have a little bar across the top and let's tie end are nice lavender color. So I'm just gonna go ahead and fill it and see if I can't sample this. Lavender has a nice light purple color, so let's close this up. It's gonna go ahead and imply it automatically. And this is when, if we feel like the Warp Tool didn't do its job very well, we can always go back in, highlight our label layer and we get Maybe we might have done a little bit too much warping . We're just gonna tone it down just a notch to bring it up. Dis changing the angle so maybe it's not quite as dramatic. Press enter. So let's add our highlights and shadows. Let's duplicate this bottle layer so we're gonna do Command J duplicated. Put it on top Steuer blending mode. Let's do lighten, so we're doing the lightened blending mode and it's really, really strong. It's letting those highlights from the bottle through the label, but it's very it's too much. It's it's a It's a little too much highlight so we can take this. Top players call this highlights or effects, and let's reduce the opacity just a little bit on this layer, so it's still there. So there's before this is after these air, their small little tweaks that make it look softer, more realistic. You know you don't want to ever be too harsh, so let's continue to add shadows and highlights to trick us the viewer, into thinking that it wraps all the way around the product. So let's start with adding some shadows to the label on the edges. So let's do a new layer, and it's called the Shadows. We're gonna paint some shadows on the left and right sides because when you look at something that surrounded, usually when it's got a light source that's directed straight toward it, you have some natural shadows that happen on the edges of the label, so you'll see right here when we're gonna just do some black paint on with black. We're still using these soft round brush, and we're gonna increase the size quite a bit to make a nice big brush continuing to check the sizes. That's probably about right. Just using 260 some pixels and I'm gonna do increase the opacity. I'm still gonna not leave it at 100% cause I want to paint on complex shadows over and over each other. So let's just try out 30% to see how that works. So now I'm gonna paint some subtle shadows on the left and right side. Let's try the left side first and let's go back and let's make it a little bit smaller. And let's kind of pain in a little bit of a darker side on the right. And let's go ahead and clip this layer because it's hard to kind of see how it looks when it's bleeding off to the background. Let's go ahead and dragon below this highlight effects layer that we created. Let's continue to leave that on the top and let's take our shadow layer hold down option and clip it to our label. So now it's only gonna be shown on the label, so that looks a lot better. Let's continue to draw on top of it. So that's great for the left side. And now we're gonna do the right side and let me just make sure, okay, it's on black. Do it on the right, just doing a nice big one and then you could make it smaller and do a little line, a second kind of line that smaller and more intense. So we're kind of doing that radiated shadows we talked about in the shadow lesson. So already it's tricked us. Adding the shadows on the left and right just tricked us. And to making it feel like that label wraps around without that shadow layer, it looks incredibly flat with just adding those left and right shadows and having the highlights. It added so much more kind of realism to it. Let's do a layer of highlights, so I'm gonna add on the layer of highlights. We can go ahead and clip this using, uh, go ahead and do option and clip it so that when we draw, it's gonna go ahead and not do anything outside of the label. So let's do the same thing with white and see these air all their shadows already on the product, so it makes a little bit easier. But let's see if we can't kind of draw a little bit more highlights right next to the shadows. And if you didn't have the highlights, let's say the bottle was just plain black shape. This is exactly how you would do it. You would add your shadows to the left, and you would manually paint on the highlights here, so labels could sometimes have. I mean, labels aren't perfectly flat with the product. They're flat with the product, but they have, um, you know, a little bit of texture when you run your hand over label and then you hit the bottle. It kind of you can tell where the paper is, put it on. Their paper has thickness to it, even though it's really, really tiny. It's still there, so we're gonna add just a very thin layer right here to make it look like the label is stuck on a bottle. Instead of being printed on the bottle, we want to make it look like it's a label put on top as opposed to printed just with ink on the bottle. So let's create a duplicate layer I'm gonna create. Gonna make it easy. I can hand draw the same curve or warp a similar curve like we did before. Or it can duplicate this label layer. I'm stew Command Jay. We duplicated it and that was going to do my arrow keys, and I'm gonna move it up. Ah, What I could do is I'm just gonna do a quick color overlay so I can kind of see where my duplicate layer is. So I'm just gonna press Thea, make sure I move this below. I'm gonna take my up arrow key and just move it up. That's all he did. That is all. I did see the duplicate layer right below it we duplicated. So it's got the perfect curve already on there. So this is what we're gonna do. I'm gonna do a color overlay, but I'm gonna do pure white for let me do kind of a gray and I'll tell you why I'm not doing white and doing gray. So I'm happy with that. I'm gonna right click this. I am Rast arising this layer and the reason I'm rast arising this layer is I'm gonna be doing some dodge and burn, and you can't do dodge and burn on smart objects. There's a lot of things you can't use on smart objects, including a lot of these tools, like the clone tool. So I had to right click, and I had to Rast arise the layer so I could be able to add kind of paint on some highlights and shadows with this. 28. Bottle Label Project : So what I did is I went ahead and right clicked, and I did. I rast arise the layer. This is the copy, but I've also rast arised the layer style, and that's important because when you have a color, when you double click and you do a color overlay, you have to rast arise the layer styles to be able to now have that just be a creditable gray raster object. So now I can easily use the Dodge and burn tools to add highlights and color to this layer . So let's zoom in. And wherever there's highlights, that's where I want to add my Dodge. The Dodgers gonna be adding brightness and burn is gonna be adding shadows to a layer. Let me do the Dodge tool and add a little highlights where there's highlights and let's also add, shadows were switched to burn. Now it's reduced the size of that brush quite a bit and adding a little darkness on the edges and in the center, just like it was like painting. It's just like painting once. Maybe if we can do a little more dodge on these brighter areas, so you notice what that did is it kind of made the label look like it has a little bit of dimensions to it. And we can even change the thickness of this to make this even smaller. So gonna take my label copy and do my down arrow key to make it even just more subtle of a change. Let's go ahead and start to think about where this could be placed. Let's increase their documents size. We're just gonna go to image canvas size. We're just increasing our document size. Um, all all around. Let's go ahead and increase the width. Let's just go in, triple it. Let's just do 3000. All I'm doing is this increasing the size so I can place this somewhere. We are not gonna need this layer anymore, this little red layer. Now we want to put it on some kind of a background. So I'm just gonna find any old generic texture. I can go back to pixels and I can type and texture, and I want to do like a top down look on the product. So I'm just looking for a really white bright texture. Maybe even this one. I could download a few and test him out. We can't even put it on the same would background we used before. How about that? Would background, But we already did would. So let's kind of see what else we have here. I'm just bringing in this concrete texture to give a basis for our background. It's gonna make it a little bit bigger and bring it all the way down to the bottom. I'm gonna take a pause here because I want to make sure I keep my layers labeled to kind of know which layers on editing, it gets pretty complicated. I'm just gonna start to label some of these. So I just did some tweaking and I already feel a little bit better about what is what. And I even just right clicked and did my red label. So I know what I can change. I can double click this and change my label. So here it is on the background. Let's add another dimension to this right now. It's just floating, and we need to give you shadows to give it a position in space. So let's create a shadow layer right above the background layer. It's gonna be pretty low down on the layering system. This will be shadows. It's paint them on just like we've been using. We're still doing soft light. We haven't done any hard, light, crisp shadows reduced doing these nice soft shadows. We're continuing to use the soft round brush and let's make it pretty big. And let's kind of keep ah, rapacity, maybe about 30%. So now we need to kind of take a look at lighting. So we have some really intense lighting sources coming right here toward the front area. So we want to be able to cast a nice wide shadow. So let's start to kind of what I'm doing is when I'm getting to this point of the product, the Shadow is not gonna be straight because the product is not straight. So when I go up to paint, the shadows are gonna go up here and I got a kind of tuck in a little bit to make up for the fact that that product tucks in and then go upward from trying to make realistic shadows as much as possible. So now I clicked off. So now if I click again, it's gonna add uneven, deeper shadow, and I'm gonna get tighter and tighter to the product. So now I'm gonna reduce my brush size, and I'm just gonna do a really, really thin line of shadows right on top. Just it's going to be the most intense right here on the product, the very end of it, and notice how immediately it just feels a part of the background now, just adding that little bit of shadow. It's just it's almost it's so fun to be able to do this because it just happens almost instantaneously. So you saw how I started off with big Big Shadows and I decreased the brush and got closer and closer to the product. And it's how I was able to kind of create that shadow. So do we want to put the shadow on the other side? That's a good question. This is casted pretty far out. So if I were to add shadows on this side, it would indicate direct lighting here on the top, and then it would be casting shadows on the left and right. But since that's a pretty widely cast in shadow, the shadows if I do any shadows on the right, there gonna be a lot smaller, so let's go ahead. Just make these shadows and let's make a new layer just in case. I want a decreed Decrease the opacity on this layer, but not the other. I like to every once in a while add another layer so I can have the freedom to edit shadows and left and shadows on the right. So this will be shadows right? And eventually, when you're done painting your shadows, you can, like merge these layers and just have one big shadow layer. But when you're creating it, it's nice to have control and have multiple layers to do this with. So let's make these really small and really tight. So let's do a nice small brush. Let's make it a little bit more intense and just do a little thin line because most of our shadow is gonna be on the left side kind of how we're having it, since it's a long shadow, and sometimes you have to start over and erase it, start again. This is when having a wakame tablet is very helpful or some kind of drawing tablet. Sometimes it's hard when you have the mouse to do some of these shadows. I still managed to do it, but I always like the results better when I try it with the wakame tablet. But my wakame tablet is currently not working, so I'm just using a trusty old mouse to do all these shadows. A little wobbly could be a lot straighter. That's okay. And since that shadows like really intense, I'm going to reduce the A pass ity on that quite a bit to have a little shadow, just a little one. We toggle that on and off. That's before that's after. Let's reduce the opacity. You just want just a tiny bit of shadow. So it looks like it's a part of floor there, so it's starting to look pretty good so far. I mean, we just did some small tweaks to this. If I had some time, I might manipulate the warp tool. I might still need to bring that arc down a little bit in that arc up, just just to kind of being incredibly picky here. I should probably just let it go for a quick student project. But, um, let's zoom out and we can add different things. You know you're setting the stage for your mock up. Now you don't wanna have just a bottle hanging out by itself. It's great to integrate other images of lavender, maybe laying on the table. You can put the makeup pack over here. You can put a coffee cup here to set the stage of kind of crabbing things that connect with the brand that connect with the product and you're integrating it in the background. You're isolating an object or putting it on their your hand drawing shadows toe match the shadows you drew with the bottle. There's a lot of different ways to bring something in to make this a nice, cohesive package presentation. So when you test out different backgrounds in this case, the would you can also see how your shadows are working with different backgrounds and they may need to be adjusted. So this could be a little bit too dark of shadow. Cast it on the left, so I'm just gonna take my shadows that are on the left side and just reduce the opacity just a little bit to make it kind of match the background. So one thing you can do is you can take this. You can put it on a picture of another flat lay you could take a flat lay presentation yourself and put the bottle and on it as well. I found this one on pixels. I thought it worked really well with kind of the presentation I want to go for. So I'm just hoping it up. And Photoshopped that looks like a little cubes of, you know, lavender and another different kind of herbs. Let's see how we can bring this into this mock up and make it feel like it's apart. So what I'm gonna do, is it going to take all of the layers that effect the bottle I can take Also, these air background layers don't really need those that just need the ones that are associate ID with the bottle. And I'm just going to click on the create a new folder and it's gonna group it all into the folder and I'm just gonna title it Bottle. I'm going to copy this whole folder and I'm just gonna bring it into this new image. And so now I have all of this together. I'm going to I know this is a lot, but I'm gonna go up to this auto select, and I'm gonna make sure it's elects the group so in. So instead of selecting each individual layer when I press on it, if I do group, it's gonna move the entire bottle folder. So then I can kind of move this all around so I can position this, and this is where scale is really important and matching scale. So right now, like that bottle would be pretty gigantic. Eso we? It's either a bigger product or it's a it's a it's a smaller product. So if it's a smaller little pocket, you know, product. Maybe it was three ounces. You know, it would probably be like around that size according to the to your hand. If it's gonna be a 12 ounce bottle, that's pretty big. It's probably gonna be around. Probably that size. So it's all about scale. You never want to have something be un realistically scaled. Uh, that's incredibly important thing to learn with mock ups, so let's press enter. So now it's integrated on into this photo and and the shadows are gonna be different, aren't they? So let's go ahead and change your shadows, so sometimes that means we need to delete a shadow and at anyone this is all a part of exploring shadows. So let's go ahead and do new shadows here. Looks like the shadows or soft light. And it looks like they're casted down and to the right. So perhaps we can just try to copy. I'm just gonna try to copy the shadows that I'm seeing on the ice cubes. All I'm doing just doing this on a new layer. There's gonna be a little bit of shadow up here, but not it's not to be anything on the top. It looks like it's casting shadows down to the bottom. Just got another another little darker layer. Maybe I need to reduce my brush. Just paint there at the bottom. Joes like that's just a little bit that intense shadow that's closer to the bottle. See how that added another depth of realism here, just going in and doing my shadows. I'm gonna have to do some shadows on the left, because then it just looks super flat on that side. But I don't want a lot because there's not gonna be any big shadows cast into that direction. And so now the bottle is starting to be. Those shadows are Those highlights are really intense, so I'd probably go back in and dull those those highlights of the highlights match kind of the photo. It's this looks super sharp and bright in This looks really dull and maybe just like a little blurred. So we can always add an adjustment layer on top of all of this so we can go to our adjustments and mess with brightness and contrast on just the bottle and let's make sure we clip it to the bottle. So now it's just affecting the bottle, and we can change kind of the highlights. That way to try to make it match the photo as much as possible, we can continue to add adjustments this way. Do curves make sure it's clipped down, springing up, making kind of it less dark. So I'm taking all the dark pixels on the curb and making Embraer. You can see how just those two adjustments kind of helped it integrate into the picture a little bit more, and you can continue to do this. You can tweak your shadows, maybe make them, you know, a little less intense all around, so I even added an adjustment layer for exposure and just kind of tweak. Some things increased some of the items and exposure like offset and gamma correction, and that kind of brightened it a little bit. It's probably still need to blur it to make it match kind of the blurriness of this, but you can kind of see how you can adapt it to really almost any situation. I can even bring in shoots of lavender toe, lay on top of the wood here to kind of make it and add a product at Social Media ad. You could see all the ways that mock ups air more than just about creating a nice presentation for something you designed. But it could be part of the marketing part of an ad campaign, so learning mock ups is way more than just presenting your design. It's about presenting a product and presenting it in a way that's appealing for social media and this example. I just took the bottle that we just did on the other photo and put it on a photo that I felt like matched a little bit better with scale in with size and just kind of tweaked a little bit of the exposure and curves level to match kind of lighting as well. So yeah, we could put a couple of Titan text headlines here and have a really great social, media and brand presentation way. Did this just with a very simple PNG of a plane bottle. We were able to add a realistic label and were able to place it on a background and give it a sense of place with shadows. Lights. So this was the first intermediate level project. We have a really fun one coming up next. If you love. If your logo designer, a brand creator, a graphic designer, you're really gonna enjoy the next one, you're gonna be able to put together a really great looking, flat lay branding project. We're gonna be able to do what you see here, and it's gonna be a lot of the shadow drawing. We already kind of went over this. So we're gonna be able to do this project rather quickly now that we know how to work with shadows. So look forward to seeing you at the next project. 29. Brand Presentation Project : for this project, we're gonna learn how to present branding, stationery and a local design in this format. We're gonna be piecing this together piece by piece. I'm using several different photos, and a lot of the stuff is supplied for you so you could work through this project to see how we do it. So here's the project folder. He could find this in the brand presentation folder. We have a lot of different files that we can work with. We want to start off with kind of a background texture. So I had this marble background I took myself when I went out to eat for lunch one day there was a marble countertop, and I just took kind of a quick picture So you can have total rights to this photo to use it for your print brand presentations to go ahead and open this up. This is going to be the main basic texture for our background. Go ahead on Law office and start with kind of creating everything we need. So let's start off with the business card. So business cards have standard sizes. So instead of just drawing a box that I think would be pretty close. We're gonna be having a really final business car design. We're gonna integrate into this, so we need to make sure the sizing and the dimensions are correct. So what I'm gonna do is I'm gonna open up a new file and I'm gonna make this the size of a standard business card. I'm gonna use inches this time. So the standard business card size I worked with my whole career is 3.5 inches and with by two inches in height, we're gonna leave this at a 300 pixels per inch resolution, and we want to make sure that this is ah, horizontal orientation we're going to create. Okay, this is just going to give us a general sizing guide. We want our letterhead and our business cards and the iPad all to be scaled pretty close, but we need to try to get everything to be scaled pretty dimensionally. So what? All I'm gonna do, I'm doing this for just a new idea for size. I'm just filling it with a paint bucket tool. We're gonna copy this layer, gonna pop it right here on our marble texture, and I get a copy and paste it again. So now I have a front and a back of a business card. I also want to create a letterhead. So schoo file new and let's create a standard letterhead and inches, which is 8.5 by 11. 8.5 by 11. Let's go ahead and create it. I'm just going to the paint bucket tool We unlock that layer is gonna copy this layer this copying, copying it command C and going back into our document can man be so now I can see kind of the size relative to each other. So what we're gonna do is we can make all these smaller and still keep the scale as long as we make them all smaller at the same time and at the same size. So what we could do is we could select our business card and our letterhead all at the same time and scale them down together, and they keep their same ratios or scale according to each other. So that is a pretty realistic comparison of size. Let's go ahead. Would get cut of the size that we want on the overall document. We could start to label these. So this could be business card, front, business card, back and letterhead and what I'd like to do at this point, Let's go ahead and start adding kind of some final designs, because when I start to add shadows and start toe layer all these together in a presentation way, I'm elected kind of have the final design on their cause. It really helps me. So I just happen to have a file that's gonna be very helpful for you if you go to the resource file. I have some J pegs of the front of a business card, the back of the business card and I also have some a letterhead developed as well as an envelope that we could bring in. And I even have an illustrator file that she could open up that has all of this creditable . So if you wanted to kind of put in your own brand and export, that is a J peg or drag it right into a smart object layer and Photoshopped. So let's start with the letterhead. Let's right click convert to Smart Object. Let's double click the thumbnail and bring in R J peg of the letterhead. And what's great is I'm supplying you with ah completed version of this project. If you go here to stationary flat, this is an entire working photo shop. Ah, template that we could switch out everything. This is the project we're gonna be working through together in the next hour. But I already have it ready for you if you want to slap on a brand. And also, if you want to go through this is pretty complex. Look at all these folders and layers and smart objects. If you ever get stuck on a step or you're wondering, you know what blending motor used or what? How did I do this? You can go through this Photoshopped file and go Ah, that's how the layers and how everything is organized So you can go in and kind of check your work kind of see how it's going, because I know this could be kind of way more complex than anything I've really ever taught before. So now that I added that, let's close out that smart object and it populated. Yea. So let's do the same thing with business cards. Right? Click convert to smart object. Let's bring in our business card front, populate in there, save it, and are back. So we since we opened up those new documents and we were able toe find the right sizing. It looks pretty realistic because that's about the right scale in the right size comparable to each other. So let's bring in our envelope, which is a big part of the stationary branding for this presentation. I just happen to have an envelope. This is a picture I took on my back porch, just oven envelope. I got in the mail that day and I wanted to take a picture because I think being able to risk realistically draw Annville. Ope, you can do this by using shadows. You could see how easy it would be to kind of do some basic shapes and do some shadows to draw it. But sometimes it's better to use photos of something simple like this yourself and bring one in. So I thought we would try to edit a photo that we did ourselves. Unlock this and try to cut this out. Ah, this is a pretty simple shape, so I'm gonna be using different shadows, so I don't need to get the shadows to come with me. So let me see if I can't disuse the polygon lasso tool and just do some quick cutting out of this envelope and just gonna copy that out, paste it into our document. I really wanted to be accurate with size. I could find a standard number 10 envelope, which would be what you would use to put on 8.5 by 11 inch document. In it, I can create a new document and sizes up to that. If I really wanted to be accurate, let me hold down, shift and rotated. I'm right now. I'm just gonna size it by kind of fitting it about the same size as the letter had width wise cause the letterhead would fold up and be able to fit into this envelope. So I'm gonna make it just slightly bigger than that. It's kind of eyeballing this one. So now I have a letterhead and we're gonna have to manipulate this a little bit. So let's brighten this up and clean it up so we can right click and make this a smart object just so we can be able to make edits on the fly and change it. Let's go to edit adjustments and let's do go to brightness Contrast. So right now this is very grey and very dark compared to everything else. So let's see if we can't brighten up this envelope quite a bit and maybe increase the contrast to kind of reduce all the the huge contrast kind of make it a little bit more subtle. Let's change the color of the envelope. So I'm going to get a rectangle tool and draw a rectangle over the complete area of the envelope, and I want to make it the same color as this green color. So I'm going to do a blending mode because we want to see all the ripples and everything through this color. But let's let me make sure I change this to kind of that greenish bluish color. Let's change the blending mode so it's gonna pop through those highlights and shadows underneath. Let's do linear burn and let's clip it to the envelope layer. So this is the envelope player. Let's go ahead and title it, and this is change color of the envelope, and we want to clip this layer down to the bottom could hold down option. Clip it. So now it's just on the envelope. So now I can always click over here to properties. I can change this envelope color to anything I'd like. See how quickly were able to change the envelope color. According to the brand. I mean you to tweak it. Just because there is it is a photo. I might need to brighten that color just a little bit. So let's click over here to our color picker. That's brighten it ever so slightly just like that. So now we have an envelope. We have everything loaded in. We probably just need to get one more item. Let's go ahead and get something digital because we have a really nice stationery presentation in a local presentation. But let's kind of incorporate just one digital item just to show that we're thinking in the future and that Brandis more than just what's printed out there's a digital kind of display and component about it. I thought it be need to put an iPad as a part of this, so we're gonna do that next 30. Brand Presentation Project : So I'm on pixels dot com, and I just typed an iPad. We can take a picture of our own iPad if we have one. If we don't have one, you can always find sources or buy premium of photos to use. So let's see if this one does pretty good. We can go ahead and download this one. It could be anyone. You could just type an iPad. The only thing we're looking for is the right angle. We want to make sure it's a similar top down street flat lay angle cheat on this one. We've cut out a lot of things in this class manually. Was this Do the object selection tool make life pretty easy on us. Brand new tool to photo shop. It is awesome. See, it's already isolated and cut out the object for us. So just get a copy and paste it in her document. I'm gonna right click and make it a smart object so I can scale it down and not worry about picks elation, because I need to get an idea of size comparable to everything else. So most iPad standard sizes are going to be, you know, they usually have, like a tenant screen. So maybe the total iPad sizes around, you know, 11 10 to 11 inches. So it depends on if we're gonna do an iPad that smaller or an iPad pro. That's bigger. It's really up to you. But you just want to make sure you get your your sizing and scaling correctly. We don't want to have an iPad that's too tiny and doesn't look realistic, and you don't want to have one that's just gonna take over the whole space. So if we have an 8.5 by 11 will say that's about nine inches. You probably want your iPad to be Oh, pretty Cliff. It's good tenants Green. Maybe about that size, and let's tuck it all the way underneath. Let's give ourselves a little bit more room with their mock up. As long as we scale everything together, we can scale it up and down. So let's just make everything just a tiny bit smaller. I liked everything but the background. Just think I need a little bit more background breathing room in space just like that, so that will give us a chance to slide this iPad out to reveal a little bit of the screen, and now we can move the business cards on top, and this is where it's you've got to kind of figure out the right arrangement, so sometimes you can layer things on top of each other. So this business card can kind of creep over the letterhead a little bit to give it a sense that the they're on top of each other instead of dis perfectly side to side like this just kind of give some interactivity kind of some. It helps your elements interact with each other. They're layered there on top of each other. When we draw the shadows a little bit later, we control the shadows on top of the letterhead. It just has a nice rich look to it, as opposed to everything kind of being. It's own little independent little box is perfectly apart from each other. So just kind of an idea of presentation. We could put them here. We can put him kind of overlaying the letterhead if the letterhead doesn't have a whole lot of excitement to it. So in this case, we just have a simple watermark. We could maybe put fit a little bit more of the card over the letterhead and that will give us a little bit more room to kind of move some things around. So I think I'm going to reduce the size of the iPad and make it an iPad mini just because I really want to fit the whole screen on there so we can have some room to put the how the logo looks digitally. And I'm gonna select both of my layers that have to deal with the envelope right here. And I'm just gonna pop him into a quick folder so you can start to categorise everything, keep everything in check. And so where can I stack the envelope? I want to keep it that layered look. So maybe right here kind of keep it close to the letterhead to the stationary kind of interacts a little bit and then the iPad it's kind of behind letterhead. So now everything looks flat. So let's discover the power of shadows. Now that we have everything and kind of its overall layout structure, we could start to get detailed about highlights and shadows and and and get detailed. So let's start off with the business cards. Let's do something a little easy. Let's add a new layer that says Shadow. And let's also keep with our theme of Put her shadow layer below our bottom business card. Let's take both of these and create a folder for this and call it business card back. So now we have a nice folder and we have the shadow layer. So let's draw shadows. We can These are gonna be tight shadows Unless we went the business card toe float high above the letterhead. So I'm gonna show you an example of how shadows really give an object a sense of place. We have our shadow layer so let's hand draw the first set of shadows. We're gonna make this a really tight shadow. We'll do like a small brush, and we're just gonna brush on the shadows. And we can always go back with the eraser tool and just, like, shave our shadows a little bit so really tight shadows here. So the tide of the shadows, the closer it appears, to the object below it. So this looks like it's pretty much resting on top. I can even select my shadow layer right here, and I can use my arrow keys and just kind of do Ah, up left up left and kind of tuck it even closer to make it feel even closer to the paper underneath or the letterhead underneath. That's one shadow we can do. So the couple other varieties let's go in toggle that went off. We can duplicate this business card, so I'm gonna do command J Would you like a sharp shadow? The only reason I duplicated that is I have the size and I can do just do a quick color overlay, make it black and put that right underneath the card and kind of shifted with my arrow keys over to do a really, really tight shadow, but also sharp. So this would be like a direct lighting source and just kind of reduced the opacity, so that kind of gives it a sharp, direct light. Look, you could also take the same layer, pull it out, and we talked about this a little bit in the shadow lesson in the theory section. But we could pull this out and make it look like it's almost floating on top, and we can blur this a little bit so I'm just gonna go down to filter Blur. I'm just going to do a simple Gaussian blur to this, and so could do the default that looks nice. 4.5 pixels. And now it gives it a sense that it's resting a little bit on top of the letterhead. That's a very popular way to present items and mock ups recently is kind of giving it this floating, multiple, multiple dimensional look to it. And we could even back off the shadows a little more because I think they might be a little too strong. Just want a little bit of shadow so you could do that and duplicate the shadow and have it behind it. So it looks like both of these air kind of floating a little bit. But I'm going to do the first shadow option. Just wanted to show you kind of different shadow options. Let's get her tight shadow, and since we've already done the bottom, we could just hold down option and drag click on her shadow layer, Hold on option and drag it, and we already have our shadow for the other side and listens. Make sure we bring it up and this is a great opportunity to put this in a folder. So, as we said in the shadow lesson, when their shadows there's also highlights. So let's add some highlights to the card. So if you have shadows down here, you'd have some kind of highlights up here on the card, so one kind of way weaken quickly. Add a little thin line of highlights is to double click on this layer and add a simple stroke in our layer Styles panel. We're adding a very simple stroke. Let's make it white, super white highlight and let's make it all the way very, very small, pixel size with very, very small They're gonna click out okay, could see the stroke here. When I zoom out, it kind of gives just a little small border to it. It's a very small detail, but I think it helps add a little highlights to it. We're gonna do the same thing to this card. We're just gonna double click and add a simple stroke. So I'm gonna do kind of a before and after. Let me see if I can't zoom in so I could show you. So that is before and that is after, so you could see how that little stroke on top of their ads, this little sense of highlights. You can also do it manually, but I thought a stroke would be a little bit quicker and easier. So there's the business cars, they're set in place, and we need to do the letterhead next. 31. Brand Presentation Project : So let's have a new layer, and this will be our shadow for letterhead. Let's go ahead, take both of those layers and put him in a folder. There's your shadow. Let's go ahead and draw it with our brush tool, like it a little bit bigger. And we're gonna cast the same angle of the business card so good to be the bottom and then the right side to do the same thing. And let's go ahead and toggle office envelope. We wanna make it pretty tight. Might need to make more brush a little bit smaller unless we want our letterhead to look like it's floating. So, yeah, let's get a smaller brush and you notice when I I stopped right here. And so instead of going taking the shadows all the way to the edge, I stopped right here because that's about where it be cast to the bottom, right. You do the same thing I did with the business card and add a simple one pixel stroke that is white around the edge. What's do the iPad next? So an iPad will cast probably a little bit of the bigger shadow because it's naturally got a little bit of thickness. Do it. You know, a paper is really thin, but an iPad has some chunky nous and thickness to it, so it's gonna cast a little bit of a bigger small shadow on. I wish I had my weight calm tablet because it makes life so much easier when you're drawing shadows, I'm gonna go back in and draw another little darker layer right here on top, and I can go in and lighten shadows at any time. So if I want to take this shadow that we drew, there's kind of what it looks like and reduce the A pastie a little bit. So it's not so strong. You got to be careful with shadows not to make him too to too strong. He never won anything to look fake and overdone. So let's add her envelope back in and do the shadow on the envelope, and then we'll be pretty close to being done. New layer. Bring it down to the bottom. This will be shadow for our envelope, so let's make this a smaller brush. Let's do another little layer that's darker on top of that, so let's make this really tight, making that second little dark earlier, right up to the product or, in this case, the envelope destroying just on the outside. I went all the way down. Yeah, this is one of mouse. It's kind of hard to do with the mouse, but that kind of made it work. Didn't reduce the opacity a little bit if you drew it too strong. And this looks a little flat right here because they would naturally be some tiny shadow here with the envelope resting on the paper. So let's go back and add a second shadow layer. Here, go back to envelope good or shadow layer into straw, a very little shadow that will show up right here on the paper. It was Help it not look so Blatt, and it's never too late to rearrange in the elements. We can always collapse thes into folders. Now we have all these different folders and elements Aiken toggle whole groups out often on , and I could go to my auto Select and Do Auto select group so that I can move them as groups now. So if I want to do any last movement of anything, if I want to angle this we can have always be angled. Let's keep it straight for now. So there's one more thing we need to be able to manipulate and change, and that is the iPad screen. Let's go into our iPad folder and let's draw a rectangle tool right over the screen. We're gonna right click and we're gonna make this a smart object and you'll notice Let me go ahead. Make this a really bright color so you can see how it looks here. You could see how it's off a little bit. Ah, we can always just straighten the iPad. Or if we needed to use perspective warp or the work tool we can weaken. Tweak it. So let's elect this layer is gonna be the change iPad screen and we can just go into our warp. Or in this case, it might be easier to do distort. We just need to change it ever so slightly. So let's replace the iPad screen. I have a iPad JPEG you can drag in just as a quick example, which one to present our local designs on the iPad? So there's a couple things we can do to make this iPad look a little more realistic because right now it doesn't look very realistic. It looks almost too bright, so we can add a very little a tiny bit of inner shadow around this to make it look like it's an iPad screen. If you ever look at a close up of an iPad, there is a glass covering over the iPad, and then the screen is actually down below just a little bit. So there's always this tiny, tiny little bit of shadow that's cast ID where the glasses there's a level of glass and then the screen is below it. So to add an inner shadow to the iPad, I'm just going, I'm gonna take my screen layer. You have a double click and go to layer style, and I'm just gonna add an inner shadow. So you click and inter shadow on my layer style and let's just give it a little distance and let's blur it a little bit. So let's increase the size, but not too much, so that looks pretty fake. So we're gonna have to really just have very small size changes. That or we need to really reduce the opacity, just adding a tiny bit of in her shadow there. We also need to make sure the highlights of the iPad go through. So if I remove our toggle the visibility off this layer see these highlights that air coming in from the screen. I'd really love toe have that show up on the screen. So let's duplicate our iPad layer. This one right here. This is kind of our base layer. Do Command J and just bring it on top and do our blending mode kind of. Let some of this highlights in right there. Screen looks good. Yes, green. There we go. So it's adding. See the highlights. You can also mainly draw highlights on your if you want a different lighting source. But that's before, and that's after. And we want to be able to clip it to the screen because it makes the outside border of this washed out. How does that? So let's just hold down option and clip it to just the screen and voila! There we go. It's a little kind of touches of realism that kind of help, uh, make it come to life. Here's our final mock up. We did this and probably about 30 to 40 minutes, and there's so many different arrangements you can have once you get everything set up. We have all these a smart objects. We can swap out the letterhead, the iPad screen. Everything's already done for you. It takes seconds to switch this out to another brand. You could do multiple different presentations using this mock up so you can have one brand using this layout. You can swap everything out in a matter of seconds. Arrange everything all the different objects on the screen a little bit differently for a second presentation. Could have consistency in your portfolio presentations by having a similar layout switching out the brand. There's so many different things you can do once you know the basics of brand presentation . So glad you enjoyed this project. We're not done yet. We still have several exciting projects to do in this course. 32. 3D Product Box : today, we're gonna create this product box mock up from scratch without using any photography. So this will all be everything we do in photo shop will be something that we create. We're gonna create highlights and shadows using brushes, and we're gonna add little details and little hints to make it look realistic so we can add our photos on top of it and create a box presentation all by ourselves. This will be a little bit more of an intermediate to advanced projects, so let's hop right on in. So eventually, this is the what we're gonna be coming up with is pretty complex looking mock up, but it is gonna be a lot easier than it appears. So let's open up a new document file new. Let's create it rather large. What's keeping in pixels? Let's do 2500 by 2500 won't have a nice, big high resolution mock ups. We can zoom in on it, have it larger if we need to. Let's do a 300 resolution. Let's keep it an RGB since will mostly be used for digital products or presentations. And let's go ahead and create. Do you have a new document and we are going to look at the files I have as downloadable. Resource is these. The downloadable resource is I have for you in the class and there's a couple different things here. First off, there's something called the isometric grid and I havent adobe illustrator version of this if you're interested in it. But also just have a J peg version. We just need to get a general idea of the isometric grid. And this is if you haven't heard of isometric grids. This is what it looks like. So it's ah array of different lines all within 60 degrees. And if you zoom in, you can kind of see how it makes this perfect little cube. So you see, this kind of grid used on all sorts of different projects called the isometric grid, I thought would be great to have a guide to know what is the perspective, How are we gonna draw the box? And this isometric grid is really helpful because it gives you that guide and direction. You don't feel like you're you're getting the perspective wrong because you can draw across the isometric grid to get that nice perfect box perspective. So I need to go ahead and bring this into photo shop is gonna bring it right on in. This is just gonna be a little background help guide for us. I am going toe lock this isometric grid layer so we don't accidentally move it. So now we can go ahead and draw our box. So we're gonna draw this one panel or one side of the time you to create a new layer. So to draw our product box, let's go ahead and get the right dimensions for our box size. We're going to just do file new, and we're going to do a six by nine inch. This is just to help us get a nice ratio of with tow height for a product box. That's all this is doing for creating a new document. I am going to get the paint bucket tool, create a new layer. I'm just getting a sample here. I got a copy. The layer I just created. This is a six by nine inch and I'm pasting. And in here I'm just getting dimensions. It doesn't have to remain at the size, but I got to scale it down dimensionally so it keeps the ratio of height and width. So I'm gonna go ahead and just scale it now. And this guy gives me a good idea for the product with. So there's a few things we can do here we need to do perspective. We want to warp this along the lines of the isometric grid. So let's go ahead and reduce the opacity so you can kind of see the great underneath and let's go to weaken, do perspective warp. If we have that, we can also go to perspective this way as well. I just happen to like the way the perspective warp tool works. It's a little bit of that newer tool press enter than an intern to stage two. Now even go ahead and apply this to the isometric grid, just putting all four corners along the edges of the grid to kind of make a product box. With that, a little bit skinnier. Press enter. Now we have the front face and now we're gonna draw the side of the document so we can just get the polygon lasso tool and we're going to do the spine or, in this case, the side of the product. You're probably the same thing. If this was a book, a swell be the same kind of method. I'm just doing a quick square selection, and I'm just gonna fill it in with a paint bucket tool to create a new layer. When have all these be separate layers? We're gonna have a separate layer for the spine, separate for the front, separate for the top. So let's get the polygon lasso tool and just gonna go ahead and draw the top of her product and fill it in. So let's make all this 100% capacity, and now we have three separate layers is going title these front side. And now we have to start to think about lighting. Let's go ahead and make the front 100% opacity. So when it comes to a lighting, so we need to think, go ahead and develop our light source. So let's have a light source kind of be a little bit more top down and let's pick kind of where it's gonna be. Let's go ahead and have it kind of coming down this direction, kind of hitting it on the side and then light is gonna be kind of casted down to this top of right half of the box. So now that we've established a lighting source, now we know where to draw shadows and where to draw highlights. So now if we have some very direct light source casting from the top, right, we're gonna have a nice sharp shadow casted long down here on the opposite side. And we have some pretty intense highlights on the upper right. So now we need to bring in our highlights and shadows to each panels because right now it's completely flat. But eventually we want this to look like a three d product. So let's start off with the front and we're going to get the Dodge Tool and we're going to get the soft around brush, which is what we've been using most of this time. We're gonna make it pretty big. Do you need to test out sizes? Maybe about 1000. And what we're gonna do is we're gonna be adding our highlights, and right now we have it set on mid tones, and we're just gonna be adding clicking, once clicking twice and slowly adding, now that we know our light source is coming from the top. I'm just clicking more on the top and kind of giving it a nice glow. We're gonna do the same thing to the top. We're gonna have lights, cast it on the top corner. You can already kind of see the three D box coming together. And let's also do the side so the side is gonna be have a bit more shadows. So what we're gonna do is we're going to switch to the burn tool, and we're gonna be adding shadows the same way. We just added highlights. It's got a pretty big brush. We do some dark shadows down there on the bottom left. Let's see if we can't do midterms. There we go. That might be a little dark. Let's go back and do shadows. And that might kind of there we go. That gives gives it a little bit more of a purple shadow. So let's go back to our front right here front. I'm just gonna click the burn tool right here on the bottom left side to add a little more highlight. And that's a little too much. So let's reduce the exposure. Just do just a little shadow casting down there at the bottom, right? So there's our three d box is really starting to come together. It looks a little more three D than it did just a few moments ago. 33. 3D Product Box - Adding Our Graphics: we have our layer set up with the highlights and shadows now. So now we need to build our layers up. So right now we have our box. Let's take our layers and go ahead position or box a little bit more in the center of the piece here. And so here's what we need to do. We need to create another layer and make it a smart object so that we can apply a photo of her choice to the box itself. And then we're gonna add all the details and in little small details to make it look a little bit more realistic and then put it on the background. So one thing we want to do is we need to duplicate all these again. So we wanna have two layers of the side, two layers of the top and two layers of the front. So I'm just going to do a command copy and a command the and just paste copy and paste. Those two and I could even do a paste in place. Go to edit, pay special. I'm just gonna paste it in place so it gets pasted right on top of the previous layers And so now I just want to make sure I start to categorise everything. So let me put my two sides together. I'm gonna select both. I'm gonna just start putting these in folders so I can better manage everything cause it's gonna get a little more complicated here. Got my two fronts. I'm going to put that together in a group and the back. So now they each have two little layers here. So now we need to add the layer that will be our smart object. So let's start off with the front face first. So we're in the front category. Let's add a new layer. And remember when we made that six by nine cover, this is gonna come in handy. We're gonna borrow this again. This is our little six by nine pasted in here gives us a good idea of ratio off with the height of the front, and we're gonna work this just like we did again. But before we were bit, we want to make it a smart layer. So this is the layer that we're gonna be adding our image to, so that call this change graphic, right? And let's right click and convert to smart object. It got to do that before you do your prospective work. Let's do perspective warp percenter. Let's go ahead and adapt it to the front. We do the same thing for the side and the spine, and they couldn't reduce the opacity. If you kind of need to see where it goes or make it a different color, which is sometimes helpful, we want to make it match up as close as possible. When we put another image in there, that might be a different color. It might stick out like a sore thumb. If he didn't line it up pretty close. They were to press enter and now we have the front side ready. So now what we can do is we can double, click or graphic, and I happened tohave some files here for you. I already have a box here, So this is cold template box. I'm gonna double click this. This is a photo shop file and this is typically how you would design for a riel box presentation to be sent off to be printed at a printing manufacturer to get the box printed is gonna be laid out similar to this. It could be more complicated if it's if it's a more complex box. But this is the front side. This is the spine or the side. This is the back, and this is the other side of the box left. This is a typical presentation. Um, you will see templates all the time that even the manufacturer the printer will send you. That will be very similar structure. So what I wanted to do is present this project that you've already designed a box and you have it ready to be printed. But you wanted to test out how would look in a box are presented to the client before you send it off to the printer for final printing or as a portfolio building peace. So I wanted to start with something that you would typically use as a designer who is producing a box. So let's say you already have a file produced. This is kind of how you would break it down, and what I would do is I would either create separate art boards and export them is J. Pegs, or you can crop it down to the final size each panel and save it is a J peg or if you're not really getting a product printed and you're just kind of creating a box for fun, you would just need to save J pegs one for the side, one for the back, one for the top, and so on. But if you're taking it from a real file, you to strip out any kind of crop marks that are on there and just get a plane. J. Peg, that's all we're looking for is a J pacsun. It saved this as the front, and then you would go back and you could just continue to isolate your side and your top and then save it is a J peg. So that's kind of how it created the assets that I'm already giving you. I'm giving you the jet final J pegs, so you don't have to worry about that step. Or if you have your own box design. You already have a final template created. You can just export those J pegs and those different sizes. All right, so let's go back to where we were in our template right here in the front. We're gonna double, click and add urge a pagan. There's RJ Paige's. Make sure it goes all the way to the edges, and it fits perfectly because we already sized it to the ratio of a six by nine and scaled it down so dimensionally it's about the same. Even though it's smaller pixel size, the dimensions of hype and ratio have stayed the same, so we don't have to do a whole lot of modifications were going to say that it's gonna automatically apply our perspective, warped right on top of it, and we have our opacity reduced. So let's increase our capacity. And so that's great. But it's not really adapting. The shadows recreated, and that's exactly why we created a duplicate. So remember when we created a duplicate? We have a duplicate copy with the two fronts, So what we're gonna do is we're keep the bottom is the base layer is called this base layer , and then this is gonna go on top, so this will be highlights and shadows, highlights and shadows air now gonna move up to the top. So it's almost like a little sandwich. We have our graphic in the middle and then our top layer. This is where we're gonna do our blending mode. We're gonna go down to screen notice. When I did that, it starts to show through the highlights and shadows we created when we did the brush tool . That's great, but it looks kind of purplish. We don't want to have a purple box for every product would create. So let's make this grayscale. So we're gonna take this top highlights and shadows layer and let's strip the color out. Let's just make it gray scale so it doesn't come out as purple. So I'm just gonna do a very quick adjustments dis after eight. And so now you can kind of see it almost looks glossy like Like the light is kind of coming through. And what is great about this? We have this whole separate layer. Now that we can take on and off, we can go back and modify it even further. If we wanted to be more dramatic with our highlights or if we wanted to be add a little bit more shadows, two things we can now kind of customize it and you could change the opacity can make it really, really strong. Or you could just make it a little more subtle, so you just have a little bit of that gloss and shine coming in. So we're gonna repeat the same process for these two. Do the top and the bottom. So let's create a rectangle for the side. This will be changed. Side graphic here. Remember, we got to make it a smart object and let's warp it on there, and I'm just gonna make it temporarily a different color so I can see what's going on. I'm just getting as close as I can. Sometimes you have to zoom in. I know this box isn't perfectly lined up, so I can use grids to get Get him to snap to grid. But we don't have isometric grid set up. Go ahead and double click and at her side in There's Your Side. J. Peg, pop it in and fit it along the side and save it. It'll automatically populate. I might need take color overlay off. I don't need that anymore. So now it's purplish, so let's bring our top duplicate. This will be shadows and highlights. Let's bring her duplicate on top and let's go and make it gray scale. Just gonna de saturate it and do a screen blending mode and let's back off the capacity a little bit, not make it quite a strong you could see our box coming together. 34. 3D Product Box - Shadows: If we want to add a little more highlights on this side, we can get our highlights and shadow layer and just add a little bit more highlights there on the top, right? And same goes for this top section. If we want to make these more dramatic, we can doing a couple clicks on the top, make the shadows more parents. So let's do some little small details to make this look a little bit more realistic. So we're gonna go down. So this is a flap on. This is a flap that curves are tucks inside of the front here, so it's kind of flip it up. And he opened up the box stocking to be this perfectly flushed flat look. So we want to add a sense that it kind of roles and folds down inside. So what we could do is do a little highlights and shadows trip, so we need to create our shadow so we could do this with the brush and brush it on. Or we could make it a little easier on ourselves and just kind of do a polygon lasso tool. Or even better, a black rectangle tool could do black rectangle tool and we're just gonna go ahead and adapt it, make it pretty skinny. Hold on ships that we could get skinny and to see if I can't adapt this and we could just blur it instead of having to draw it in a perfect line all the way across. It could be a little challenging to do if you don't have a wakame tablet. So there's airline was Duke took it pretty close in right here. We're gonna will cut will trim the edges later, so don't worry about that. So now we're gonna just do like a Gaussian blur. So go to go down to Filter was doing a Gaussian blur and it's OK to rest arise. And we just want a very tight shadow. So if you do it too wide, can't really tell it's there. But if you do it a nice tight shadow, it's gonna give you the sense that it at its ah, bend that goes down into the box, the cardboard folds and we're going to reduce the opacity on this quite a bit. And then we can always just trim off the edges you have. Let's add a little bit of a very thin line of highlights around the box. So what we're gonna do is we're going to get the line tool and we're gonna make it white, Mr White Line Tool. We're just gonna draw lines around the box. Let's go all the way to the top here, and we're just gonna draw a few accent lines. I'm gonna show you what this really does. Withdraw then one point stroke here to go back and tell another one here and draw another one down the side. So we have all three of those lines on the top here. These shapes, we can even just merge them together. Since we don't need to move them around individually, I would just do Command E. And this could just be called home thin line a line accent, whatever you want. Call it. So now I'm gonna topple this often on, and let's reduce the opacity on this a little bit. We don't need to be quite so strong with it, So it just kind of reduced. That makes a big difference in realism. Is reducing the opacity on this? So this is what it looked like before It's fine, but just adding just a little hint of the how the highlights bounce on the edges. It just adds just a tiny bit tiny bit more realism, really strong right here on the upper right. It's gonna be casted direct light. It's gonna cast a very sharp shadow down this way. So let's draw our shadows So this could be our shadow layer put at the very bottom of all over layers and we're gonna use isometric grid still. So let me just drag my shadow layer on top of my isometric grid and let's zoom in and create our shadow. So we're just gonna help the isometric ribs grid is gonna be a nice big help here. And I'm just taking the polygon lasso tool. It was creating a simple selection, and I am going to just take the paint bucket tool, and I'm going to just do black for right now. So there's our shadow and we could soften the shadow. We can add a layering mask and have it slowly blur out. So what we could do is we could take our shadow layer, add a layering mask to that shadow layer, and we're going to do ingredient a black and white radiant. So this is gonna help blur it a little bit on the key is to have black toe white which is a abuse layering mass before black painted on and white painted away. So if we do a Grady Int that's black and white and we're on our layering mask which is created I'm gonna click and hold and it's gonna be able to slowly fade it But we're gonna do it on the other side That shadow's gonna slowly kind of fade into nothingness. So let's get our background set so we can start to really tweak her shadow. So let's we don't need the isometric grid for right now, so we're gonna toggle that off. What we're gonna do is we're going to get our rectangle tool Just gonna draw her background here, bring that all the way down to the bottom and we don't need the white background we had before. What's title? This background. Now we could double click and change background them fly, we can make it dark. It's trying to set the tone and background image, so that would be neat to kind of stick with the purples. Since that sends to be contrast against the lighter box, doing a deeper purple. Now we get a better idea of our shadows and how they're gonna look. So now let's take our shadows and let's integrated better into the background. One way we could do this is reducing the opacity. So we're bringing out a little bit of that purple underneath or whatever background color will be. So let's back off the shadows a little bit. That's a pretty sharp shadow. I'd like to blur it. Not a lot, just a little bit to make it look a little bit more realistic. We still want to keep it a sharp shadow because it's a direct light source. So what we're gonna do is we're gonna go to Gaussian Blur. We do a very small blur rights, and now we're gonna make this shadow even more realistic by adding another layer of shadows . Let's reduce the capacity just a little bit more on the shadow. Let's go ahead and bring it down to 25 we're gonna add another layer, and this is gonna be tight shadow. We're do a very small, darker, tight shadow along the bottom. So we're gonna paint with our brush tool. Let's do black. And we're just gonna paint all along just a very skinny one. Just a small shadow. Because as you notice we did this before in other projects, there's always just a little bit of a darker shadow There, there we go. Nothing two major. But when we zoom out, it kind of makes it look a little bit more realistic, cause the box will naturally cast a small, tight shadow there at the bottom. 35. 3D Product Box - Final: our boxes floating in the middle of space and needs to have some kind of background set to it. So let's create a little bit of a space where this box will rest now that we have the shadows created in the highlights and were able to replace all the graphics. So let's go ahead and get our isometric grid back out. And we're just going to draw three d space here. So let's go ahead and get our rectangle tool. And we're just gonna set a three d space. We're gonna rotate this diagonally until it matches up with the grid. So right about there, we could always make it transparent for now so that we're just setting up on environment for the space, right about this positioning that there. And I can go ahead and make that full opacity now and we have our background. So let's turn off our isometric grid and we can color this any color we want. We can bring outs, maybe some lighter purple or maybe more of a medium tone. So now we can add highlights and shadows to our environment as well. So let's take our background graphic. This is it technically kind of a smart object cause we use the rectangle tool so we won't be able to use dodge and burn on these layers directly. But we can easily change that by right clicking and harassed arising that layer. So now it's no longer a smart object. I'm just gonna get the Dodge Tool. You do a nice, big soft round brush, and I was gonna add our highlight in our lights. Or so for light. Source is coming down. See how it's coming down on the top of the box. Let's emulate that same lining environment by lighting up the right side of this. I guess you'd call it a table and weaken dark in it as well, by using the Dodge Tool dark in the opposite side. Let's make that a lot bigger, just a little dark ing on that side, and we could do the same thing with his top environment. So let's right click Rast arising the layer. Let's add a little bit of highlights on the top of this area top corner that just the environment now supports the light of the box. We couldn't even do a one point line along this division here, so it doesn't look like two squares bumped up to each other. There's a little bit more of dynamic lighting, so let's just do a white one point are one pixel with line, So just getting our line to like we did before, and I'm still do a quick little one point line that is white and make sure that's below everything. So springing everything below and the layering system, no one can reduce the transparency of that as well. We could even add kind of a glare here are kind of like a little bit of a lens flare. And we could do that by adding a new layer. So this will be called Little Lens Blair. And what we're gonna do is we're gonna provide an environment to put the lens flare on. So I am going to get the Ellipse tool. I'm just gonna do a little circle, so I'm gonna fill this in with any old color. Let's just start off with black do paint members filling in a circle with black, and I'm gonna go up to my options up here, and I'm gonna go to filter render and I'm gonna go down till lens flare. We're gonna figure out what Linds Blair type might work best for this. So far, I'm thinking the 105 millimeter who That one looks really good. The movie prime. We don't want to look too crazy bright, so just just a little flare. So we're gonna reduce the brightness click. OK, so now you're going well, that looks kind of strange word. He's blending modes to blend into the background. So let's do screen and what's reduced the opacity just a little bit. We just want to have a soft little glare light there, and we can have that or we cannot just kind of going over different options to kind of Brighton that box up a little bit. So this would be great. You've seen this in advertisements where they have a product box and they're selling software. They're selling a digital product, and they kind of put it in the traditional software box. So that's kind of what this could be used for and also showing off your box design work. And what's great about this method is you can craft any box you want. You don't have to have it be this size. It could be a very unique size, and you would go about it the same way that we did so we could do lots of different product boxes. You know, they don't have to be standard. They could be something that they can't download. A free mock up for something very unique that you're gonna need to create yourself. So now you have all the tools to be able to create quite a wide array of really awesome mock ups. So hopefully you've enjoyed this part. Are this this project? This was probably one of my favorites because we're going to create it totally from scratch . We're not using photography as a background. We're just setting everything up ourselves. And so there's a lot of excitement and flexibility and freedom that comes with that and displaying our unique work 36. Adding Multiple Copies : So as a quick little bonus lecture, I wanted to talk about creating multiple boxes. So right now we have this one box. But what if we wanted to duplicate this and we want to have a show, a whole stack of boxes? What we could do is we can take all of our files that are related to our box. So we have this side front and back folders and weaken Duplicate this. So let's put all these in a folder and call this box one. And then we could duplicate this boxes to command J or we can go up to auto select. And instead of select selecting the individual layer, we can now select the group. So now when we select box to it will move the whole group together and you could stack these pretty easily You're gonna have to get those shadows as well copied, so that probably needed to be part of the folder. So you can create a whole volume of software options. Of course, the lens flare doesn't need to come with each one. So there's some tweaking that you need to do, but just kind of showing you an example of high can easily duplicate. If I do go into any of these boxes and I go to one of the smart layers, let's go ahead and right click and make that red. So this is the smart layer for this this third box in. So let's say we want to change that to something else. So let's just do a generic red bill color and we save it. What's unique about this? It'll apply it to all of them. So it'll if you duplicate a layer. It will treat all those smart layers as the same. So if you're doing a business card, mock up and you have repeated business cars, you want to repeat the same design. You would just create a smart layer. And if you copy and paste it and Photoshopped, that smart layer will be global. And if you change that once smart layer, every layer that you duplicated of that smart layer will all change together, which could be really cool to create that effect that you see right here with the business cards so saves you a lot of time. So if you wanted to keep these as individual boxes and have a different graphic on each side and have it be a different product box. If you were changed one of these, it'll affect all of them. So here is kind of work around because I don't believe there is a way to make an individual without having to, um, repeat, building the box over and over. You have to build a whole new box toe, have a different smart layer that's not connected with the others. But I found a trick. So I'm gonna copy one of these boxes and you can open up a new document and then just paste it in there. Just pasting that whole box folder system in there, and I can copy it again and paste it back into, uh, the original template file. And it will be treated as a separate smart layer, kind of because I brought it into another document. It separates it from the smart layers that all changed together. I could go back in, and I can change this to yellow and will be treated as an independent little box. So that's kind of a work around, so you don't have to sit there and create another box with another smart layer That's kind of a neat trick. And if I didn't do that and I just copied and pasted and remained in the document, it will still remain linked if you want to do that. So just kind of a little extra bonus lesson to kind of go through some of those specifics about how the smart layers were linked when you copy and paste, um, in a photo shot document. 37. What's Next? : Hopefully you've enjoyed this entire section of the course where we used photo shop to create all these amazing mock ups you see here. It gives you the basic tools and foundations to really experiment and to create more complicated, realistic mock ups that will help you craft unique presentations that are different from all the mock ups that you find online. You can even craft the ones you find online and make, um unique or craft your own unique presentation for your brand and have something exciting to present and make your portfolio look really awesome and really professional. So let me know if you have feedback on the course. If there's a particular mock up that you'd like to see as extra lessons added to the course , if there's a particular product or presentation, you want me to go over, I'll be happy to add new lessons as we continue. The next section is gonna be all about three D. We're gonna be using Adobe dimensions to craft awesome three D experiences. And after going through this photo shop section, and when we get into the three d, you're gonna realize how amazing and easy three D is because you don't have to handle shadows. You don't have to sit there and hand drawl reflections. It's all kind of done for you. It's really quite fascinating. If you have the ability to learn and thes three D programs, which we're gonna be learning from scratch, you don't have to have any experience and adobe dimensions to get a lot out of this next section. We're gonna be creating this cool project right here, so I look forward to seeing you in that section next. 38. Lesson1 AdobeDimensions GettingStarted: it's hard to talk about mock ups without talking about adobe dimensions. This is Adobes three D program. We can craft all sorts of three D models and put all of your designs on these three D models, get the perfect lighting, the perfect background situation and even do multiple items. So what we're gonna do is we're gonna first learn the very basics of adobe dimensions and learn its power. Then we're going to create a very simple project with assets that we've already created. So I'm gonna provide these can assets, and we're gonna learn how to wrap it around a three D model. Then finally, we're going to a polished add image, and we're gonna do four different cans and stack them in a certain way where we get the right lighting the right shadows and we can know how to export our files into photo shop so we could do some final editing and Photoshopped, so hopefully we'll be able to produce this project. By the end, we're gonna learn some very basic stuff with Adobe Dimension. So let's get started. So welcome to adobe dimensions. If you've taken a few of my other courses where I talk a little bit about adobe dimensions and you already know the basics. Feel free to skip the next 20 minutes. I'm gonna do a little bit of a crash course here with the basics. And of course, Adobe Dimension has added a lot of upgrades in different features since the last time I talked about it. So feel free to watch and and see if you can learn something new, even if you're already familiar with some of the basics. So the first thing you're going to notice when you pop onto the dashboard is they're gonna notice a couple of things on the left are gonna be a Siris of tools. We can rotate and move your three D objects and won't go over the difference between ah, lot of these different tools because it can be a little overwhelming if you've never worked in the three D space before. And we're gonna talk about the X axis, the Y and the Z and how it's a really a lot more simple than you think. This is not a very intimidating three D program. This is great. If you've never worked in the three D program before, cause it is so basic compared to something like a blender or a cinema. Four D, Where there's thousands of three D tools. This is very stripped down. You just have the tool bar on the left. You have some assets on this panel right here, and then you have a couple other options on the right about your canvas size and all of your different layers as well. So seen is basically setting the scene. This is all about setting three D objects together to create all sorts of amazing scenes, and this is kind of the term that they use. But this is very similar to layers if you were in photo shop, so that's kind of where all of your layers happened. When you put in a three D when you drag in a three D object, let's go ahead and dragging a cone. It's clicking and dragging, and so you'll see your cone pop up right there in the scene, and then you can go right into this arrow, and it's gonna allow you to edit that particular layer. So seen layers kind of very similar. If you're used to the adobe, um, other adobe programs So let's dragon another three d object and we're going to kind of see how this three D space works. So let's just drag in a simple cube, So just gonna click and drag and put it anywhere into the plane. So this is called the plane. Everything that you see the gridded lines on, this is your main plane. We're just gonna pop it anywhere right here in the middle. And there is our cube. So immediately you are presented with this kind of Siris of different arrows and options and squares, and this is how we're gonna scale our object. We're also gonna be able to rotate it and move it along the plane. So the very first thing is this little black dot in the middle, If you click and hold, you'll be able to scale it and move it along the plane, whatever plane that you have set. So that one's pretty straightforward. It's clicking on the center and you'll be able to move that object around. Then you'll notice a Siris of red, green and also blue objects. And so the colors go with what plane or axes? It's going on so the blue will be the Z axis, and the red will be the X axis, and the green will be the y axis. So if I click on the top arrow, the arrows are gonna be moving the object into the end three D space. I could move it up, click over here and slide it Bond X axis. And I can also click on the arrow and slide it this way. So think of arrows. Is movement movement up and down into the three D space? So now we have the center object to be able to move it along the plane. Are the environment running? We have the arrows that move it on the different axes. So up, down, left, right into the three d space. And then, lastly, we have rotating so we can rotate our three d object. So the first thing I'm gonna do is I'm gonna click on this. Why? Arabs gonna move it up a little bit. Second kind of show. You the cube rotating a little bit. So now the circles air for rotating. So you can kind of see how would I move over to the circles? You're seeing that three D axes so let's dio x Glick and hold And he can rotate it along the X assets access all the way around. And we can also do it on the Z is gonna do it this direction and then also on the why so you can turn it around so you can see with all of this combined, you can pretty much move your object around the entire space really easily by just using these controls right here. And another option I want to talk about is the squares. So have the circles, which is rotating. We have the arrows, which is moving, but we also want to be able to scale it to make it smaller or bigger compared to other objects. So that's gonna be your squares. So I'm gonna go have head and scale it on the Z axis. And I'm just kind of moving my mouse left and right and kind of unable to scale it up and down. I could scale it. Since it's a cube, it's gonna scale the same. No matter what axes scale, it on lower are bigger and smaller. So let's try a different object. Let's bring in a tourists, which I guess is pretty much a ring, and we can move this up over forward. So that was just using my arrows. And now it could move the entire thing around the plane like this. What is clicking the center and then the squares. We know we'll make it bigger and smaller. And then lastly, we ever circles, which rotates the object. So it's it's not so intimidating. Once you practice which one is which of circles or rotation squares is scaling and then arrows is moving. 39. Lesson2 AdobeDimensions GettingStarted Part2: So let's do a little practice with multiple objects. Let's go ahead and delete that one. And let's dragon text. This is something new to later versions of adobe dimensions is being able to bring in the text. So if you don't see the text option, make sure you have an updated version of dimensions, so it's gonna bring in kind of your default type. And so one thing here, I can scale this by doing my square and make it smaller so I can see it. But what if I want to zoom out? I would have changed the angle of my plane. I want to change the basically the camera angle. If you want to talk about it that way, how do I do that? You're gonna be able to do that by these three options. Right over here on your toolbar, you have a dolly tool, a pan tool and an orbit tool. And these are very common terms and filmmaking. So the orbit tool Let's go ahead and highlight the orbit tower. Talk about each one of these. So this is gonna change your plane. So as we talked about this is your plane, this is how you're setting kind of your background. So this is how we do. This is orbit. What kind of orbiting around like we're orbiting, like where the sun orbiting around the typography go up and down all sorts of great angles . Let's say I'm zoomed in quite a bit. I really want to zoom out here without having to make my objects smaller, scale it smaller. So we're gonna go ahead and grab this one right here. The Dalai tool we're gonna be able to Dolly forward. And I'm just clicking and holding my mouse forward and then clicking and home holding my mouth backwards and it's gonna dolly out. And so I'm able to kind of zoom out and get all sorts of different angles for our presentation by using those two tools. And the one is the pan tool. So, Pan, I'm gonna be able to move across and pan across, um, the item. So between these three options, you'll be able to get any type of angle you want for your objects or your mock ups. We've talked about movement. We've talked about moving the specific object. We've also talked about moving the environment in the plane so there's air to kind of independent things when it comes with the three d space. Is the view the camera angle? But then also the actual object position on the plane. So do the object position. So let's say I'm selecting these tools and in and out. And now I'm ready to go back and change my object position or object size like we were in the beginning. Go up here to the select tool where you could do the keyboard shortcut V and go ahead and click on the move tool. We're gonna be able to get that selection tool back. We could move things around. So between these two, and he kind of switch between the camera angle and you switched back between the move tool to get the right location. So let's change this typography here. So this is kind of your properties panel right down here on the right side of any object that you select in your layers panel or in this case, it's called Scene. We have our tech selected and let's go down. The text right now has kind of ah, Laurie, um Epsom default type, so we could just type in any old word. This is type in cat. Let's do it all up A case there, see 80 cat. And so you have the same controls that you do over regular typography and photo shop so we can choose the specific typography we could use. Anything we have here, let's do something pretty chunky. And it could also change the leading and spacing. All this is is very similar. If you're familiar with Photoshopped and right down here, you can change the size. So right now it's 13 centimeters. But if I hover over, you'll notice kind of a little arrow icon. When I hover over there, it is what she could use. You can click and he could move the mouse to the left or right or your track pad or whatever you're using. And I'm gonna click and hold and go left to make it smaller and go right to make it bigger . So it's just kind of much quicker than having to manually type in the settings, so that changes size and then we have depth, so depth is gonna make it really deep. So it's gonna kind of ad that really thick, uh, characteristic to it. So let's do our camera angle. Let's get a different angle here. We're going to go over to orbit. We're gonna orbit all the way around. We're gonna see that thickness there. So I'm just changing my camera angle. And then I can go up to my move tool and to get my settings, I'm gonna click right here into the move, aligned to surface so it's gonna align it to the surface. So now we go back here to depth and kind of test our depth maybe not make it quite is thick . Maybe right about here, you have an extra option called Devil. We can click that on to add a really neat beveled effect on that surface of the typography . So I'm gonna zoom in here so I could see the details so that how it devils and there's a lot of different bevel options you have classic round. And if you've ever played around with the three D options and photo shop, you'll you'll recognize a lot of these bevel options. So let's stick with classic outline that has a nice, classy look to it. And we can also change the width so it could make it really thin and subtle, or it could make it thick and chunky. So let's make it nice and thin is reducing our width. And we could change your angle, haven't protrude outwards or have it go right back in and be kind of flat. Still, it's just kind of keep it subtle and just have a little bit of an angle so we could repeat it. So right now it's just repeated. Once you have kind of one line that meets up kind of zoom in so you can see if I do repeat , it's gonna add layers and layers of complexity to this. So I'm gonna continue to add this and you could see it added two lines, now three now for and it could keep going, and so adds a little bit of detail. So let's do, um, let's do for for right now and space, we can change the spacing so it could make a more exaggerated spacing. Let's use our dolly tool. We're gonna dolly out because we resumed and way too much with a dolly out, and then we're gonna get our orbit tool because we want orbit like the sun all the way around here, so you kind of get a better angle, What's going on? And then we want to zoom in. So let's get that dolly tool and Dolly ourselves, right? And so you're just gonna have to get usedto picking these three and figuring out, um, kind of getting used Teoh panning in, zooming in. I'm using that dolly tool to kind of get the right angle so I could get my move tool. And this is where I can move it along the plane. This is great when you have multiple objects. So let's say I bring in a I want to put this on a cube, so I'm gonna bring a Cuban. I'm just gonna drag it in, pop that cube on there. So let me see if I can zoom out. I'm gonna select this cat, gonna move it up forward, and let's do that orbit tool so you can kind of continue to select. So let's say I'm right here going to be able to select this object. I need to go back to the move tool or press like the keyboard shortcut V to then be able to places you could see shadows give, give away and objects position so it can kind of help you find out. Okay, I want to center this on top of that cube. So let's scale this down a little bit and make cat a bit smaller. Let's scale it down a little bit more. I was gonna still put it right on top of this and movements just kind of practicing. What does what? And let's change our camera angle in a more dramatic angle here. How about right there, cat to pan over just to make that little bit more center? So there's our typography we can always select. So let's say I want to change my bevel effects. What we could do is we can go up here to our text layer. Here's our text layer. Let's go ahead and title this cat. Once we selected that and the scene are I would this is really a layer. We could select that, and then we're gonna get their properties and will be able to go back down and change anything we need. So if we want a picking up that devil, we can, since his way can be really creative, getting some cool effects going on with our typography 40. Lesson3 AdobeDimensions GettingStarted Part3 Materials: Let's get our move tool and let's do some final positioning or just go ahead and move it right back down so it's pretty much resting on the surface. There's two things that make adobe dimensions come to life that's materials or textures, but also lighting. So those two things put together will make this plain gray three D environment really come to life. So let's add some material or texture to this typography. So I'm gonna go down here, you're gonna be in your starter assets right here. And there's a couple things. Here's our basic shapes that we've been using. There's other, different models that she can use that are already kind of stock three D models, and you can also download some of these and import them and as well we'll get to that in a little bit later. But these air kind of the default assets we have a lotion bottle, which I did in another class where we kind of created a label and were able to add it to the lotion bottle. And I got the stock lotion bottle right here by default. But you have laptops, all sorts of different geometric shapes. If you continue to scroll down, you're gonna be able to see materials. So this is gonna add texture and certain material types. So we have plastic wax metal glass. So if we wanted to have a plastic look to it, we can drag this plastic right onto the object was goto add it right to it and automatically adds it where if we want to add, let's do some gold. Also love gold. How about this one clean gold. We're gonna drag this right into the three d space, so it's gonna make the entire thing gold, and right now it doesn't look that impressive. But once we go to rendering, which is right up here, this is kind of your render preview. Once you render something in a three D environment, it's gonna add so much more details and lighting, and it's gonna look a lot better. This is really just kind of a preview environment. This is not really how it's gonna look as is giving you a preview, because rendering takes a long time. So it's giving you a general idea of what it's gonna look like. But after you render it, it'll look a lot better so just to kind of shaven example, I'm gonna click over here and the top, right? It's gonna be show, hide, render preview. So we're gonna click of this little icon, and it's going to kind of do a pre rendering for us because a final render can take like, 10 minutes, so it's gonna give us an idea. So you've noticed how the lighting and the material looks so much more rich when you do a render and when you do a render preview. So sometimes I like to switch between the render preview and going back into the regular environment. So I'm gonna go and click back on this icon, and each time you make a movement, it's gonna have to re render it so it's great if you kind of get to that final point. If you want to kind of preview what a material really well look like, it's great to toggle on this kind of pre render preview. I'm gonna click off because it's gonna be a lot easier to cut to do the basics with that clicked off, but I just wanted to check and kind of see how that final material really comes. to life. That's the fun part. And so what's great about some of the typography, feature and adobe dimensions as it's got more than one surface? Because right now we have a side. We have a back to the typography. If we were to get our orbit tool and orbit around, its got a backside, it's got a side, it's got a front side. It's got sides all the way around. And there's even these little devils that are happening that we added all these could be have different materials applied to them. So if we go to our typography layer would click on this air over here, it'll show all the different sides that we have. So we have the face, which is gonna be what we see in front of us. The bevel, which is what we added, which is the little details, the back which is the backside, of course, and your sides. So let's say I want to have a gold front, but I want to have a silver side, so I'm go right here and grab silver right over here in my materials, and I could bring it in. So what I'm gonna do if I were to bring this in and drag it over my object. It changes all four sides. But let's say I just want to change one side from a good command Z and go back when I got to do is I'm going to select the cat Good, Select the hero and I'm gonna instead drag my silver over which one I want to drag it too. So let's say I want the side to be silver so that silver and that remains gold. I could make the bevel a different color as well, so we have all sorts of things to explore. Let's do something kind of different so we can see how it looks. Who Let's do rainbow. We're gonna take rainbow and we're gonna make the devil or Rainbow been kind of Dolly in two. And right now it doesn't look very impressive, But let's do a pre rendering and see how all the final materials will look so you can see how the side of silver we have gold. And so we have all these different effects on here, or we can have all be the same color by just dragging it on to the actual objects. So let's say I want the whole thing to be rainbow colored. I drag it right on top of the object. It's gonna take all the different faces and sides and make it all that rainbow color. So let's go back to kind of a simple metallic sums. Gonna kind of make all of these metallic and so we can take off for pre rendering because it's taken a lot of time to pre render that. So take that off and I am going to Dolly out and I'm gonna add something to the square. I'm gonna do a pan so I could pan down and see the square. So let's say I want to try different material for the Cube. We could do a brush metal, which doesn't look very impressive, but if you do a pre rendering, he could see it gets a lot more complex and rich. We can do a clean gold. That's how it'll render, which is really neat. This is what's so great about adobe dimensions. There's no way you can do this by hand in Photoshopped some of the complexities of reflections. So I'm gonna take my moving tools and get a better view of this, I'm gonna do a pre renders its pre rendering look at the reflection bouncing off the surface. It is so complex and realistic. It's just so rich. And and it's just kind of that reflection and realism that makes a three D program so much more superior than trying to hand draw all this and photo shop or or a drawing program. This is what makes three D so quick and easy, and I could go down here and change it to anything I want. So if we just want to do one letter, we can change it. We don't have to have it just say, cat, we could scale it up, which is our square. Anything is possible so we can change our, um, view of it by going up here two or three tools. So let's orbit around and we can Dolly in. So I want to do something a little different. Let's delete the typography, so I'm just gonna select the M work and select the AM up here, and I can delete it. Since you press delete and it's gone, I want to start to do like a little bit of a mock up here and have a fake business card in my files that I'm supplying to you right here. I have these two little business card front something really, really simple for you just to have something to apply. So we're gonna go back to our models or you go all the way up to the top when we have our stock models that we could put on and let's try to find a business card and 41. Lesson4 AdobeDimensions BusinessCardProject: So here is a business card set right here. So says business card was, Go ahead, drag this in, received. We can't just drag it on top of this object. So if we already have an object, it's gonna go ahead and kind of show you where it could be preloaded. So let's do it right here in the middle and release And there is our little business card and let's take pre rendering off. So I kind of zoom around this a little bit easier. So let's get a different view. Let's orbit and get a different view. Are her business card right about there? So how do we change the surface of this? So with pre made stock three D models, let's go over to our scene and go ahead and click on more. And so right now it has paper. So what we're gonna do is we're gonna go down to this little option as his actions were gonna place graphic on the model. So here's our simple J peg of a three inch by 2.5 inch business card, and we're gonna go ahead and load this black version so it's good to do 01 and loaded in. It's gonna pop it in here and we're gonna get the move tool right here. We're gonna need to move this into position. So here's where we can kind of angle this. We're just kind of moving. Taking this little circle were able to rotate it. And this is how member House Square scales it Bigger and larger is kind of the same for every kind of selection tool whenever you see a square is going to scale it. So what I want to do is I want to scale it dimensionally. So if I were to take this top square and bring it down, Scott kind of not scale it dimensionally. So go ahead and go back and I got a hold down shift and then drag, and it's gonna be able to scale it dimensionally, so I'm gonna to scale it up. So it fits a little bit better on the business card and make it a little bit bigger because it does seem like a nonstandard business card stock model. It's not exactly 3.5 by two, so I'm just kind of making up for that by making it a little bit bigger, so I'm gonna release your nose. This has a lot of a shine to it, and we're gonna talk about lighting next. So as you could see, it would automatically added it to the front. But it also added it to the side. So if I was gonna orbit around and change my view, you can kind of see how it's also on both sides. So how cool is that? How many different arrangements we can make with this very simple model? So look at the glare and the lighting, how it's changing. Moving this around super cool. Let me change the material it's on. I think that's a little shiny. So I'm gonna go down to my materials and add a little bit of a rougher texture there. So let's try. Look at this bronze. That looks really neat. So I'm gonna end up going with this glossy material, so I just kind of brought that right in, and I was able to use pre rendering to kind of get a good idea of how that would look in the end. So I'm gonna click off of pre rendering. We could try to find the right angle for this. So let's find the right position right about here. Let's zoom out a little bit. Let's Dolly out just a little bit so you can see a little bit of the environment and let's pan right in here. So there's another thing about lighting. So we've talked about how to set up to objects together three D space, how we're able to scale the object, Hauer able to add an image on the object. But what about the lighting? That's the next really important thing that we need to master three to click on this arrow and go back to our scene. And this is where environment comes to play. So is something called environment light, and this is going to change the lighting position. So with environment light selected, we're gonna go down, and you could change the intensity of the light and make it super bright or super dark. You can also change the rotation, so this is gonna rotate. The lighting source is gonna change, and this is the degree that it's changing. So we have, like, negative change because all is gonna rotate around. You're playing here, surround your environments, rotating around and So this is where you really have to be careful because you don't want toe wash out your design. So if I were to do that of this high glare, and that's gonna wash out the true color of the card so we can rotate it so you have a little bit of that shine. So let's say it's a glossy finish. I would have a little bit of that shine, but we don't want it to overwhelm the business card, so this would overwhelm it. And you just want a little hint, a little hint of that glaring light. You never want you light to take over and make the design hard to read so we can do the orbit Tool lets orbit a little bit around here just like that. So let's edit our business card a little bit. So we're going back into our seen layers, and we're going down to the business card stock where to click on the Arrow to edit more details. So we have the graphic that we loaded. Any time you want to swap that out or delete it, you just highlight that layer and delete and it's gone and you can go ahead and go back down and to your options, and you can load in a new, updated graphic. But you can also change the properties of each layer on your three D model. So this is your three D model. You have a couple of layers. Here you have the paper, which is the paper it's on, which is the business card three D model, and you have the graphic that is put on top of it. It's basically an image or J. Peg just put right on top of that three d model. So let's go to our graphic. And we could make this on Metallica material. So we're gonna go down to this metallic option and we're gonna slide it up and you'll see how the lighting changes. When I make it metallic, it's gonna make it a little bit more complex. Well, we cannot make it metallic. You could make it like a flat. You could increase the roughness, or you can make it really super shiny and tight, or it could make it really blurred. So this is all talking about lighting or making this reality with this with this program. So let's talk about rendering for a little bit. So now let's say we're ready. Let's do some last minute angles here to make sure we have the right angle that we want. Let's do our orbit tool. Let's make sure we're happy with how it's being presented. Let's do a little pre render first, let me pan and make sure that's in the center. So now we want to do a pre rendering, so we don't waste our time rendering. When we do a final render. It could take five minutes. It could take an hour, depending on the quality of your render. So doing a pre rendering before you do a final rendering will save a lot of time if you feel like okay, the shyness, not there, where the material is not the material I'm looking for. So I really like the material of the business card. I think that works. I think the angle is great, but I think maybe the material could be a little bit more reflective. So let's go down to our materials and find a little bit shiny material. Let's do a silver just dragging it onto our cube object. So now this is gonna have a very reflective surface, and we're right here in our cubes. Let's go to our scene. We're gonna go into our cube and where we have the silver glossy selected, which is the material, we can change the roughness of this. So if we feel like that's too shiny, we can increase the roughness. It's gonna dull down the reflection a little bit. You could add a patina, which adds kind of some scratches and some kind of roughness as well to the metal. So it's not just so perfectly smooth and slick. We can add scratches, scratch intensity. We can add luminosity. We could see what just kind of adjusting some of these levels that were able to really change the quality of the metal. And it's a little shiny little bright right there. Sums go to reduce the luminosity to where I had it before, So now that I'm happy with the overall rigor, I'm going to do a final rendering. So this is when we go up to the top here to render this is how you do your final exporting of your file. You could do a really render, so it's Steward I time. So it's gonna cut a do a little bit of a preview for you once you slip into that rendering process. And so this is where we could do quality. So I usually do medium for my presentations. But if I working to do, like a final portfolio piece or something where I really wanted to take the time to make it the highest quality possible Aiken do high. But it takes hours. Usually the average image. It takes about an hour to do slow and for medium, it could take us little list 10 minutes, but the quality differences big. So if you have a lot of time, really spend the time to do a nice rendering. If you do a medium rendering to go, that looks great. Go back and do a higher Rittner toe. Have that really nice polish look. But for time we're gonna stick with medium, we're gonna title this business card, and you have two different export formats. You have a PSD file, which is a photo shop file, so it'll be ableto you'll be able to open this up in photo shop and separate the shadows and the lighting and a couple of the layers which is really nice toe have, and it's what we're gonna use for our project. But you can also just do a regular PNG so that you can put it in your portfolio and it's ready to go. Let's say you don't need to do any kind of post editing and Photoshopped. You just want to have a final image to use. I always like to select both, so let's go ahead and render, and this is going to take a little bit of time. It's gonna show you a tiny bit of a preview as it continues to render, so it'll probably be about 10 minutes or so, and that's going to render it, and I'll be right back. 42. Lesson5 AdobeDimensions BusinessCardProject Part2: so we're done rendering and we have our photo shop and er PNG file. So let's double click and take a look at her PNG file, and we could take a look at her photo shop files We could open up. A Photoshopped file could even change the background color on the photo shop file, which is really nice if he wanted to change it to black. So you also noticed how small it is. So this is 100%. It's on Lee a 10 80 by 10 80 resolution. So that's not really great. If you want to put it really big on be hands or some other portfolio. But Building website, we really want to have a larger resolution. So by default, I really hate how Adobe Dimension has a very small resolution by default. But we can change that so we'll go back to design and you'll notice. Here we have a 10 24 by 7 68 So I apologize. That's the final resolution. So 10 24 by 7 68 So how can we change this resolution to make it a lot bigger? We're gonna go up to file document settings and it's gonna go ahead and load in your properties, panel some options to change the size. So let's say we want to make this a lot bigger. Let's make it 2000 pixels by 2000 pixels. That's good, essentially more than double the resolution we had. You can also change the resolution. Right now it's screen Resolution 72 but we can change that to 300 that's gonna make it even better. And there's one more thing we have to do, because right now it's kind of I don't even know where my environment is right now. Where is my stuff? Here it is. Way out there, we can zoom in, but so you'll notice that the art board I have to go right all over here and scroll over. See, the art board is really zoomed in and big because we double the resolution. I want to be able to see the entire art board without having to scroll like I am. We're gonna go up here to this little option where we can change the zooming properties of the campus. I wanted to do a drop down menu, and we're going to just do we could do 100%. 50%. Let's do fit canvas. And there we go. So now our whole art board this scene and it gives us a better idea of how to profit. So we essentially double the resolution, but is going up to file document settings, going to property and then go ahead and change double it, increase the resolution and then, of course, get it to fit the canvas. That's all we did. We're essentially able to double it. I consumed right back in and right back in. And I'm gonna change the material because when I did a render, I wasn't super happy with the material. And that's okay because we can just go back to our cube down to properties and change some settings here. Maybe we don't need quite a speedy scratches for patina xaz. Let's reduce the roughness. I just wanted to be really shiny. I could increase that luminosity, maybe increase the contrast. And on my pre rendering ons, it's gonna help me render all this for me. Okay, Now, let's go back to render Let's re render this again. This is going to show the old render that we did it doesn't update until you re render it. So let's re render this. It's gonna take probably a couple minutes only. I think the the other one just took me a couple minutes, so I'll be right back. It's a lot better now that we doubled the canvas size and the resolution. It looks a lot better, and we could double click our photo shop and open it up a photo shop and once again a lot more crisp and clear. We could even change the background color to anything we like we have. This is a separate layer now, so if we ever wanted to move this around and put it on to a different background or environment, which we can also do that and adobe dimensions will, which will Good, too. But you'll have. This is a kind of a separate layer to be able to place somewhere else. So this is the very basics of adobe dimensions. Now that we have the basics out of the way, let's do our first project. We're gonna do this can design on, and then we're going to kind of do so work with lighting a lot more and doing some of the lighting tools that you see down here in your starter assets. So let's get started. I'll see you in the next lesson. 43. Lesson6 AdobeDimension CanProject: let's create this beautiful can presentation today in adobe dimensions. If you look at the downloadable resource is as a part of the class, you'll be able to see all of these files here, and I have e p s files, which are basically vector files. If you wanted to go in and edit can design, I haven't for all four flavors. We're going to four different flavors cherry, orange, lime and blueberry. And I have all of them here available for you. So I'm gonna open up one of these. Let's start off with blueberry and we're gonna bring this into Adobe Illustrator. Of course, you could use any other vector program that also reads dot E p s vector files if you don't have illustrator. So this is kind of how you would normally set up a final can design. Let's say you have a client and they want you to do a can design. This is usually how you would design it. You'd have a front side, you have a backside. It would be all one graphic would be all one PdF when you export it or vector file to the manufacturer. This is how you would typically do product designs as kind of one item that would wrap around a product. So it's a little bit different when using a three D program to display something as opposed to printing something actually on a can. So what we want to do, because we want to export this and a couple of different files so that we can create our can. So let's visit adobe dimensions and get our can ready for this label. Let's open up a brand new file file new and here we go. I'm gonna go ahead and adjust the resolution on this so we go ahead and get that nice high resolution so I can click right here on the numbers or can go back up to file document settings and then load kind of this properties option. So let's just do 2000 by 2000. It seems to be a nice around campus size, and we could get that resolution to 300 pixels per image, and I can go ahead and set my canvas so I don't have to sit there and scroll through my environment. I could go up here and fit canvas and voila! We have a 2000 by 2000 pixel environment that we could work with. So the great thing about adobe dimensions as they have all these wonderful stock items three D models that you can use If let's say you want to do something other than a can, you can visit stock dot adobe dot com and look at their three D assets and you'll be able tow load any of these into a doping dimension. Some of them are premium, and some of them are free. So let's say we want to design a put a logo on a particular product and let's say we wanted to put it on the key chain. This one looks like it's free, so let's see if we can click on it and do the license for free. So it's adding to my library, and I could easily load it in going up here to our arrow and then going toe libraries, and I have it right here. I can drag it right into the three D environment, so now I can zoom in and I can add a logo on top of this by going into my key chain and then adding right down here. Place graphic on model. So I wanted to show you how you have more than just the default ones. You could bring in three D stock models, so let's go back to starter assets and bring in our standard can. So let's go down to breath bridge. Or you could do a Brevard. Two different beverages you have one was going to bring the send. You might have to zoom out on this one. Oh, yeah, definitely. Consume out. You have one that shows the little droplets of water on the can, which hasn't really neat look. But worst could use the plane one for right now, some school bring in the plane. Can there's or can Let's go ahead and find a really good angle here. So I'm just gonna just panned. So it's right there in the center, and I think that's a pretty good angle. Zoomed in pretty good. So let's add a label onto this can. So we're gonna go over to our beverage can and we're gonna go over to the can. So this is the pull ring. This is gonna be what you see on top. That's going to be that layer so there's the pull ring and this is gonna be the can, which is gonna be edible here. So let's go into can extra options right over here and we can add our image on top. So this is what is a little bit challenging. So let's say I'm in Adobe Illustrator and I have my final design that I sent off to the printer. And I have this as a designer, ready to show. So let's say I just export this out. Get export this as just a J. Paige. Nothing fancy. We're just gonna do a simple J peg. So here's the issue. When you have a three D can and adobe dimensions, let's say I go right here to place graphic on model and I add my little image, which is the same image that I would send to a printer. Let's say I send it in a pdf format to a printer. This is the issue. This is gonna load on there. There it is. I'm gonna get my move tool so I can move this particular layer around. I'm gonna hold down, shift and scale it, so I'm just gonna hold down shift and scale until it fits the can and you're thinking, Oh, that's perfect. I'm gonna take my orbit tool in orbit around. That looks great. Why not just slap on the label? This is what happens. Even though this is the right dimensions for a can design, it's not wrapping around very good as a default option. If you go down here to properties when I have my graphic selected, there's different kind of placements he could do. So this is a decal, so it's gonna add it like an image right on top of a product. And he also had Bill, which is gonna fill it in across the whole can evenly so you can see now it filled it in a lot better. But then now we need to zoom out on it. So let's click on Move. Let's hold down, shift and scale it down and so you could scale. It worked kind of repeats, but we want to be able to have it just go audit like this. So now if we go ahead and rotate around so we're rotating around the product, and no, though that's kind of weird. We have two labels there because it's repeating so Here's what we like to do. Instead, when we have a cylindrical product like this, we're gonna do it a little differently. So let's take this off. Took it off. We're gonna export this file differently and have us file for you if you want to move along with me. But I also have it saved us J pegs for you so that you can you will have to do that this process with me. I'm just showing it. I already have these exported as three different assets. So what we're going to do is we're gonna need to have these a separate p and G's because we want to add an image to the front and an image to the back and be able to move. These is independent elements around the can. So we don't have any of those problems that we ran into earlier. So we're gonna go to file documents set up and all I'm doing, and I already have these J. Peg R, P and G's exported for you already, so you don't even have to step. But I was going to show you how I kind of took a final design and then made it applicable to the three D program Adobe Dimensions. So I found my halfway point, and I'm just created on our board and resized it. Now I'm gonna go up to add a new art board right here, and I'm going to dis move this art board over here. So now have to our boards of great basically have a back and a friend. So when I exported as P and G's is going export both our boards for me at the same time, which will save a lot of time. So what I want to do is I want to just get the design. I don't want to get the background. We're gonna add the background as another object later. So let's delete both background elements. So now we just have our designs on the left and or design on the right. It's going to slide that in there, and we're gonna goto file. I'm just exporting. These is P and G's nothing too exciting. And so now we wanna have the background. So let's go back to where we were and let's delete everything but the background elements. And now we're going to save this as a PNG or JPEG. It's just gonna be our background graphic export as I'm gonna click on use art boards and let me just do it. J pick for this one because we don't need to have anything be transparent. Title this background. So now I have three different files that we need to build our can. So let's go back to Adobe Dimensions and load them all in. Let's start off with the background. It's going to go into our can. So in our beverage can and let's go down to can more options. Let's go ahead and place our background graphic, so place graphic on model and let's do the can background. There's your can background, and we could stretch this to go all the way up. But I can show you the problem that we're gonna run into would do the orbit tool, and we orbit around its still having that issue. So to correct that issue and have a connect and be smooth, we're gonna go down to our placement, and instead of a decal, we're gonna do a fill. So now we could take our move tool, bring it down, orbit our object and we have our background ready to go, and it looks smooth. So now I can add our front label and are back label as two separate images. So, just like with layers of voter shop, we can add layers of images on top of each other on this can. So we have a background. So title this background and let's add another layer of images. We're gonna place R, P and G over front onto the can, so it's gonna move tool right over here so we could see our controls hold down, shift and scale it up, right until we think it has a nice position. So there's our front. So let's do our or orbit tool and orbit all the way around. And let's add the back. Let's add our next graphic are back. P and G get our moved tool and scale it to get the right positioning. So here's where we have to go back into our background. We might just need to scale this down and let's do our orbit tool to see how the front looks. So now these labels are independent of front in the back or independent. We can scale that as we need to So let's orbit around and see if it's got some good spacing . So there's the front of her can. And what's great about doing it this way is we have a lot of flexibility here. So what I can do is we have this can object and let me zoom out a little bit here. So I'm gonna make a duplicate at this camp. So I'm gonna go back to my scene environment, and I got to go to beverage. Can I have beverage can selected? See, I could move this all along the plane, and what I'm gonna do is I'm just gonna copy it. So I'm gonna edit copy and paste or user keyboard shortcuts that I pasted a second beverage can in there to have beverage can two and beverage can one we're gonna take beverage can to over do are moving tools. I was gonna move it away from it, the first object, and now we're gonna rotate this so to rotate, we're gonna get our our circles here, and we're gonna wanna rotate along the y axes so you could see the wise agreed good to see how that looked like, sometimes kind of hard to locate a particular axes, especially when it's in this particular angle. But I see it right here. There it is. You can kind of move around until it highlights and weaken. Spin it around. So we're going to show the back off right here. There's the back of the design. There's the front of the design. So we're kind of talking about presentation here. What's Dolly out a little bit. And also Pan and orbit. Try to find the right position presentation. So now we want to place this onto something onto a photo where they're it's It's the candles resting on some kind of surface. And so is instead of creating our own surface like we did with the past project where we put it on a cube, we want to put it in a realistic photo. So I'm gonna download for pixels photo of a table, but you could use any photo that you want for this 44. Lesson7 AdobeDimensions PlacingObjectsonBackgrounds: So this is a background photo I found on pixels dot com. I'm gonna go ahead and download this and go ahead and load it into adobe dimensions. So this is how you add an environment photo. So gonna go into my environment layer and my scene area. I got to go down to backgrounds. You can toggle background on and off. We're gonna have it on you to click on the white cause it's just a solid white fill by default, which is just a color. It could change the background color to anything you'd like, but we're going to go ahead and click on image and add the photo that I just downloaded. It's gonna go ahead and load it in their by default, but we don't want to have the default option. We want to make sure it's on scale toe fit, so it's gonna kind of fit it a little bit better onto the overall canvas. So there's something that's kind of magical here. We're gonna go to environment, and we're gonna go down to match image. So this is gonna instantly align the light of your seen using the information from the background image. So what's great about this is gonna adapt the lighting. It's good to take pixel samples in your photo to find out what kind of lighting that background photo would have, and it's automatically going to apply it to your mock up there. I'm gonna click on Match Image and we're gonna make sure everything is selected. It's gonna go ahead and create some lights for us. It's all also gonna resize the canvas. So we're gonna click on OK, and it's automatically gonna run this algorithm and look at that. See how the lighting changed on the can to be more direct and from the right, so it picked up that the lighting from this this environment is coming from those directions and that automatically changed it for us. So let's get closer in here, and we can, of course, aligned this to the surface. See how it changed the surface for us. It went ahead and align the surface to this table. So now when I move the alliance service, I click on the white little Centrepoint area, it's gonna automatically align it to the table. How cool is that? Does a lot of the hard work for us we're just kind of slowly positioning our items. I think I'm gonna scale this down, make it a little bit smaller just because I think it needs to be smaller and relative to the items that are immediately in the background. So I can always select both of my beverage cans. I'm gonna select my beverage, can hold down shift, so have both can selected. And so now they can move around as a group, make a move him closer to the foreground. And I think they're sizes make a lot more sense closer to the foreground. So we go into the environment lights, you could see it created all of these light sources for us. We can add each individual light source by clicking on each one. So let's do key light. We could change the intensity. And this is when I do lighting and materials. I like to do a pre render to kind of see how everything looks. I'm just doing a pre render. That's good. Do some more final details for us so we could do intensity. We could make it brighter. We could make it more dull. We could change the location, So the rotation at automatically despondent at 75 degrees. But we can change that at any time to see how the shadows are cast and how the shadows air changing. As I wrote to the rotation of this particular light source, you also notice there's multiple light sources with Issa's well, so there's a key light, a fill light of back light, and so you'll notice. There's also multiple shadows, so you see their shadows on the left but also shadows on the right. So what? That's what's great about a three D program is it's gonna automatically figure all this out for you. You don't have to sit there and try to manually draw their shadows yourself. Photo shop, for example. You change the height so we could bring it down. So the light is coming right in the midline of the object. We could have it be really high up top and see how that that lighting is changing. When I'm changing the height, notice how the shadows air changing in their length as well. When I increase the height, because when you have something that's noon like a lighting source up here, you're you're casting shadows. We're going to be a lot for less further out. So we go down to feel like, do the same thing, make any kind of adjustments we want to make because you may want to have reflections of certain parts of the product. So let's say we don't wanna have a reflection that is too much on the particular letters, and it makes it hard to read. So a lot of times you have to mainly adjust these to make sure that lighting doesn't get in the way of your design and when you go to environment. Speaking of shadows, this is where you can kind of edit your shadows casted. So I'm now in the overall environment layer and you can go ahead and toggle ground plane off. So if I toggle this off, there's gonna be absolutely no shadows at all, so you can toggle shadows on or off. But of course, I think they add a lot more realism in this case, so I'm gonna keep those shadows on. We can lighten shadows just like we can lighten, drop shadows and photo shop. We could reduce that quite a bit toe. Lighten the shadow so they're not as intense or it could have them be pretty intense. And so another cool thing about materials. So we're gonna go back into our beverage can. Let's do beverage. Can the first beverage can? We're gonna double click in our beverage can and we're gonna pull down. Can I'm gonna highlight this background layer, and I'm gonna make this metallic to give the can a little bit of the metallic reflecting qualities. See if I could zoom in here on the campus, zoom into 200% so I could see some more details of the can. Let's add a little bit of a metallic quality. So this is before and this is after and let's reduce the roughness. So it's a nice, smooth metallic can that has lots of reflection. So you could see a huge difference of how light bounces off the material now that we have metallic. So this was before it was kind of flat. And this is after we add a little metallic color to it so we can go back to our other can and edit this one in the same way. Let's do the background right here. It's a little bit of a metallic quality. Great I think we're ready to give this a try. So let's go to render and let's do a final rendering. We want to do both a photo shop and a PNG document. Let's go and keep it to medium and let's who had entitle it and render it so I'm gonna wait was probably gonna be a good 10 minute render cause there's a lot of complicated lighting effects going on, so we're gonna kind of see what happens in 10 minutes so the rendering is complete. It only took about two minutes and 56 seconds, so that's really not bad. I could probably get away with doing a higher slow if I really like the look of this. So let's take a look at the rendering and see what it looks like. Must try it with a different photo just for fun. Go back to our design, make sure we save it, and let's switch out the photo. I found another one another pixels dot com photo right here Looks like it's bad. Company office Ping Pong. I'll provide the links. Eso Let's go ahead and get this downloaded, so let's zoom out on our canvas. Let's fit our canvas there so we can see that a little bit better. And let's simply go over to environment and let's go to background and let's switch it out . So let's go to environment unless is really make sure our match image is matched to the latest image. And instead of matching to the previous image, we had a very similar lighting. So let's just make sure. So we're gonna match the image who went to environment first and we're gonna match it all. Click on OK, looks like it's reworking it here, and this is what it thinks is the appropriate lighting for this image. So let's see if we can't zoom in and take a closer look and we have the pre rendering status on so we can see it. We go to the main environment light. We could reduce the intensity of the lighting. We can have a different rotation of the lighting having come from the right lots of different things, you can do so quickly. It was able to take this table and apply the environment plane to it so that we can easily select both of these. Hold down ship, select both items like I'm just gonna move into surface so I could put it anywhere on this table and it looks pretty darn realistic. So now we're going to take this to the next level. We're gonna do all over different flavored cans, and we're going to arrange them in a really appealing way to make it a nice product presentation for design or even for an advertisement. 45. Lesson8 AdobeDimensions All4Cans: and it's gonna delete the second can. And I have this can right here. So I'm gonna go and delete all of my lighting, my special lighting that it added for me automatically. I'm going to select some of these lights and just delete expressing my delete key. And we're just gonna leave the environment light on. So let's talk about lighting. So now that we stripped away all the lighting and automatically added for us, we could talk about adding her own lighting by hand. So we're gonna go down past the materials and there's gonna be something called directional lights and environmental lights. So with directional lights, we have different lights that are casted on the product so you can have a light that is circular. You can have a light that a square in nature, since they're kind of like studio environments and studio lighting. So, for example, I can bring in circle light onto our can, and he could tell the the original source of the lighting sources circular in nature the way it doesn't. So let me take off pre rendering so you could see it a little bit better and same thing with square light. If you were to drag square light on top of this, it's going to start to stack all these different light sources and make it more complex. You can delete the one that we had originally with the Circle Light just like this. And let's delete both of these. I just kind of giving you an introduction on lights. Let's do a three point light. So if we drag this three point light in, you could see how nice and glossy that is. It's got three different light sources, a key light of fill, light and a backlight. All these air individually edited, and we go back to our can go back to more can. Background. I had a very high metallic shine to it. Let's reduce that a little bit to make it a tiny bit more realistic. It was a little too shiny, so just reducing the metallic and you notice if I increase the roughness, so look before it's almost like glass. And if I increase the roughness, watch this. It gets real soft, almost like a very smooth Matt finish, and that's exactly what we want to have for our our material for our can so I just increase the roughness a little bit and reduce the metallic in nature. We can even take our front. So this is the front. This is our little label right here. We can even add a little metallic properties to our front label. So now we want to duplicate our can a few times and add are different flavors which will just be swapping out those J pegs. So now that we have the lighting said we have the material set, let's go ahead and make a copy. So I got to go back to our layers and are seen and I'm just gonna copy or beverage cancer Command C command be or you can go up here toe edit, copy and paste. And I just made a copy. So now I can go take my move tool, And let's take our arrow and to smooth it out here. We're just moving it along the x axes and I was gonna swap everything out so we could go ahead and title this lime entitle this very and go ahead and start to replace everything. So I'm going to my can and swap all of these outside. Go down to image, click on Select a File we ever J pegs over here and let's do our green. We're just replacing the background so it is going to swap it out. It's gonna automatically do everything for us and let's do the same thing for the back. And let's do the front and let's get rid of these little decal images here, front and back. Need to go and let's hold down shift and scale. And if we want to, we can rotate the object and we can add a back label to it, just like we did with this one. And we would just add it the same way by adding a new decal image on top. So C D kale placement. But for this, for our presentation for ad were only to be showing the front of the can. So the back is not gonna be a big deal. So we're not gonna be placing that on here. We could do the same thing and let's duplicate or can copy paste. And we're gonna slide along the X axes and we're producing another one. Slide to sliding over here. Canvas right down here and let's replace this one can background. Just delete that graphic and add our new one back on this. This is red front. Hold down. Shift and scale. Looks like we have one more lap was going copy over here. Copy. Paste. Go ahead and fit this to Candace and slide it out. There's our little cans. What we could do is we can rotate thes individually to make sure they kind of all base the camera in the same direction. So I'm just going to select each one of these and kind of rotate them along. See the Y axes here, so I'm just kind of rotating the can. I can Sure, that kind of face in the same general direction. Just clicking and we'll see. There it is. Rotate right about there. So now we have all for those set. So what I can do and use the Dalai tool on Dolly out. I can select all four of these cans, selecting all four cherry, lime, orange and Barry. And now I can get the move tool. Get my centrepoint here to move all along the plane or scale them all together. You see somebody that's a little bit hard to see. You see, but can't grab that there it iss leitess, so that could move it along the plane. And I could set this in any environment I'd like and let me also move each one of these so they have similar spacing. So let's do a fun background for this. So let's go up to environment and let's add kind of a radiant background. So have a little radiant background that I found. It's gonna go ahead and add it, and I can click on environment and go to match image and see if it can kind of change some of the lighting for me to match my fun, greedy int backgrounds. You could see it kind of cul arised it a little bit. It adapted some of the purple and added that into the light. I wouldn't go to environment light if we want oh, reduce the intensity of the light coming in. Change the rotation. We're gonna go to key light kind of reduced the intensity of that key light on the right side. Let's do a pre render and see how everything's looking. So I think I'm liking how everything is looking. I can go to render now and do a final render 46. Lesson9 AdobeDimensions All4CansStacked: Let's take a look at the render and see how it looks. And there is the render, and all of its glory can talk a lot. This rendered image to kind of dark in those shadows a little bit kind of adds a little bit of the shadow casting here when I toggle this rendered image layer on and off so I can edit this a little bit to kind of finesse this final image. What I can do is I can select a rendered image. It's gonna sharpen it a little bit sharpen, and I could do a sharpened more, and that's that's gonna make it super crisp for presentation purposes. You don't want to have it to be too sharp, but sometimes you might just need to do just one sharpen and then go back and do some further sharpening manually. But going and getting your sharpening tool and a sharpening certain areas. We don't want anything to look too too sharp. You could swap out her background image so we can talk all that background image often. This is why having a photo shop file rendered is so handy because I can do any old background color could do it on black. Take any of these color samples and while lots super easy to swap and change out. So let's take this another step further. I have this arrangement that I want to show you how to do, and we want to do a flat lay. But we also want to arrange this in a really cool way. So we're gonna practice using our move tools. So let's go back to our design. Let's go and save a different copy of this. So we have all our different files, call us four cans in a row, save that we could have many document files as we can. So let's arrange this a little bit differently. We are going to Dolly out. We have a little room to kind of see what we're going to do. We're gonna be doing that arrangement that you see here. We're gonna kind of stack them in this arrangement as they are now. And then we're gonna take all four cans and put them down onto the plane so we can cast the shadows there. So here's what we're going to do. Let's start off with orange and I want to rotate him, so I'm just bringing him up. Now I'm gonna go to circle circles rotating, and I'm just gonna rotate him down all the way down to 90 degrees. Yes, like that. So he's perfectly perpendicular to the can. I'm just gonna move him around just like this, do the same thing with the green can and let it go and take pre rendering off, cause we don't need to be pre rendering right now. Let's rotate this the other way we're gonna do with this. Someone's gonna rotate him away. I believe it will be 100 and 80 degrees. It will be perfectly up and down. So now we have them all in a different direction. So this is pointing left, right up and down. And now we can finally arranges I'm doing just doing the arrows blue into place. You do any arrangement you like this? Just one I thought looked kind of neat. Remembering Final One in place, Andi. And so since I kept him all, I just moved him along the X and the Y axis that did not move any easy movement. They all are are aligned nicely, so I'm gonna select all four of my cans movies around the X axis. And here is the trick. So now I have the overall arrangement. Let's make sure I haven't like I need it. So let me take Cherry move over a little bit. I might need to zoom in here, Make sure have everything aligned right, greats. And I can take all four, so I want to move everything down flat. So I want to move it along. I'm gonna rotate it along the X axis, so it's gonna rotate it this way. Click and hold and see how it's rotating it. It's gonna flatten it out right here. Let's do a nice even kind of degrees. And so now we need to change our camera angle. So let's change our camera angle. It's probably do some panning are Let's do some orbiting XYZ going orbit around there. It iss orbit around, and now we need to zoom in. So now we're gonna dolly in doll your camera in, and then finally pan pan it into the center, so you may need to just do some individual edits. So I'm gonna select my line. I'm just gonna kind of just do everything by I At this point, it's all about presentation. You may have to just do your own rule adjustments. So what I can do is I can select off war again and I can rotate them. So instead of just being kind of up and down, let's add a little bit of a dynamic angle. So I'm just rotating everything along this y axes. I'm just kind of making it more dynamic. So what I want to do is I want to make sure these air flattened onto the surface. So there's a little trick here, right here on actions. It's called moved to the ground. So it's gonna move everything to that ground plane. So I'm gonna go ahead and click it and it moved everything down. So you see how the shadows changed. So I'm gonna go back, see how the shadows it's like floating. But now I go to ground it to the plane, and now everything is grounded and in shadows have also changed in respect to that, and we can always change. Our lighting effects is well, so we've got a environment light, which is our main light source. Who could change the intensity and the rotation So right now the light is coming behind the can. But if we rotate it over here, we can have the light coming on top of the can. Which kind of really helps to show off the design a little bit better. We have key light that's gonna be worth some of those main shatters air being cast have really tight shadows with this. But see, see how the light is kind of blocking the design? It's too strong, especially on the orange can. So you gotta be very careful about where your light source comes from, where the design is never blocked by the light source, and I kind of like a tighter shadows, like, I think I'm gonna leave it right about I don't wanna have that orange can have too much of a shine to it. You could always change your intensity and we could do the fill light. And this is a three point light system that we used. We don't have to use this particular light system. We can delete all these and he could bring in the sun so you can have a son environment and just have, like, one simple light source and There's also these environment lights, which give kind of a unique environment. Look to it, and this actually involves an image