Wallpaper & Framed Art Lifestyle Mockups: Mockup Academy 5 | Kris Ruff | Skillshare

Wallpaper & Framed Art Lifestyle Mockups: Mockup Academy 5

Kris Ruff, Surface Pattern Designer & Mockup Maker

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8 Lessons (1h 12m)
    • 1. Class Trailer

      2:05
    • 2. Review Mockup Basic Concept

      4:27
    • 3. Working with Picture Frames

      12:41
    • 4. Fixing Photo Flaws

      10:05
    • 5. Quick Mask Mode

      16:21
    • 6. Mastering Lighting

      9:52
    • 7. Putting it all Together

      15:04
    • 8. Your Project

      1:33
11 students are watching this class

About This Class

Wouldn’t it be great to see a room wallpapered with your art! Or your framed art hanging in a living room that looks straight out of a design magazine!? With a few new skills and a little Photoshop magic, we’re going to make that happen in this class.

I can’t wait to show you how to showcase your art in super realistic lifestyle images that you can use as  valuable sales tools for client presentations and lookbooks, and for sharing on social media. These types of mockups are also great for helping Etsy customers visualize how your framed prints will look in a room setting before they buy.

You'll learn:

• How to quickly resize picture frames to fit art of any size and shape
• How to outline complex areas using the Quick Mask Mode
• How to fix photo flaws, correct exposure and remove unwanted elements of your base photo
• How to make framed art blend seamlessly into an interior photo
• How to make wallpaper mockups look more realistic with highlights and shadows

This class is a little more advanced than previous Mockup Academy classes, but as with all the classes, it starts with a basic concept lesson, which should give you enough information to be able to follow along in this class. And of course, you can refer back to earlier classes if you need a little more info on some aspect of the process. 

About Mockup Academy:  This course is designed for surface pattern designers, graphic designers and entrepreneurs who want to create realistic product mockups for social media, client presentations or Etsy shops. Each class focuses on a different topic related to mockups, from different types of surfaces to using specific tools and techniques.

My Background: I'm a surface pattern designer and graphic designer and have licensed art to dozens of companies. It took me years to figure out how to make mockups, so I created Mockup Academy to make the process quicker and easier for you. I'll be sharing all my secrets — from how to set up your layers for maximum efficiency, how to use layer masks and smart objects, tricks for outlining objects, and how to use the transform tools. Watch the entire course all at once, or come back as needed, when you're looking for help with a new type of mockup.

Thanks for watching and have fun making mockups!

Transcripts

1. Class Trailer: Welcome to mock up Academy. I'm Chris Rough. And if you're interested in making better wallpaper or framed art mock ups than this is the class for you. With some new techniques and a little bit of Photoshopped magic, you'll learn how to make your art blend seamlessly into lifestyle photos, giving you a valuable sales tool that you can use in look books on social media or on your online stores. Here's some of the things you'll learn how to take a standard stock photo and fix any flaws or deal with exposure problems. How to resize frames so they'll fit any size art that you have and how to create a map from scratch in photo shop that she can use If you're framed. Photo doesn't have one. I'll show you how to use the quick mask mode for making complex selections or selections that have soft edges. And I'll show you how to add realism to wallpaper by adding highlights and shadows. And then finally, I'll give you a couple examples of how to make your framed art blend seamlessly into your photo. So one of the biggest advantages of taking this class, and really all the market academy classes is, you'll have the skills you need to make mock ups from any stock photo, so you don't have to rely on pre made mock up templates. So having those skills opens up so many possibilities for finding stock photos that perfectly showcase your unique art. Now each of my classes starts with a basic concept lesson. And if you haven't made mock ups before, I recommend that you watch that. I'll also be covering how I set up the layers. It's maybe a little bit different from how you're used to. It's kind of a better, more efficient way to do it. And if you have taken other mock academy classes and feel free to skip that one and then move on to the picture frame lesson now, some technical details about the class, everything I show you will be in photo shop, and I'm using version CC 2018. I work on a Mac so the keyboard commands that I use will be based on that, and I'm assuming that you have a working knowledge of photo shop. That way I can keep the classes moving along quickly, so I think that's everything. So let's go ahead and get started 2. Review Mockup Basic Concept: in this first lesson, I want to go through the basic concept of how you make a mock up. First, I want to do it with some diagrams, and then we'll jump right into photo shop. So to start, all you need is your photo and your layers palette. Now, when you open the layers palette, you'll see there's already one layer in there, and that's your bag. Photo will start by setting this layer on multiply, and the reason for that is we're gonna be adding layers underneath the bag photo. And so if we said it to multiply, then we'll be able to see the layers that are underneath it. Next, we'll create a folder, and that's where we're gonna put all her art and that will go right underneath the bag photo. Next, we select the area on our bag where we want the art to go, and we're gonna turn that into a layer mask. Now, if you're not familiar with a layer mask, I like to think of it as a window. So that selection we made on the bag is now this white square on the layer mask, and that's the window where the art is going to show through the rest of it. The black area is all blocked out now when we add art into the folder, it will only show through that window. Now you'll notice that I put the layer mask on the folder and not on the layer that has the art. The reason for that is now when we add additional layers of art, it's already massed and ready to go. In addition, if the layer mask is on the folder, then we're free to add additional layer masks onto the art layers. And we'll do that in some of the later lessons. Okay, so that's the very, very basics. Now let's go to photo shop and do the same thing. So here's our gift bag photo again, and over here we have our layers palette. Now your photo might have a padlock on it like this one, so just go ahead and click on that to get rid of it. Now we'll take that layer and change it from normal to multiply, and now we're ready to make the art folder, and to do that, just click down here and change the name and then drag it down below the bag photo. Now we're ready to make the selection on the bag where we want the art to go. And to do that, I'll go use the quick selection tool and make sure that the photo layer is selected and then go up here and select subject. Now that did a pretty good job, but it did give us the handles and we don't want that is part of our selection. So we'll go to the Polygon Tool and used the option key to get a minus on our icon. And then we'll just subtract that from the selection and missed a little bit along this side. So let's zoom in and using the shift key. We can add that area here and down here, and I also see that we missed a little corner down here. So let's add that in using the shift key, and then we want to take out the shadow at the bottom. So for that will use the option key and just go along that edge and subtract. So now we have our selection, and we just need to turn that into a layer mask and we want the layer mask could be on the artwork folder, so make sure you choose the artwork folder layer and now use this icon which says, add layer mask. And there it is. We have our layer mask. Now, everything that we put in this folder will only show through that white area. So let's go get some art. I'm gonna go to Illustrator, which is where my art is, and I'm gonna copy here, and you can also copy from Photoshopped. Or you can drag your art into the photo shop player. However, you usually get art into photo shop will work just fine in this situation. So go back to photo shop and paste as a smart object. And now just click and drag that art layer into the art folder. And there it is. It's all masked and ready to go. Now. Everything that we put in this folder will be massed in exactly the same way. So that's it. Now you know the basics for making a mock up and you're ready for the next lessons 3. Working with Picture Frames: so we're going to start with picture frames. Let's look at an easy way to resize your frame so that it fits any size and shape art that you have. And then I'm gonna show you how easy it is to create a map from scratch in photo shop to use If you're based, photos doesn't already have one. We'll start with this frame, and I like this frame a lot because it's nice, crisp white. But it has still a lot of Gray's Inn there and a lot of subtleties. So adding are too. This is gonna be really easy. Now. I have my base photo over here, and it's set to multiply. I've already got my art folder ready, so we just need to make our layer mask. This one's really simple. Just take your rectangle tool and go right up to the inside edge of that Matt and turn that into a layer mask. Now you already put some art in here. Let's start with this one. This frame fits this artwork very nicely, but what if instead, I wanted to make a smaller square version of this art. If I go to my base frame layer and then select all. If I just grab this handle and make it smaller to fit that area, you can see what happens instead of just making it shorter, were also distorting it. So instead, this is what we're gonna do. Go back to the base photo and your marquee tool and just choose the top of the frame and the mat and then copy and paste that command See on Command V. And now we have a new layer in our layer pallet. We're gonna call that top frame. Now we just take the move tool, and we can bring it down. Now, if we use the shift key, then that will constrain it. So it on Lee go up and down. It can't go left and right and will position the frame where we want it. Click OK, D select. And we can see the little edge here. So just take your eraser tool. Make sure you have very soft brush and quite a big one. And make sure your top frame layer is chosen and then just go in here and click. And that soft eraser will just do a great job blending those two layers together So how would we handle if we need the frame to be bigger? Like, for example, if this was my art, this is an illustrator file, and I'm going to copy it and paste it. And I want to have it. Philip, this inside matt area, so I'm just gonna make it really big click, OK? And the first thing we're gonna need to do is make a much bigger canvas size. So grab your crop tool and just pull it way over here. Now we'll do a similar thing. Go back to your base photo, get your rectangle marquee tool, grab the right side of the frame and mat and copy and paste that and drag it to the right to the spot that you want it. Click OK, And I'm just gonna rename that right side frame now for the center section. Go back to your base photo once more and now select just the center portion of that frame and copy and paste that and this time, rather than moving it, we're just gonna stretch it. So just take this and pull it until it meets the other side of the frame. Then click OK, and then we're gonna name this one extender, and we do have a little end showing right here. So we'll do the same thing with the eraser. Just click on there until we get rid of that line. So now each time that you have art that you want a frame, you just bring it in here and you can move which ever part that you need. I would suggest that on the extender piece that you're gonna be making bigger and smaller before you start stretching it that you, right, click on it and convert it to a smart object. That way, it won't ever lose image quality. So then one last thing I want to show you is What if I decided I don't want a mat in this? I just want the art to be floating within the frame. The easiest way to fix that is go back to your extender, layer one more time, and this time choose just the mat area and again, copy and paste that we get a new layer and we'll call that No, Matt. And now we'll just stretch that to fit the whole frame. Click. OK, we can still see the mat over here, and that's just because our mat layer is not in the right place. It needs to be above the right side frame. So just pull it up here and now that's gone. And if we come in really closely here, you can see that's has it hard edge to. So you can just go back to your mat. You're no mat layer. Get the eraser tool and just go along that edge, too. So now that line has gone away. Now you might be wondering why I went to the trouble to take this section and stretch it out to fit the whole thing. Instead of just picking the inside of the frame and filling it with white. Well, let me show you what that looks like. So in real life, there really isn't anything that's truly white or truly black. Just look around right now for anything that's white and see that it has shadows in gradations on it. It's very subtle, but it's there. So in mock ups, if you ever see bright white, it's a dead giveaway that it's a mock up. So when we use that stretched out Matt area, not only did we pick up the color that's already in that photo, but also we get the subtle gradations that were already in that Matt, so that just makes things look a little bit more realistic. So in this example, we're going to start with a photo that's a frame on Lee, so there's absolutely nothing on the inside of it, so we can remedy that by adding some color in gradations in this frame. So choose the inside of the frame and we're gonna make a new folder. We'll call it inside frame, and that selection we made will make that are layer mask. Now, just to be consistent. Let's put this below our base Photos to the base photo is set to multiply and still sitting on top of everything else. We'll close this folder for now, and I'm going to give this one a color just to keep things organized and add a new layer that goes into the inside frame. Now we'll pick a color, something just very soft grey. We can always change it later, click OK, and then, if we used the option delete key, it will just fill that layer with the color and then set that layer to multiply so that we can see the art that's gonna be underneath it. So now when we turn on the art, it's got a little bit of a tone to it, and we can make that a little bit less opacity to brighten it up a little bit. But that just gives it some life compared to it Being bright white now, even better would be to add some gradation. So I'm gonna turn this one off for now, and we're called this gradation, and we still have that same great tone in here and white in the background. So grab the gradation tool and make sure that that gradation layer is chosen and then just start in the corner and go about halfway up. Now set that to multiply again. That just gives it a little bit more light on realism. You could even add another gradation layer, and this one come from the top down a little bit and set that to multiply. That's a subtle one, but you can see the difference there, and you can move it around. However you want to do it now. If we wanted to add Matt to this frame weaken do that really pretty simply So. Let's reload our selection, and I'm gonna add some guys just so I know where the center of this is. So that is the center there and here. So now with this still selected, we're gonna subtract a square on the inside, hold down the option key, go to the center and start to drag lift up on the option key and then hit it again. And now our selection will come from the center, and that's what we want. So decide how. Why'd you want your map? I want mine about like that and then make a new layer. And this will be our Matt and then used the option delete and fill that with this color. Now I'm gonna turn everything else off for now. Now we've opened the other frame with the Matt so that we can kind of copy how that looks, So go over to our Matt and go down here to effects and choose bevel and emboss. Now we get this very complicated menu and we're going to do three things. We're going to create a bevel, and we're gonna add a little bit of inner glow toe lighten up the edge of the bat and then we're gonna add a drop shadow and you can see those things here. We've got the bevel. This is kind of Brighton has an inner glow here, and then we've got a very subtle shadow along the edge. So we'll start with the bevel and we want an inner bevel. We want the chisel hard, and you can see we've already got the bevel there. And if we make it really big, it looks crazy. So we'll keep it back down to about 10. We don't want to soften it, and then we can play with the lighting, and you can kind of look over here to see what's happens to. So as we move it around, different edges get lighter or darker. So I want a copy. This one here. So we've got It's darkest here, and then this one. These two are light, so move this around until that's the case. Now we'll click on inner Glow and choose that layer, and that brings up some options. And here I think the default is just fine. So now go down to drop shadow and click on that layer. We want it set to multiply. So I'm just gonna now make everything really big so you can see what's happening here. So the opacity, obviously we know what that is that makes the shadow lighter or darker, and the distance is how far away the shadow is from the item. The spread is how sharp or soft edge is, and then the size is how big that shadow is. So we'll use our example as the guide. We don't need the shadow to be far away from that because we don't want the mat to look like it's floating. So bring that in tight and we don't want it too soft. We want that fairly hard, and we want it pretty small, and now that looks pretty close to our example. So click OK, you'll see that it made those changes around the outside edge to, and we don't really want that. So we're to turn everything back on and put the matt inside the frame, and now those outside edges are masked off. So let's turn on our art and there's the final result. And if we want to go back in and change anything like I think this is a little bit too dark and that's the drop shadow. So just double click on the drop shadow, and that brings us back into the menu. And I can just bring that back a little bit and click OK when you're happy with it. So I think that's pretty cool. We can make our own map that's really pretty believable by just using different layer styles. 4. Fixing Photo Flaws: with lifestyle photos. Sometimes you'll come across some photos that are a little less than perfect. But most of the flaws weaken fix pretty easily. So let me show you a couple examples. This window frame is kind of crooked, so I'm gonna fix that really easily by using the start tool. So select the whole image and then I'm gonna make some guides by pulling on the left here, and you'll need to make sure that your rulers air turned on in order to do that. And I'm just gonna mark thes so I know where horizontal is and where vertical is and then go to distort, which is under transform, distort. And now I could just pull this top corner and hold down the shift key to constrain everything else and pull it out until it's now parallel with my vertical line and do the same up here. Pull straight up until this is parallel with the horizontal guide. Click OK and de select. And that's it for that problem. I'm gonna turn off those guides, and I also want to fix the heavy color that's down here. And to do that, I'm gonna go into Hue saturation so that's image adjustments, hue, saturation, and I don't want to affect everything. So I'm gonna choose reds in here cause that's kind of mostly there's sort of a reddish cast to this wall. So then just de saturate that and I don't want to go all the way because you can see it just washes everything out. But if I lower it a little bit here and lighten it up a little bit, too, that helps. And then go into the yellows and do the same thing and then click. OK, so here's the before and the after. So by doing that, when we add wallpaper here, the color will be more accurate than if it was laid on top of this tone. So now this image is ready for art. So here's a pretty common problem you'll find with lifestyle images that are stock photos. This image is really over exposed, so if we were to put wallpaper in this as it is, it doesn't look very realistic. This chair has no detail, so it looks like it's just kind of cut out and this same with this curtain, so everything just looks really flat. So let's fix that. So we'll use the Levels Command to fix the exposure. So go up to image adjustments levels. Now, if you look at the history Graham, you can see that there's almost no blacks in this image right now and everything is clustered around the white point. So that's what we need to adjust now. There is an auto feature here, and sometimes it does a really good job. So start there. And in this case, it really doesn't change very much. So we're gonna do it on our own. We don't need to move the white point. We already have enough light, and we don't really want to touch the black point either. So if we move this to the right, we'll start getting some shadows. You can see now there's some nice shadows on the chair and we've just can now see some folds in the curtain. Now that might seem a little bit dark in comparison, but when we start putting wallpaper in there, we're gonna want this great tone because that's what's gonna help us add depth. So click OK, now, one thing we want to fix is now around. This basket is quite dark, so we can use the Dodge tool to fix that. That's up here, and there's three tools together. The Dodge Tool makes things lighter. The burn tool makes things darker, and the sponge takes out some color. So we want the Dodge tool. So choose a very soft brush and quite a big one so that we get a very soft edge and set the range to this shadows. Because that's what we want to lighten up and then make this a very small number, maybe 10% so that we can just slowly take away some of the darkness. So now go down here and just click on the darkest areas, and as you do, it starts to lighten up. In this final example, I want to show you some of the tools that we can use to take out things from your photos. Let's start with content aware fill, because that's the easiest one to use. All you need to do, like I want to get rid of this little line here is select the area you want to get rid off and right click up here, go to fill and then choose content aware and like magic. It's gone. So how that works is Photoshopped takes a sampling of the pixels around your selection and then just blends them into whatever is inside the selection. So that works great. So next I want to get rid of the words here so that we can put our own art into this frame . So make your selection right. Click Phil, Content aware and click. OK, so in this scenario, it's trying to take some of the mat image and blending and in there, So this isn't a good time to use the content aware fill. So instead, we could use the clone stamp, and that's right up here. You're probably already familiar with it, but what you do is you find an area to use as a clone. I like this plane area here. So if I click my option key, I get this little target and I sample that point. And now whatever's in this circle is what I'm gonna put right here. So I'm gonna cover up my words so I can keep going. And if I go too far, you can see it's gonna sample the words that were already there. So undo that. Click your target point and then just do a small area and then let up. And now we can keep going like that. Now, using the clone tool over a big area like this, you can start to see some stripes happening because it's not really blending in with the background. So another tool that we can use that does do that is the patch tool, and the patch tool is up here in with the healing brush. Now, how this works is you make a selection over the area that you want to get rid of, and then you click and drag that to an area that you want to use as a patch. In this case, I want to use this area to cover up this. Before you do that, make sure that this up here is set to source, not destination, and I'll go through that in a minute. So with source chosen, click and drag up to this and when you let go, it blends in this area into my selection. So let's do that again. So I click and drag it up to here. Down here. I'm gonna take this little one and drag down here and take all of this and finally this one . So that works great. We don't really have the pattern problem that we've had with Clone Tool. So there's one other way you can use the patch tool. And let's say that I don't want to have my wallpaper end here. It's a little bit awkward. So to take out this area, another way to use the patch tool rather than select the area that we want to get rid off, we select the area that we want to use as a patch. So this area right here I'm gonna use as a patch, and that's what destination is. I think they're really poorly named. I have no idea why they're called source and destination doesn't make sense to me. So now when I click and drag, I'm going over the area, want to get rid off, and when I let up, you can see it's blended it in very nicely. So I'll keep going, take this little patch and put it on here and down here. I'm gonna sample this area and use that as my patch and it's not quite right there. And then down here, I'll take this area and move it onto here and now here it's gonna have a little bit trouble with shadow. So I'm just gonna keep kind of moving it around until it kind of all blends in. So now I've just got a nice, continuous wall. Now the final thing we want to do is make the inside of the frame white, so select the area. So now we should just be able to delete this, right? Well, you can see what happens when we do that. If we put art in here now, it's just not gonna look realistic at all. So instead, we're gonna use hue saturation to match the white or the white frame here or the white Matt here. So go up to image adjustments, hue, saturation, and then just move things around until they match. I'm gonna turn off the guys using command H and the first thing we take out some of the color and lighten it up. And I don't think we even need to change the hue. I think that does it. So click. OK, so now this image is ready for wallpaper and it's ready for pictures in the frame. And now hopefully you have some tools that will help you fix the flaws before you start adding your artwork 5. Quick Mask Mode: and this. Listen, we're going to talk about outlining selections in lifestyle photos, because oftentimes they'll be a little bit more complex than a simple product photo. This photo is a good example. In order to outline all of the area for the wallpaper to go, we're gonna need to select around all of little details in this chair and around this basket. And in this image, we need to outline around this plant and also make a soft outline around the cat. So to make things a little easier, we're going to use the quick mask tool to paint the items instead of just lassoing them with the tools that we usually use. So let me go back to our trusty little gift bag so that I can first quickly explain how the mass tool works. So just click on your base photo, and then we'll go into quick mask mode. But first, always make sure that your colors are set to default black and white. If they aren't just click down here and they'll revert. Now we're ready to go into quick mask mode, which is this little icon down here. So click there. So now you'll see that are active layer has changed color. That's to signify that we are in quick mask mode. So now grab a paintbrush and you can see that curiously, we're not painting in black, which is what we have selected or here. But we're painting in red, which is the default masking color. That red tells you that you're painting a mask and not painting a pigment. So now we're gonna paint the mask. And as as the name says, this is quick mask mode, not quick selection mode. So what we want to do is paint all of the area that we want to be blocked off. So everything around the background. So it's different from using the lasso tool where we usually wrap around the selection. In this case, we are painting the background, painting the mask onto the image. Now, I'm just gonna do this roughly so you can see the steps. So once we get our mask ready, we just clicked back on the mask icon and then the mask turns into a selection. So now we would just go through the usual means. We go to our art layer and we click on the add layer mask and I've already got some art in here, so let's just turn it on. And now our layer is masked. So for now, let's turn that off and get rid of this so that I can go over a couple other things about the quick mask mode. Let's go back in there and let's say I don't have to go through all the work of painting the whole background. I just want to paint the selection itself. What? We can do that by double clicking on the quick mask icon. And now we have these two options. The default it's set at the color indicates the masked areas, which is what we just did. But if we choose this one now, we can go in and paint the bag, so click OK and it won't let me do it, because by double clicking over here, we got out of the quick mask mode. So just click on here again. It turns colored up here, and now we can just paint the area of the bag. And when we go out of quick mask mode, quick mask treats are mask as the selection. So when we go over here and make it into a layer mask. That's the area that we see. So I hope that makes sense, and you'll just you can use either one of those. Just be aware that you could either paint the selection or the mask. And in certain circumstances, depending on your image, one will make more sense than the other. And one really cool and useful thing about the quick mask mode is the ability to make a soft edge selection. When we use the regular lasso tools, we end up with a very cut out shape. But here we can change our brush so that it has a soft edge. So now when we paint, our mask is a soft edge, and here I need a bigger brush. So remember, you can use your bracket keys to change the brush size so we paint a soft selection and then we go out of quick mask mode. Our selection doesn't look any different, but when we make it into a layer mask, you can see it has a very soft edge. So let's see the quick mask mode in action now. Now the first thing we always have to do is figure out do we want to paint the mask, or do we want toe paint the selection, like in the example? Do we want to paint the background, or do we want to paint the bag? Well, in this case, if we try to paint the selection meaning the wall where the wallpaper is gonna go, it means we're gonna have to paint in all of these little shapes. Whereas if we paint the mask, then we just have to paint the black lines, which will be a lot easier. So we'll double click on the icon here and check to make sure we have the right one. So, yes, this says color is gonna indicate the masked areas, so click OK, so now we can go into quick mask mode. So this indicates that we're in quick mask mode and get a brush. Now. In this case, we wanted a fairly hard, hard edged brush, and that's about the right with. So that's good. And we want to make sure that it's 100% because we want this to be a solid mask over the object. Now I want to show you one thing before we start painting, and that is here. I've got ah detail of the handle of the basket and I want to show you that what? We're painting these objects. It's good to leave a little bit of the objects showing along the edge rather than over here . I tried to go exactly along the edge of that handle and the reason for that when we put our wallpaper in the background, If we try to go right along that edge, we're gonna end up with a little bit of a white line around the edge. Where is over here? It doesn't happen and notice along here. We don't have that white edge either. So now when we come in here and paint these legs, we can use the shift key and go right near that edge, but still leave a little bit of it So we don't get that white edge, and then we'll make a smaller brush using the bracket keys, and we'll go in and do the same thing here. So once we have those chair legs done, let's go over and do the handle on the basket. We'll get a smaller brush using the bracket keys and then we'll just follow along in here again, leaving a little bit showing along the edge. Now, if you were to go off the edge like that, you can just use the eraser to paint that back out. So go to your eraser tool and just get rid of it. Now, this goes a lot faster if you use these shortcuts, So command B is for brush and command. E is for eraser. So once you know that you can go in with your brush and every time you go out of the lines , you can just go to E and paint that back. Then once you have the outlines, don't you can just go back in with a bigger brush and finished filling that in. So now we're ready to go out of quick mask mode and this becomes our selection and will put that on our art folder as a layer mask, and then we can turn on our art and check how we did. And that all looks pretty good. If there were some things that we wanted to change in here, you can do that by going back to the layer mask, holding down the option key and clicking on that thumbnail that reloads that selection. Then we go back into quick mask mode. Then you could make some fixes and then go out of quick mask mode again. Now we have a revised selection so we don't want this layer mask anymore. So right click on it. Delete that layer now. We still have our selection made, and we can just make a new layer mask. So that's the quick mask mode. It still takes a little bit of time, but it's certainly easier to do it that way than trying to go in with a lasso tool and go around all those little edges. Now let's use quick mask on this cat. We'll start by deciding whether we want to paint out the wall area or do we want to paint out the items we want to be the mask. In this case, I think it's gonna be easier to paint the cat and these leaves up here rather than to try and paint the wall, which is that's gonna be in between these leaves. So I'm gonna make sure that my colors are the black and white. We want to make sure that we have the right one selected here, So we're gonna paint the masked areas. So this is correct. Click. OK, First, I'm going to use a hard brush and a little bit bigger, and I want the opacity be 100%. So I'm just gonna paint out the easy parts of the cat, and then I'm going to switch my brush to a much softer one and go in close and start painting out, and you see, that's a little bit too soft. We're going out of the edges so we can either make the brush harder or we could make our brush smaller. So I'm gonna undo that. And if I just make the brush a little bit smaller, then it's not quite as soft around the edge and around the for again, leaving a little bit of the for unmasked so that we don't get a white edge around the cat. And then we can check how we did by going out of quick mask mode, making that into a layer mask and already have some art in here. So let's just turn that on. Obviously we still need to mask out the window, but this we can check how we did on this edge here. To me, this is looking a little bit too soft. And I'm kind of missing some of this for on the chest and a little bit of a white line here . So let's go back into quick mask. So reload the selection. Click on quick mask and just kind of fixed these things a little bit. I'm gonna go in here with the eraser tool, paint out some of that, and I wanted this to be a little bit less soft. So we'll go in with our brush, make it a little bit harder and paint in here. And then I wanted to see a little bit more of this for here, so I'm going to brush that in, but I'm gonna lower the opacity about 50%. So we'll make it very soft and then just go back in and kind of brush a little bit more in here. And I'm gonna do that a little bit, appear to so go out of quick mask. And we want this to be our selections. So get rid of the old one, make the new one, and you can check it again. So let's finish making this election. I'm gonna turn this off for now, and I'm gonna reload my selection and we'll go back into quick mask mode and then start painting in the window. - So once you're done painting all of the elements for the mask, you can go back out of quick mask mode and replace the layer mask with this new selection, turn on the art and there you have it. So in this final example, I want to show you that the quick mask mode can be used in conjunction with other selection tools as well. In this one, there's a lot of straight lines, so I think that the magnetic lasso tool will do a good job making a selection to begin with . With the exception over over here, it's gonna be pretty tight. So I'm going to start with the magnetic lasso tool and then click right here and then just start running a lesson around the circular mirror. Click here, go along the frame and then I'll go around the candlesticks. I'm not expecting it to do a very good job, but we can clean that up with the quick mask mode, and then I just need to add this little piece down here, so we know we need to do some clean up in here. So first check to make sure that these are in default, which they are. Double click here and make sure that we have this set, right? So the part that's red now the part that we selected is the selected areas, not the mask area. So this is different from the last two that we did. So that's correct. So click. OK, so now I only want the red to be the wall. So clearly the candle is not the wall, so we want to erase that. So get your eraser tool and come in and just get rid of that area. Do the same over here. And then it overlapped a little bit on this candlestick and I keep talking about painting with the quick selection tool, but you can use other tools as well. Like this is a long, straight edge. So I could take my take my polygon tool and just run it along this edge like I usually do with a selection tool. And then, since we're trying to get rid of that color, we just delete And now we've got a good edge there. And when you've got it all set, go out of quick selection mode and we haven't really set up our file yet. I'm getting how to myself. So let's make our art folder Dragon below the base photo set are based foe to multiply and then make our layer mask on the art folder by clicking down here and then through the magic of editing. I already put some art in here, so there it is, and we need to sneak to drag it over into place and make it a little bigger. And there's our new wallpaper. So that's it for this lesson. Now you know how to use the quick mask mode to make complex selections a little easier. 6. Mastering Lighting: in this lesson, we're gonna put the final touches on our wallpaper mock ups. We're gonna add highlights and shadows, which is really gonna add another layer of depth and realism to these photos. So let me show you what I mean. If I turn off the art here, remember, we've got these shadows down here. You can see the window sill shadow and this shadow along the edge. You could also see there's kind of a highlight here. And when I turn the art on, we really kind of lose all of that. So we're going to use the techniques. This will be a little bit of a review from mock up academy class four working with shiny surfaces. So this is how we do it. We're going to start by making a new folder, and that folder will be called Lighting and the folder will sit above our base photo and we're going to give that folder color just to kind of help keep things organized. So right click and go down and pick a color for it. Now, in that folder, we're gonna put a couple copies of our base photo, So hold on your option Key and drag a copy of the layer into the lighting folder. And now that one turns red too. We're gonna actually need two copies. So make another copy by option and just dragging it down this layer will become our highlights, and this one will become our shadows. So we're gonna turn everything else off. We'll start with the highlight layer, and we're just going to choose all the lightest areas in the wall. So to do that, we're going to go up to select color range and in this top bar, choose highlights for now, turn off the fuzziness and move this all the way to the right. So everything is black and make sure that you're set on black mat down here. We could do that without it. If we say none, then we can see our image over here. And as we do things weaken. Just see it in the preview. But I think it's easier to look at Black Matt. So now we're just gonna move this marker to the left until we see the highlights on the wall. So there they are, and now we'll go to the fuzziness and move that over a little bit and that just softens the edges of our selection. So click OK. And now we're gonna make that into a layer mask onto our highlights layer. And now, on Lee, the highlights will show through that mask. So now turned that one off and turn this shadow layer on and do the same thing for shadows go up to select color range. This time, choose shadows, Turn off the fuzziness and this one turned all the way to the left and then slowly move it to the right until we see the shadows on the wall. So that will be like the window sill and the shadow of the of the window. And there they are. And again, we'll add a little bit of fuzziness to soften the edges and then click. OK, turn that into a layer mask for the shadows. I'm just going to turn this off so that we can build up these layers and so that you can see what happens. So we have our base photo, we turn on the art folder, and now I'm gonna turn on this shadow layer so you can see how much sadder we added in. And that's a little bit too much. So we're gonna take that layer. And right now it said it multiply and we're gonna just tone down the opacity and then we're gonna turn on the highlights layer, and right now it's set to multiply, and that's not what we want. So go up to the highlights layer and change this setting. Now all of these settings and in this group are all ways that you can lighten. The image, often overlay, is the best one to use, So let's start there. I like how that looks, but it's actually kind of bringing back some of that warm color. So I'm going to just change that by going into adjustments, hue saturation again and just take out the color click. OK, and so here's the before and after. So this is the color that it was before, and you could see how yellow it is in there and after. So we still get the highlight. But we didn't add that color change. Now you could see that those new lighting layers also impacted the window, and we really don't want that to happen. We just wanted to make changes in the wallpaper so easy way to do that. We know that everything that comes through this layer mask on Lee affects the wallpaper. So if we do the option key and just drag that layer mask onto the lighting folder now our window goes back to the way it waas. But we still have that lighting effect over here. So again, here it was before the lighting. And after now it really feels like that wallpaper is in this room. Now let's do the same thing to this one will create a new folder, call it lighting, give it a color, and then put two copies of this base photo into that folder. And then we'll hold down the option key and take a copy of the layer mask and put it onto the lighting folder. Will change this one toe highlights and this 12 shadows and then turn everything off except the highlights. So click on that layer, go to select color range. She was highlights. Turn off the fuzziness, make it all black. And now just move this until we start to see the highlights on the wall. That's probably pretty good right there. I'm gonna add a little bit of fuzziness here. I think maybe I'm getting a little bit too much highlight. Let's go back a little bit. So click OK and turn that into a layer mask. Turn that off, turn the shadow layer on and do the same thing this time. Choose shadows. Turn off the fuzziness, make it all black, and then just bring it along until you get the shadows. Add a little fuzziness and click OK, that becomes a layer mask for our shadows and now we'll turn everything back on. We need to make sure that the highlights are not set to multiply, but they're set toe one of the overlays. In this case, I like soft light. Now our mock up has changed from something that's quite flat to now. It has a lot of life to it, and you can adjust the shadows if you want. If you feel like there too, too dark down here now you can just open up capacity a little bit now. One last thing I want to point out is the amount of the highlights and shadows that you use varies greatly depending at what color the art is. So if we turn this one off and then go back to the light colored version of this art. Now the shadows feel too heavy. So in that case I would just drop the shadows a little bit and maybe less in the highlight . A little bit too. So here's with no lighting and lighting. Now it kind of looks like the sun is shining in on this scene, which is really nice. Here's one more example. This image was very high contrast. See how bright the back of her shirt is here, compared to how dark the shadows are on her jeans. So our mock up needs to live in that high contrast environment in order for it to be believable. I'm doing it backwards this time. This is the end result. I've got a highlight layer that lightens the art in the highlight areas and makes it all very dark in the shadow regions. So to compare, let me turn off my lighting folder and you can see how much more flat it is. So if I turn on a dark background behind this pattern now, the mock up looks much less believable compared to with the lighting. Now, with a dark bag like this actually want to have even darker shadows here, So I'm going to make a second shadow layer that covers just the deepest shadows on this object. So we'll go over and make another copy of the base photo and put it into my lighting folder and this one, I'm gonna call Deep Shadow, turn everything else off and go back and select our shadows. And then, as I bring it up, look for those first shadows to pop up and there they are. Make it a little bit fuzzier, but we don't want to go too far on this. We only want those deepest shadows along that side. Click. OK, make that into a layer mask, and now let's turn everything back on. So now we even have a higher contrast. So here's before the deep shadow and after, and we might even want increase the contrast by going to the highlights and actually making them brighter. So now we're ready to move on. Hopefully, now you have a better understanding about how important highlights and shadows are to making your mock up look like it's living in the environment of the photo 7. Putting it all Together: So now let's take the framed art that we did in the last lesson and put it up on the wall. We're gonna start with this one, and let's just review what are layers are we have our base photo, and then on top of that, we have a lighting folder which has our highlight layer and our shadow layer in it. And then we have our art folder that has their wallpaper in it. Then I went ahead and created a folder for our framed art and that sits above the other layers. So I went ahead and copied and pasted some art in here. These two florals and I can see right away that it's not going to go well with the wallpaper. So I'm gonna turn the wallpaper off, and I think this is too dull, So I'm gonna paint the wall to do that. I'm just gonna create another layer, will call it paint color, put it in the art folder where the wallpaper is, and then I'm just gonna paint it. I've got a kind of a tope color picked out over here. Click OK, and then again, use option delete to fill that layer so these pictures don't look very realistic. Yet the first thing they need is a drop shadow. So there's two ways we can do a drop shadow and I'll show you. Both of them will start with the yellow flower, this one highlight that layer, and then we're gonna make a drop shadow the same way we did in the frame lesson when we were making the mat. So go back down here and click on the FX and let's see, Let me let me make this smaller because it's way at the bottom. So click on that icon and go down to drop shadow. Now we're back to this panel. And first, let's look at where we want our shadow to be. So the light is coming in from this side, and if you look down at the legs, you can see which direction the shadow goes, so we're gonna want the same on the picture frame. Right now. We can't see a shadow at all, so let's change the distance first so that we can start to see it offset from the frame. Now again, we want the shadow on the other side, so just swing this around and you can look in the preview area or on the wall and see when it gets to the place that we want it about right there. And then for the spread of this is how soft or hard the edges. Right now it's pretty hard, and so we want to bring it down. So it's a little bit softer edge and then change the size a little bit. Okay, I think that looks pretty good. So click OK, so now let me show you the other way to make a shadow. And that's to simply load a selection that's the size of the frame. And we can do that very easily by holding down command key and then clicking on the thumbnail. So now it makes a selection exactly the size that we need. Make a new layer, call it shadow and then put it below the white flour so option delete will fill that and then de select. Now we can't see it yet, and that's because it's hiding underneath the frame. So get your move tool and you'll see it right there. So position it where you want and then go up to filter blur, Gaussian blur now we can move this back and forth to see how much blur where we want there . I think I like it about there. Click OK, and it's a pretty strong shadow right now, so we'll just lower the opacity. So either of those ways produce a nice shadow. I personally would rather do it this way. It just feels like this is such a mechanical thing to go through all the numbers and move the little dial and everything. So this one to me seems more direct because now I can move it around. If I didn't quite get it in the right place before or change the size of it, uh, I could even change the angle. So that's my preference. The nice thing about doing it this way is now. When I click on that yellow flower, the shadow follows it, so I don't have to worry about, you know, clicking two layers to make sure I get them together so you can choose which one you prefer . So now our artist starting to look like it goes in this room. However, when you look at the color of this white curtain over here, it's much darker than our pictures. And the way the light is hitting this room, the only place where the sun is actually shining directly is right on the edge of this chair. So these shouldn't be so bright. Now, I know you don't want to dull your art, but remember, this isn't lifestyle image, and this is to create a mood. So we do want thes toe look like they blend in. So I'm gonna go back to the yellow flower and just like we did before, I'm gonna command and click on the thumbnail so that we load a selection exactly the size of the frame. I'll make a another layer. We'll call this one shading. Since I think this is a white curtain, let's go sample that and use that color and then making sure that the shading layer is selected, not the yellow flower earlier shading layer and will do option delete again. Change this to multiply and then just adjust capacity. Now the other size frame is exactly the same, so we can just duplicate this layer and put it underneath the white flour and then it just drag it over the top hopes we need to have it above the white flour. So now they're the same. And then one other detail we could do is at Ingredient and put it at the top of these layers and we load that frame selection again. Command click. Go to the Grady Int layer and grab your radiant tool and then just start down here where you want it darker and go up to the center, so that just added a little bit. But we want to change that, to multiply. That just gives it a little bit more mood, and we could copy that one by dragging it down and then just drag it over to the other one . So here's before the Grady Int and after. So that's it now are framed art really looks like it's hanging on the wall in this room. On this example, I wanted to start with the final result. First, I wanted to show you the result first, because I wanted to show you how important the shading layer is to making the art look like it fits in the room. Let me turn the shading off and you can see the difference. So I always know, and this is from personal experience. We worked so hard on creating her art, and so it's really hard to see it then be toned down to this level. But when I first showed you this image, I bet you didn't think it was toned down because it just looks like it goes into the room. There's nothing in here except outside that's really bright white. So if we were gonna put our picture outside, this lighting would make sense. But if we're gonna truly do a lifestyle image, then we're gonna need to match the lighting in the room. So that's where this comes in. I also wanted to show you that on this one, I've got the regular shadow that's right in here. But I decided to also add a secondary shadow. That's this one down here. And the reason is again, there's so much like we've got it coming in two directions from these windows and also from the lamps. So it just seemed like it would make sense that there might be a secondary shadow going around this frame. So how did I decide what color the shading would be? Well, let's turn this off and make a new shading layer and go to the art command. Click, then go back to the shading layer. Click on I to get your eye dropper and sample that point and then option delete to fill that, turn it to multiply and then just tone it down. This new color is different from the other one, and it actually now to me. I don't like this one as well. It has a little bit of a pink cast. So in a situation like this, you can go back to hue saturation, and then just adjust the color until kind of you step back and look and you say, Yeah, that that color makes it look like this pictures in this room and click OK, now let's move on to the final example. When I first saw this stock photo on unspool ash dot com, I thought this kind of mid century vibe would be a perfect backdrop for my Matisse inspired modern piece of art. But I knew it would take a little bit of effort, but I was surprised. It's really not as much as you might think. So let me show you how to do it. Obviously, we need to get rid of this picture. But before we do, it's got some valuable information for us. This area on the mat tells us what color are man should be. So before we get rid of it, I want to make our shading layer onto this art. So make a new layer, call it shading, and then go to the framed art layer and command clicked on the thumbnail. Now we've made a selection exactly the size of the frame and then zoom in here and we're gonna pick a spot here to sample. So I for eyedropper click it and then option delete. And then it goes, Oh, I didn't put the right layer on, So I'm gonna undo that and we want We don't want to put it right on top of our framed art. We want it on the shading layer, so option delete set to multiply, and then we can pull it back until it matches this one and then let's turn those off. I'm gonna make a copy of the base photo since we're going to change it. So click on options and just drag till you get a second copy, and I'm gonna put that up here and lock it and hide it. So now go back to the base photo and will make a selection around the art. I always start with content aware fill so you can right click go down to fill and make sure that this is set on content aware. Click OK, de select. And that did a pretty good job. Actually, I think we're just gonna touch it up with a brush. So go to paintbrush, make sure that you have a very soft brush, and that's maybe a little bit big and also set this to maybe 20%. And then we're just gonna go over here and kind of paint. We're gonna sample a color from the wall and just try to blend it in. Now the next thing we want to do is replicate the sunshine that's coming from the window. So make a new layer, call it sunshine. And I think every file should have a layer called sunshine. And then we're just gonna go up to the rectangle tool and make a rectangle, and the size of it really doesn't matter very much. Now go sample this color and then making sure that you're on the sunshine layer Option delete to fill it. Now grab your move tool and move it right along here. And then we'll go to transform distort. And we're gonna move this up until it's at the right angle. And I want it to be bigger because we're gonna go back then and erased the edges so that it's a soft edge. Click OK and de select. And then go get your eraser tool. And she was, Ah, medium soft brush and make sure it's 700%. And now we can just go along this edge and we can use shift. Constrain it. So we're just gonna go along that edge and do it on each side down the center here. This is very blurry, so I'm gonna get an even softer brush to take care of that one. And I think this this one's a little bit narrower, so let's just nibble off a little bit more of this one. So there you go instant sunshine. So turn your frame back on. Now we need a drop shadow command. Click over here, I think another layer. Call it shadow and we need a color for our shadow. Let's go find what in the image. If we go up here, this light bulb is casting a shadow right next to the wall. So we're gonna use, for example, that spot for our shadow. And it's kind of crazy to me that this is the color that's there. You don't perceive its that brown at all, but that is the color that's right there. So it makes sense to use that instead of black. So option delete to fill that shadow and then weaken de select, go up to filter ghazi and blur. First, we need to move it so we can see it. So get your move tool. And obviously the sun's coming from the left, so we're gonna want our shadow on the opposite side. Now go to filter, blur Gaussian Blur. Move it around till you're happy with it and click OK, and then one other detail on our base photo, You can see how the light goes streaming across the frame as well, so we want ours to do the same thing. So take your sunshine layer and copy it and put it over the top of the shading. And then we want overlay this one and then just lower the A pass ity and that's it. So really, it wasn't that hard to do this to make that sunshine look like it's going over that painting. So that's the end of this lesson, and now you've got some really good skills to put paintings on the wall in your lifestyle images. 8. Your Project: So Wow, that was a lot of information for one class. And if you made it this far, congratulations. Now it's your turn to give this a try. Your project is to download this image, and it's available for free at once. Plesch dot com, and I'll put the link to it in the project. Resource is so once you download the image, you can literally walk through each part and do it just like you saw in the video. First, you'll set up the layers, and then you can fix the the exposure and make it more contrast. E. And then you can give quick Basque Motor try just like we did in the lesson. After that, you get to add your own wallpaper art and then play with the lighting layers at a highlight in a shadow and play with how dark and light they should be so that you can get the best effect and the most realistic look after that. If you're feeling ambitious, you can also make some framed art and try adding it on this wall. You could test out both of the ways of making drop shadows and decide which one you like. best, And then you can add the shading over the top to really make the art look like it's hanging in the room. And once you're done, please post your results on the class page. I'd love to see them. I'd love to see your art, and I always comment on the projects that are uploaded. And of course, if you have any questions as you're working along, please feel free to post them to the discussion page, and I will do my best to answer them. So that's it. For now, there's more classes coming, but in the meantime have fun making mock ups.