The Witch - Advanced Photoshop Manipulation | Andrei Oprinca | Skillshare

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The Witch - Advanced Photoshop Manipulation

teacher avatar Andrei Oprinca, Graphic designer

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

6 Lessons (50m)
    • 1. Intro

      0:49
    • 2. Part 1 Creating the Scene

      10:49
    • 3. Part 2 Shading

      8:45
    • 4. Part 3 Blending the Scene

      6:17
    • 5. Part 4 Lighting the scene

      14:56
    • 6. Part 5 Final adjustments

      8:02
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About This Class

In this advanced manipulation course we will create a fantasy scene using stock photos and 3D objects rendered. The course is structured in 5 parts that cover the most important steps when creating any manipulation. You’ll learn how to create realistic light effects using fusion modes and simple painting techniques to create lights on the scene and objects.

The course is made with Photoshop CC. You can use any version of Photoshop but the final result may not have the same color tones.

This course is intended for advanced users who already know the basics of Photoshop.

What will I learn in this course?

You will learn to create a manipulation from beginning to end. You will learn advanced lighting and manipulation techniques.

Who is it aimed at?

This course is for advanced users who are familiar with basic Photoshop tools and techniques.

Meet Your Teacher

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Andrei Oprinca

Graphic designer

Teacher

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

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Transcripts

1. Intro: Hello. Welcome to this push off course. In this series of videos, I will show you how to create an advanced form of manipulation in four shop using a manipulation techniques I will use for the shop CC 2018 for this tutorial. But you can use any Photoshopped version help workshops. Six. You will have work easier and what will you? Some adjustments that are only available. Seen Sport shop CS is six, so you will be beautiful shop, CSX or about actually have to create the scene, shading lighting and how to create adjustments on final effects to get the company's image . So I hope you will enjoy and let's get started. 2. Part 1 Creating the Scene: but usually we're gonna start with the background. So what I'm gonna do is copy this canvas size ones like everything and go to edit, copy merged and then just create a new document with the same campus eyes and see its 2000 by 2400. You can use other dimensions if you want, because the stock images are pretty high resolution. So on the stock fully, you will find all the images that you need, and we're gonna start with this one. I got it from unspool ash dot com and you can use other image. Another image if you want, but you can see it's pretty big. I used this one because I had, well, light here on the path, and I like how it looks and has this darkness around it. And that's why I liked it. I'm gonna put it right there. Maybe I'm gonna move it, and I'm gonna delete the original background on renamed this one BG for Background. Now, I'm gonna open another one on the image, and I want to add this gate first. This is actually a three d object that I got from pixels. Quit dot com but I'm gonna give you the rendered version of it. In case you don't have a solution, It's just like a stock site. You buy three D objects and you can spend them around on your image is really It's really cool. I'm gonna make it a bit bigger and I'm gonna put it right over there. Now we need another foreground here, another ground. So for that, I use another image. But you can Maybe on last pressure come You'll find better images in this one on, especially if he was a higher. Well, if if you use a bigger canvas size, maybe this image will not work for you. But you can see in my case, I think it's It's okay, So I'm gonna put it right over there. And now we need to quit. The letter must let's name just ground and this one gate and for the ground layer. When agreed, The leader mosque. And I'm gonna use the greedy int leading a great yet to create the transition like that. Andi, Now have Teoh move this a little higher up right over there to get the better perspective, and this will work to separate our model, as you can see from the background because it has this way, while this brighter area and it helps separate are subject from the background. Okay, this is the main background that we have now. I have to start adding elements here, and the first thing I did is I add added that tree there, I tried with different objects, but the tree was one that I liked most the most. So I'm gonna open that against his is it's a PNG format, so you don't have to crop it from the background, and I'm gonna place this on top of everything. His name, it tree, and we're gonna have to rotated like that. I'm gonna put it right over there. You can try other things if you want, but I think this tree worked well enough. I'm gonna put it right over there. This bottom part when a mask it. So I'm gonna put the letter mosque and with the brush tool a mask it out. I don't need it. Gonna add, um, this thing over here, it's gonna hide it, so don't worry. And the next thing we do is add the model because after we had the model, we will be able to keep everything in place. Now, I got this image from Libyan art on. Um I'm gonna give you the mask for it because I took me some, but it took me a while to clear the path with mental. So what you gonna do is just open this image, create the layer mosque, and then on the stock full, you'll find this fire call which mask? Open it. So left everything with control a control X to crop it and close that. And now we have to activate this layer mask on full screen. And remember, I have that image on the clipboard. Now I'm gonna all click on the layer mosque to activate it on full screen and just paste that image over there. And now when I all click again, you can see it asked as a mask. And now my background is gone. I forgot to mask this out. So do it. They're just fill that with black, and that's it. Now I'm not gonna refined the edges or anything like that. I just don't want to spend time on that. I just want to show you how to greet the manipulation were to convert this into smart object, just in case you can see it's pretty big and I'm gonna place you I'm gonna place for right over there. We're gonna see if we have to change the size of her. But for now, I'm gonna place her right over there. Let's see the original size, more or less where she sits right there on the tree. Should be a little higher up. Okay, right over there. A little higher up there. And now the girl, maybe just a little smaller like that. After have everything on the campus, you can move things around and just create a perspective that you want. And maybe she should then a little there on a little bigger like that. Now let's add the rest of the elements. Let's at this one. This stock image, also from pixels with a three D rendered listening this clear which and based that top against. It's pretty big. And I see how it hides that have to make it a little smaller. So let's see the canvas right over there. Maybe, and then we have this other this chest. Let's open that. So it's just adding elements here. I think this whole drone on base that chest over there, Sammy chest and flip it around. Let's flip it Loops for is mentally I'm putting right over there. Now I have to change things here. The girl should be a little smaller right there on the chest, Maybe. Well, I'm not gonna choose the size because I already placed it on the image. Try using smart objects because now, if I want to make this bigger, this chest is gonna lose quality because it is not a smart object. So I forgot to do that, but anyways would have pretty much everything we have left. This this lantern Here's a broken lantern cropping and pasted right over here. I don't need that later lantern, and I'm gonna make it way smaller. Andi, place your right over there about that big. I think it's OK. And we have add also that this candle here not safe on based it right over here. Handle on, make it way smaller. He also, you'll have this in PNG file as well. So you don't have to spend that much time cropping this from the background. We're gonna let it there and one other thing you have left and is these call over here. So let's open that and place it on top of everything. Maybe we have to change the order off these layers. But for now, we're gonna have everything here on top ups with shift all your shift option. You can make this a little small of this. I'm gonna turn this interest mark after just in case because they don't know the size of it . I'm gonna make it a slightly smaller than her own head. About that big, I think would be okay. Andi. Place it right over. Actually, you can see this one has to go under the witch layer because it has to be under Well, behind her fingers over there. I'm gonna place it right there like that. Um, next week, we're gonna have to create the shadows and everything, but let's add all the elements here, and then we can at everything else the girl will, which I'm gonna make a little bigger. And also this call just like that. Okay, good. Now, I also added this pentagram here, and you can see right over there. I added that manually, myself. And let's close this. You'll find this image on the stockholder in this one. Also from pixel squid dot com. Yes, compete. And we have to see what I'm gonna put it right above her. I spent the ground. If you don't want to add it, don't do it. I'm gonna place it right over there, and I'm gonna pressed enter to accept the change. Well, actually, nominate two in English, my object on do it again, and I'm gonna show you how to match the perspective of that book. There is really easy. There are other ways of doing. It may be even more accurate, but I think the one that I'm gonna show it accurate enough. So basically, press control Manti too low the free transform. And then use the distort option on. Just try to have this lines parallel to the lines of the book, and that's it. And try not to distort it too much. You don't wanna have something like this. Okay, It looks okay for me right over there. And I'm gonna write the end and now choose scale because I want to make it a bit smaller and I'm gonna live it there. I think it looks good enough. As you can see now we're at layer styles to that. But we're gonna do that a little later. Now we're done with the scene. Everything is on. Everything is in place here. The next thing we're gonna do is create the shadows and the while the darkness around and start creating the first color, the first color effects. 3. Part 2 Shading: Let's create the shadows. Now we're gonna have to create a few layers. Maybe eso We're gonna start with the shadow off the tree like that. You can press control. Well, we'll have the move. Tool selected. So President is like the move tool. And then, if you control, click any of the objects on the campus, you'll select a letter that belongs to that and select a tree. And under it, we're going to create a layer named for you show. And here we're gonna use the brush, the beaky soft brush on a pass ity off 40 and flow 30. Maybe we're gonna start drawing the the shadow of it makes you have the black collar selected and just paint the shadow under the tree over there. Maybe the capacities to high 30 and 20 maybe. And just paint the shadow right over there under the tree. Gonna do it again. Like it. Um Well, that big I'm doing this with the mouse, so, um, I don't I don't use a graphics tablets for this. And then I'm going to use a bigger brush on just another pass like that. Now, we also have to create a shadows layer on the tree itself. On top of it, I'm gonna get a new one. I'm gonna clip it to the tree and name it cream shadow. Because actually, this one, I'm gonna name it Ground Shadow, because I'm going to use the same later to at the while the shadow of the chest and the gate over there as well. Let's go back to the tree shadow, which is the one that I clipped here. Um, I created this because also, you can use a maybe later self on inner shadow, probably. But I want to paint this manually. I just I just want to paint the shadow here on the bottom, so use a bigger brush with the same settings on the brush. 30 and 24 Capacity and flow. Just add a bit of darkness on the bottom right over there. And he lets go back to the ground. Shadow Human. He's a smaller brush and unassuming at 100% Pressing Control Command one, This will zoom in a 100% on discrete the shadow over the upsets Too much. That shot over there, that's ok. And also the shadow off the girl. The capacity is still too high. I cannot control it using the Pam pressure because my I don't have the pan for my graphics tablets. I'm gonna have to drop the opacity even more. 20 and flow 10. And just being like that, using a bigger brush just dark in the area under the woman there on. That's it. I'm gonna leave it there. Not the best shadow in the world. But I think it's been let nothing. Okay. And also here for the cauldron here. Just using a big brush just dark in this bottom part. That's it. And also here, around the sides of it. Okay, Now, let's go with the chest. We have to do the same. In this case for the chest. I'm going to use the later style. So, Joe, just open the later styles and use great and overly use a 90 degrees angle on. Let's see how I can place this actually have to change the angle slightly. Okay. Make sure you don't use, um, global lighting or anything like that. If you have it. Andi, I'm gonna change the blend mode to, let's say, maybe soft light. Okay? It's and drop the opacity. Just a little. So we just add darkness on the bottom part of that chest. And now I have to hear still on the chest. Would have to get a new layer on top of it and clip it because we have to create the shadow off this lantern. Estimates learn, turn, shadow and with the small brush really small, unassuming, even more and just bring under that. So okay, now with this big brush, just a couple of shocks on, that's it. And let's do the same with this candle. Remember, we already have the shadow for the for the tree here so we can use it because gonna paint on top of the tree and it's clip. So if I play outside it, nothing will happen. Lets you a smaller brush, even smaller on display under there. Okay, so have the really quick shadow, not the best in the world. But if you take your time, you can do it a lot better than I did. And then let's go with shed over the skull. Here it's control. Click on that and get the new layer on top and clip it. And this finger shows, because this is where we gonna paint the shadow off the girls fingers that is a capacity of 30 and flow 30 as well. Maybe that work on. Just use a smaller brush size and just paint the shadow right over there. That's too strong. So let's drop capacity back to 20 and flew to 10. I like the word with low capacities because I could control a lot better The amount of the fact that I paint with graphics tablet It's a lot battered a lot easier, but mine is broken. So I have to do it with the mouse until I get another one. And let's with the razor. I wanna get rid off part of it. Bastardi 20 Inflow 30 for the razor on. Just do something like that. Okay, You can see the shadow, how it looks like before and after thing that looks a lot more realistic. And we're pretty much done with the show watcher. Yeah, we still have to create a shadow here under the girl, so let's go back to the tree shadow. Everything that falls on the tree should go on this layer. Um, unless you have another way of working and just create the shadow like that here on under her legs should be complete dark and just fade the effect As you go away from her body. It's dropped back to 2010 with the graphics tablets. It's all easier because you can control the the capacity manually just by how hard you press on on the pan. In this case, I cannot, so I have to have the change it manually. Every time I want to change the capacity, you can see how the shadow looks like here on the girl on. I think we're done. What you have to create a shadow for the cauldron here as well. That's created a new layer for it. Clip it as well and then claim its shadow. This is a shadow, while the natural shadow of it somebody is the brush. Big brush soft one even bigger, bigger than that on Just bring like that on the bottom. Just tried to follow the shape of it, and on the bottom should be really dark on faded your fabulous, less and less shadow as you go up. I exaggerated this year, so I have to use the razor to get rid off some of it because it's too much and he's a big razor just to get rid off some of that shadow because it was too much. Something like these agency before and after that looks a bit more realistic. And with the shadows, I'm gonna show you how it looks without any kind of shadow. I'm gonna snapshot this and I'm gonna deactivate all the shadows that I created just so you can see and the before and after I'm going to take another snapshot here and you can see with the shadows and without against, you know, it looks a little more realistic and now looks like the elements bland, a lot battered. So let's continue and add the first color effects in the first fools light effects. I'm gonna add the light here, and I'm gonna make some adjustments to the girl and on the background 4. Part 3 Blending the Scene: I'm gonna agree the first effects on the background. So let's locate this BG later. And actually, on top of the ground under the gate, I'm gonna add a radiant Blair. And here I will use a two color ingredient. I'm gonna give you the colored valleys. So for one of it, the color coat is 30515 And for the for the other end I used 45 b four c one this bright blue and I'm gonna click OK, And I'm gonna change the blend with overly overly And I'm gonna change I'm gonna change the setting I'm gonna use a radio Brilliant instead of linear one and I'm gonna invent it like that. And the outside it's too dark. I think that was not the correct color is 15 d I forgot at the D there, OK, now looks a lot better and you can see how it looks like. So this darkens the whole thing and it creates this bluish tone on the image. But actually we only need that on the beaches. So drop this just above the background and below the ground. We don't want to change the color of the ground because they thought it doesn't look right and just try to move this so that that blue that lightness is there on that side of their Okay. Now let's add the light here on the pentagram. I used later stars. For that, just double click it to open a layer styles and use maybe color. Overly. I don't remember the college that I used. While you can see this one actually saved it, I use vivid light on the color code is D a 7676 and then some lets you some outer glow, maybe see where it is. I'll glow right here, and I used Colored Dodge. But we have to use a smaller range and a smaller radius while smaller size like that. I wanted to go. You can see how it looks like now it looks like just light it up that thing over there. Let's create some darkness around here. Let's create the new Grady int on top of the gate and everything else there. Let's use a radiant and this time I'm gonna use black to transparent like that. I mean, where user leaner A radio one on reverse it because we only want the outside. Well, one, some darkness outside on the outside. And I'm gonna increase the scale like that and you can see how that looks like Maybe just dropped capacity slightly on May be use, multiply or actually, instead of using black to transparent, we could use a bluish tone like that and use the multiply bland mode. Yeah, that's OK. And now have too great a new layer on top. I forget at that on the previous part. So we have to create the darkness around Disney. Later. I'm gonna add it on top of the tree as well, under the woman in the skull and everything, and I'm gonna name it darkness and use a soft brush 20 and 10 for capacity and flow. It's a now it's OK, actually, even less flow capacity 20 and flow zero or 1% on just being some darkness around. Just docked in some parts and then drop capacity of the where if you want and that's it. The chest. I'm gonna put it above the tree under the woman, clear the chest in its shadow because I want this to be affected by this darkness. Later, as Well, so I'm gonna put it under the darkness. Later. I'm gonna believe part of that. Okay? So you can see what this darkness later does. Just dark and parts of the some parts of the image. Now I have to integrate this tree a little more on the background, so I have to use curves for that. Let's locate that. Let's look at the three control control. Click the layer. Okay, here it is. Now let's add some levels on. It actually has at some curves. And I just gonna I would write this down like that, just dark in it. A little on. That's it. You can see it looks a lot better because it was too bright and the same thing would have to do with the with the with the witch with a woman. So let's select the later that's at the curves adjustment. And I'm gonna clip that to the woman to the which later. And I give you the points that I have here, one with input. Let's track this lower input 109 and output 88 and another point with input. Select then inputs 216 and and output 203. Okay, so this darkens the model as well. She was too bright. And now everything looks a lot a lot better. It looks too dark, but don't worry. You can see the candle here looks dark, looks too bright as well. So you can darken that using Curtis Well, so critic curves clip it on. That's it. And you can change the this to luminosity if you don't want to affect the color or we can even the century the candle itself a little to remove some that some of that color. And now we can You can see that now everything looks a lot better integrated and everything looks a little more realistic. The next thing we want to do is create the light, the first light effects. So let's do that 5. Part 4 Lighting the scene: Let's go on top of the off the layers palette and create a new leader and group it right away and name it light. And this new layer I'm gonna name it. Glow, Okay, because this is going to be the light that this objects emit. But before we create the glows, we often we actually have to create the flames for this candles. So on the stock, Fuller, you will find this image of the this image of this flame opened this and I'm gonna crop it like that on face that right inside of this group and changeable able to screen So that black background goes away and I'm gonna make it. So, man on pressing the shift key, you will avoid creating distortion so you will keep the proportions. I don't see. That flame is even too big for that candle somewhere like there. And what I'm gonna do next is saturate this with control, Human an increase of saturation quite a lot because it has no situation and I'm gonna based again. Actually, that image was based on the glow. So lesson this flame one on this one that I just pasted flaying to on make it smaller. Put it on screen. We're gonna get that glow later again in just a second. So have that This one over here has to be a little smaller, Probably even smaller. Okay, right over there and again. We're gonna set read this and move it right there. OK, now have the flames in place. Let's create that glow earlier again, glow. And I'm gonna put this on screen. Now we're gonna work backwards. As I mentioned on other detours that I that I made, we're gonna have to make the glows of light. So we're gonna start with the big brush like this capacity and flow off the brush, 100% smoothing zero and hardness set to zero. And we're going to start with a big glow like this with a big brush like that on bond. First, we have to choose a color. It's important here that you use the same Hugh same town here. So once you selected, just don't move this because you will be able. If you don't like the color, you will be able to change it after, But we're gonna use different layers on for their. So it's important to have the same here. So just leave it somewhere here and use something dark like that. Maybe. And let's see if I click here in the middle. Click there. That's the first Globe. And now we're gonna use the same Hugh, but something of a little brighter. And we're gonna make the brush smaller. Uh, Beaky. I'm gonna make this brush a little smaller and I'm gonna paint on the same later. Again, click here on the center second glow. And now something even brighter. Smaller brush, maybe something like that and pained right over there. And that's our glow. It's a lot more realistic that just think, then just painting one of them. And as I said, if you don't like the color press controlled man, you'd open the hue saturation and change the hue, and it will change the hue for off the whole thing. But if you have different queues, you'll have different tones, and it's gonna look really weird. So let's do the same here. You can actually even duplicate that, But I'm gonna use the same. I wanna have one single letter for this, so I'm gonna just do it again with a little quicker this time. He's a dark toe. One quick something a little brighter. Smaller brush the second click, and then another one with a smaller brush and then something really bright with the really small brush. Okay, so you got your just one is a little teat on saturated. So I would probably select that and sexually, a little more. Okay, now I have the glows, and the next thing we want to do is create the lights on the objects themselves. The light that this thing's cast on the objects for that we're gonna create a new layer and less than this reflected light. And this is the bar words. Well, this is a little trickier, but with some practice, you will get it. We're gonna use the colored dodge blend mode for this because this works really well. And here we have to kind of think about how the light will reflect on objects. And I'm gonna show you the original so you can see what s So I'm gonna show what we're gonna do, so I can see. Let's think about this light over here. Now, this will cast light on everything that is next to it, and you can secretly some lights here on the woman's hand over there on the legs. This cauldron, I suppose that is gonna cast some light over there. Obviously, this is a little more dramatic because this is a manipulations of time to see looking manipulation is not 100% realistic, but And it was You can see how the lights bounds, so to say, on these objects. So that's how that's what you have to think about how the light bounces on objects, and with practice you will get this. But let's try this. We're gonna use a brush, a soft brush, and it's important have the capacity and the float 100% so that you have no variables. You wanna have a xylitol variables as possible. And here we're gonna use again the same Hugh. Well, actually, we're gonna have to change this because with this plan mode, when you paint on a bright object or on a car on a different color, this this will not gonna look the same. So I'm gonna use the same here, and you will see that it looks a lot brighter here. Then here. And that's because this part of the tree is brighter. If I paint here, you can see that on the dress is not visible. But when I touched the skin, that's really bright. So you have to keep in mind that let's delete everything and start doing this again. And the trick here, if you want less effect, is use really, really dark tone and make several passes. Let's start with this part of here. I'm gonna add some light on this lower part of this branch here. So why don't we have to do here? Is work with selections because that gets if I print here, I also paint on the gate. That's behind. So I have to keep the fact on Lee on the tree. Luckily, I have this tree extracted from the background so I can control click it to load it selection and now go back to the reflect reflected light, layer and paint like that. Now you can see that I'm not even touching this with the brush. I'm painting with the out. Well, neater near the selection and actually this election I can hide it with controlled mint H. So I don't see it and being like that, try not to touch the tree just with the tip off the brush did the edge of it being like that. If you like how it looks like it's been on the bottom here, you can go ahead and increase, while make this a little brighter. Made me more saturated. And when he's a slightly smaller brush and paint again to create a stronger effect, you can see I'm not touching the tree. I'm just painting with the edge on the same right over there. Now you can see that this part here eyes not looking nice. So we have to you is the razor to erase it. Get rid of that. We don't need it. That's the body of our candles there. So we don't need that affect their Let's move on and stick with this light. This lights also lights up this part off her arm here, her forearm. So I'm gonna look for the girl there, So let's control quick the which later to select the edges and go back to the reflected layer and do the same. I'm gonna press control for an H to hide the selection because I don't want that on marching ants there. It's gonna disturbing me. And with the brush a smaller brush, I'm just being like that. You can see that the smaller the object you want to paint, the smaller the brush has to be because actually gonna paint too much. We just need the edge over there. You can see you can see I'm really far away from the edge. But it's still painting the effect. Okay? And now, But he's a smaller brush and a brighter tone. Maybe it's that too bright. Yeah, way too right. Something like that. So I mean on just being like that. Have to be careful here and have to be patient. But that's how it works if you want. If you if you want. If you don't want to mess up, what you can do is create different layers for every object that you paint on. For example, for the for the girl's arm, you can create a new layer, and holly maybe reflected like 234 for every object that you have, and that way you have you'll have more control over over the effect. Okay, that's the effect there. What else? Let's create the left side again. I'm gonna keep the selection with control quick. And I'm gonna hide it with control H and use a darker tone. If you use capacities, this could help you. I said at the beginning that you should use 100% capacity. But you can control this a little more if you have a low rapacity and then pride in town. So let's try that. I'm gonna use a big of rush on and the selection is active when I'm actually and I was using the eraser. Let's do it again. Okay, Control age to hide that. Okay, so just wear the tip of the brush. Same here, Post. That's too much. Let's drop capacity to 50. And I said on now I can make several passes and control the effect a little better. Oh, there. Let's do the same thing on the dress. Remember, I keep the select. The selection is still active, but it's hidden using that keyboard shortcut control age. Same here with graphics tablet would be a little easier. And you will. You wouldn't hear this. This clicks that you're hearing because I know that I know it's annoying, but I don't have my graphics talent. Okay, um, let's bring some light here on this part over there as well. We're gonna fix this. This is just a first pass. Now we still have to create another shadow. Another life here on the on the cauldron. Here, I'm gonna create a new layer in every name it cauldron light, a monopoly on screen. And when I quit a big load here with stuff, brush capacity, 100% of fluids while I'm going to sample the same color from here and probably making a little darker. And usually a big brush kicks off project. He's even bigger. Something like that. And just quick once, that's too bright, more saturated than a little darker again. That's OK. And now we did with the your razor to I'm gonna remove the effect from here. I have the capacity to 45% on the razor. Okay? And just I wanna had that globe there. And now let's go back to the reflected light and create this light here on the bottom side of that branch over there. So let's go back to the tree layer, see where it is. Control. Click it. Go back to the reflected light and get the brush tool and have to use a little something a lot smaller and green color. Let's see, this is bright enough. Yeah, it's even to write so many darker tone and a bigger brush, hide the selection and start thinking. Except it is a big, big brush like this on something really dark like that and things like this. Okay. And I'm gonna use a brighter tone and a smaller brush. Just 40 for the very edge here. That okay, if you want. As I said, you can create different layers for different colors or different objects. I'm gonna leave it like that on the same layer. And this part of what? I'm gonna delete it. That's from the part of the tree that I'm asked when he controlled crickets. It's going to select everything, so we don't need that there. Okay, so we have the first lights. Well, we still have to create a light here. Let's locate a which layer and do it again. Same technique, minutes. A smaller brush on actually the brush. Actually, not the not the razor has trained some light over there. So and with a smaller brush and a brighter tone again, you can see that for this part, which is dark. I have to use something quite bright for years like that. Nothing. This Okay, on we have the light. Let's let me disabled us there So you can see what we created so far, it looks really washed out compared to this. But we're not done yet. You can see this really bright and really saturated. But we're not done yet. So anyways, we created something really cool here on the light. The next thing we want to do is make some more adjustments and create the final effect for this. 6. Part 5 Final adjustments: So now that we have all the elements and the lighting and shadows and everything, let's create the final effect and give this the final the final punch. We're going to start with the color look up adjustment. Now, this is where you need at least four shops here. Six to be able to use this. And I use the horror blue. So just click this drop down and start typing H o and he's gonna find it is the 1st 1 And I used the normal land mode, but I dropped capacity to 25%. This will give that that bluish tone. Next. I used another color look up, and this time I used the Cobell car mean it's here on the second drop down the one in the middle. Kolok are mean, and I dropped capacity of this to 15%. Also on on color. A normal. Sorry. Okay, now a curves adjustment. And here I just touched the blue and I'm gonna give you the points while actually just raise this up 2 to 15. And then I lowered this stop 1 to 220 essentially creating this split tone effect. And you can see how that looks like. And now, to create the final touch, I used the camera roll filter for that I press shift. All command e First, make sure you select the top mostly her and president key combination. This will stamp everything onto a new later. You can also select all we control. A good to add it copy murders and then added paste. And here I use the camera. All filter. Now, if you don't have photo shop CC, you will not see the camera Raw filter here, but you can still use it. All you need to do is go to watch it. Copy this onto a new document or simply go to file, save ass and just save these as a tiff file. So look, a tiff here on the drop down make you uncheck later. You don't need that and save it and then opened that tiff file back in photo shop and it should open in camera raw and you should have the same view that I have here maybe with different some differences, depending on the for sale version that you're using and I created the preset with the final adjustments here just look for this man, you Or maybe if he's not here, maybe it's somewhere around here on the sides. And she was load settings. And here on the stock folder, you will find this which that X and B file. Just load that and it's gonna create the adjustment. All the settings that I had. Well, it will create that for you. Now you can see that this light you'd look a little, um, washed out a little while unsaturated I'm on increased their luminous a little using the yellows and the oranges. And I'm gonna also set Read them a little more just to give them some more brightness. You have to tweak the settings because they were the same exactly the same as it worked for me. Because I have different light values there. Maybe increase the contrast a little and I don't know, maybe change here. The camera calibration if you have you have different tones for your colors. Let's also add some sharpening and increase the details about and I'm gonna click OK, and you can see the result before camera raw And after I did one more thing to this. I use the oil paint filter to get the smoother effect. So basically, what I did is I critical Copy off this image that I will have this effect that I quickly with camera raw. And then I went to filter stylized and I chose oil paint. In my case, I don't think it's gonna work on photo shop. Sisi doesn't work always for me. I don't know why. Maybe you'll find instead off on the stylized group. Maybe you'll find it somewhere here, depending on therefore shall version. But what I'm gonna do is I'm gonna use this in photo shops here. Six because in photo shop, CS six, it works for me. So I'm gonna crop that later and go here within your document basted here and apply the by the oil paint filter from four shops here six and make sure reduced shine to zero. We don't need the shine. And I'm gonna zoom in so I can see the details. This is too smooth. I don't want that. I want to keep the some of the details and an increase of cleanliness a little and just click. OK. And now one thing that I had to do is recovered lightness with control l You can see I Photoshopped gets rid of the brightest highlights when you apply this fielder at least in 40 shops here six and four shops, etc. Is not necessary. And they corrected that. So now I crop that and go back to full shop cc and paste it here again. So basically what you have is a copy of later on top of the other one, and I'm gonna drop capacity to 50%. And one other thing that I'm going to do is get the later mosque for this because I want toe completely remove this effect of the oil pain filter. I wanna remove it entirely from the eyes. For example, does your small brush from the eyes when I want to have this sharp and maybe some details around here? Um, on the here, I forgot to remove that. Just use a soft brush on that it and then what else? Here, Maybe on some of the jewelry. I want to remove the effect of that off the I want to remove the fact of the oil paint fielder on some of the on some of the details that I want to keep. Maybe the teeth of that's call over there and right over here as well. And the lips and the nose. Okay, this will keep everything sharp, and we're not done yet. I made some final adjustments, some final tweaks on a new layer set on screen. I like to add glows of light. And this time, what I did is I use a small, well, small Russia. We could say the really soft brush, opacity and flow of the brush 100% on something really dark. This and I just created some goes off light around some of the highlights. Maybe something a little bluish like that, for example, right over here. That's even to write something we very subtle. Just a glow of, like, really subtle. Maybe over there, one over there. I don't know where else. Something really big right there may be just to enhance some parts of the image that's too big where we have some some highlights. Okay, well, I'm gonna leave it like that. This is the manipulation if you wanna can saturate even more with vibrance or saturation. But I don't think Well, okay. And that's it. One other detail that I have on the original. Is this cross over here? I added some fire fire Amber's and just put it on screen and created some inner inner glow . And that's it. That's how you can see here. I have more details because I spend a lot more time working on that. But for such a quick tutorial, I think we have a good result here. So I hope you enjoyed it. If you have any questions just supposed to comment and I will help you. So that's all for now. See you next time. Thanks for watching and hope you will join me on the next tutorial.