Adobe Photoshop Graphic Design Masterclass: From Beginner to Advanced Creative Projects

1. Welcome to the Course: Have you ever seen a poster, a brand identity, and illustration and thought to yourself, how did they make that in Photoshop? Welcome to the Adobe Photoshop Graphic Design Master Class. In this course, we're going to take Photoshop beyond the basic editing tools. We're going to take it to the next level by learning how to use it for graphic design, illustrations, mockups, composition, posters, and other visual designs. My name is Hosta kachii and I'm a visual designer with over five years of experience. Throughout my career, Photoshop has been one of my core tools. So in this course, I'll share with you my favorite techniques and tools that I use for visual design. Begin with Photoshop itself, the core tools and concepts before we can even jump into the design. Once we know how to work our way around Photoshop, we can start thinking like designers. We're going to look at some design principles before starting to apply them to real projects. These design principles are going to guide you every step of the way. When we have those principles, we can apply them to logos, brand identities, presentations, and other designs. After designs, we're going to move into illustrations. You're going to learn how to work with colors and different visual styles that range from flat to three D. Apart from those two, we're also going to look at other textures and watercolor. We're going to move into mockups and presentations where we're going to learn how Smart Objects work in Photoshop. With Smart Objects, you're going to be able to create your own templates and present your work more professionally. As we make our way through the course, things are going to get even more complex. You will work with brushes, green screens, and even generative AI. We will also walk you through how you can build compositions. So instead of relying on one image as a starting point, you'll learn how to combine different images and bases to build a final masterpiece. That's not the end. We're also going to look at three D design within Photoshop. By the end of this course, you're going to have a wider range of design choices, and also you're going to know the tools on how you can create your own design style. So let's go ahead and get started. Mm. 2. Getting Started: So before we jump into Photoshop, this is the screen that you're going to be greeted with. This is the home screen, and for the latest versions, you're going to see the same thing. But if you have the older versions of Photoshop, the placement of the panels may be different. So let's start from the top left. This is where you get to make your new files, start a project. And when we click on this, we have a lot of options for different dimensions, difference in depth per inch, color modes, and many other things. So I'm going to come back to this later because I do want to show you what the rest of these things are for, and then we can go ahead and create our first project. Look at the different tools that Photoshop has to offer. This is for new file. This is when we want to open an image, an older project, any other format, we just click on it and it takes us to the regular directory. The home screen when you click it, it's the same page. There is the learn panel where you get to explore Photoshop through their own tutorials, it does a walk through. If you want to learn, let's say, painting with a brush tool, it's 4 minutes. It happens in the app and it gives you a little snippet about what it's about. If I click on, let's say, get to know the app, it brings me to the other screen and I get to start a tutorial. Then you can just click next and exit right over here. I return back to the home screen, just click on Home and then home. So that's a really cool feature they added for the newer versions of Photoshop. There is your files. These are personal to your own accounts. So whatever you've used to sign into Photoshop, these are the files that are within that account. There is shared with you. If anyone has shared file with you, they're going to show up in this panel, Lightroom photos. Light room is another application for photo editing. You can open a Lightroom project and then have it send that image to Photoshop. So let's say you've color coded, fixed Deightness and whatever. Then you want to do some Photoshop work, you click on here and find that photo that you're trying to edit. We also have a deleted tab, anything you delete will be there for you to maybe restore or just see what you've deleted. Right over here are some of the newer stuff, so they always change whenever there's a new update, so yours may not look the same. The top right, we have the Cloud. If you do have your account connected, you have your Adobe Cloud right over here. You can see your storage. I have 2 terabytes. You may be different. And if for some reason it's not syncing, there is usually a button that lets you resume it and configure why it's not doing that. But when you have this checkmark, it's syncing okay. If you sign in to Photoshop through a different device, log into this account, you can still access your files. Have a search bar right here. You can look for a certain project, editorial, anything else. This gift box is anything new about the version you're using. I had this stuff to explore later. We're going to go through each of these ones in the further lessons. But again, if you don't have the latest versions, the stuff you see here may be different. Lastly, that's your account. If you click on it, it takes you to your browser and logs you in on Adobe. So I'm not going to click that because it'll just take me to my personal page. But if you wanted to sign out, edit your profile or anything, just click on this icon. Should be your profile picture. We can also change the view of our recent works. You can filter through your files, change them in different ways. And yeah, that's pretty much the home screen. If you click on this, you get to go back to your project. But we're going to assume that we don't have a project yet and create a file together. So click on New File. This window for new documents should pop up. We have some things up here. These are presets for different dimensions and DPIs. I'm going to start with photo. We have some pretty standard size things like landscape photos, Photoshop size. We can click on this for other things, portraits and different items. We also have templates. This is, again, through Adobe. A lot of them are free, but there are some paid ones that you can explore too. So if I click on any of them, I can download them right here. Actually see a preview first and see if I like it. It's Adobe Stock. This is the artist, the name of that template, and it tells me exactly what that template includes. So we have the effect, sample text, and not included in a download file are these images that we see. So if we wanted to get this effect, the glass reflection, we would need to have our own pictures and simply download this template to implement the effect. These are for pictures, close this, go back here. Next, we have print. One thing that is different between photo print, arts and illustration, apart from their dimensions is the resolution. With photo, you can see that over here in resolution, the numbers may be different. You're not sure what dimension or resolution you want to put on. I would help to look online and see what's the standard. So if you are designing something that you want to print, it's a good idea to get in contact with your printer to see how big, how many DPIs you need for your file. Throughout this course, I will tell you some standard forms. But again, if you're doing some specialized things, be sure to double check with your printer or do a search to make sure that your size and quality is suitable for whatever purpose you're trying to achieve. So with photo there's like 300 DPIs. You can also do it pixels per centimeter or pixels per inch. The higher this number is, the more high quality your work is. But we can't just put this for every other document because that's going to make it a very heavy file. So for images, for example, if you're importing a photo, there's no need to change the resolution here since the photo already has its own quality and pixels in set. But the only time where you would put a really high resolution is for something like arts and illustration because this is where you are creating those pixels and it's not there already. So photo, when we come to the right, you can change the name of this preset, call it my Canvas or something. We get to save it right here, save the document preset, and then it's going to show up here. Let's just make one. Call this my picture. It's safe and there's my picture. We can change the width and the height, change the unit it's in. You can also decide on your orientation, whether you want it to be a vertical portrait or a horizontal landscape. The button next to it is for artboards. We're going to get more into that in the layers lesson. Artboards are essentially different canvases that you can have for maybe different pages of your presentation, different artworks at the same time, and they're actually really efficient when you're dealing with bigger projects. Next, we have the resolution box. You can type in a number and then decide if you want it to be pixels per inch or per centimeter. The standard is usually 300 or maybe 100. Try not to go overboard with it unless you've been instructed to by your printer or a publisher, and once again, I'll go over into proper numbers in further lessons. Color mode is the way your colors are displayed on your project. Depending on your purpose, you would have to have different color profile so that when you publish it, the colors look accurate on that display. For example, RGB is usually for digital screens, but if you were to print like a physical paper, while choosing RGB, certain colors will look very different. And in a lot of cases, that can ruin your illustrations or photography. So depending on what you're trying to do, you would have to choose your different color maps. We have gray scale, which is just black and white, RGB for digital, CMYK for print. We have lab color. This is more specific to special designs. Will go over some of them that are necessary for you to know as a beginner, but as you enhance your skills with Photoshop, you're going to come across maybe bitmaps, lab colors, and some other stuff. We also have the bit range. By default, it should be an eight bit, but if you're doing a larger illustration that you want to print, you can go for a bit higher. Do not just put it on the highest one because you think it's going to make your work more high quality because that can slow down your program. Worst case, it may just crash your program and you can lose progress for your work. For this lesson, we're just going to go eight bit in RGB. Let's assume we're just doing a digital work. Now, background content is the first thing that you see when you make this project. You can choose a different color. By default, it's white. I can turn into black. If you choose background color, you can choose something from here. You can also do transparent, no background, get yourself a PNG. And then we have custom for you to choose a specific set of colors. So these are the different things. Let's go with white for now. We have some advanced options, which you can talk like that. Color profile, when you open this, this is similar to what we talked about in color mode, but these are presets for certain things that you want to. For example, Adobe RGB is a profile by Adobe. It represents colors differently than compared to, let's say, Apple's RGB. We have Image three and a bunch of other stuff. As a beginner, you don't really need to go too deep into this, but you can see that we have some pretty famous color profiles here like Cannon. We have some LUT over there. We got Fuji film and all these stuff. These are official color profiles by these companies designed to represent your colors on whatever you make in Photoshop in their own unique way. But let's do don't color manage because we're just trying to do something simple lastly, we have pixel aspect ratio. Just an overview. Everything you have on a screen is made up of pixels, and the aspec ratio is the overall size of those collective pixels. So when you click on this, we have square pixels, and we have a bunch of other stuff. Now, what you're choosing here is not the size of your canvas, but rather the shape of the pixel. So one pixel is a very tiny part of your screen. By default, we have everything as square pixels because we're trying to create digital artworks, photography and other stuff. But if you're doing something different, let's say you're doing special type of animation video, you would want to go for the other types, which is different shapes for your pixels. So these are just non square shapes. The first one is your square shape. Just like the color profiles, do not change these unless you were instructed to by a tutorial, by your video editor or anyone else that is guiding you through those complex projects. Now let's stick to square pixels, meaning that each pixel on our screen will be a square. There's also this search button down here for you to look for templates. These are meant to make your workflow a lot more easy. So let's say I want to make a poster. So you can type in the thing that you're trying to make it go, and it's going to open a page on Adobe stock, which is kind of like shutter stock, but for Adobe, and you get to download different poster templates in either Photoshop format, illustrator format, and just tweak it until it's your own. We're not going to go too much into these. You could explore them in your own time. But for now, let's just leave that and look over the stuff up here before creating our project. This was photo, pretty self explanatory. Now for prints, these are the different paper sizes. So we have the classic letter. These are the papers you see in your household print. Have legal tabloid. You can see the inch and their PPIs, pixels per inch. So you can see it's 300, so pretty high quality. You can find A four papers, B three, and so many more. We still have that template feature down here to get you started on the project. So if I click on any of these, you can see that you can just click on them and change the width and height, choose a different unit, and just get started right away. Arts and illustrations are very focused on those pixels because you are, as we said, making them yourself. So you're not importing an image, you're not importing a logo, but drawing things perhaps. And down here, you can see the type of things that constitute as arts and illustrations. So we have some text work over here, and these are generally more high quality work. If you look at all presets, we have ten EDP, which is the size of the usual screens. 720 P, we have 1,000 pixels, 2000 and you can just go up from there. If, say you were instructed to do a 5,000 pixels, you just replace that with a five. Next, we have our web. So you can actually create web interfaces on Photoshop. So you can see we have different screens, Macro P 15, IMAC all of that. Say you want to create a mockup like s or you want to make a landing page, send it to your developer. You can do it via Photoshop as well. What people do, if you're familiar with UI design is created here, import it to Figma, organize it a bit there, and then hand that over to their developers. It's a pretty cool feature, as you can see, there's a lot that you can do within Photoshop. Then it's mobile, same thing, but just for the mobile screens, we have tablets here as well, Apple Watches, and instead of looking for what dimensions you need for these type of devices, Photoshop has it all here for you. Lastly, is film and video. Uh, you can actually generate animations in Photoshop and even edit videos to some extent. Obviously, it's nothing like Premiere Pro or after effects where you get to do a lot more complex work. But essentially, it lets you perhaps bring your illustrations to life by making your character blink. It's pretty manual, I would say, compared to some other platforms out there. Does give you the capabilities to do stop motion and that sort of thing. We'll definitely look into how to animate and edit within Photoshop in further lessons, but this is where you would get started. Good for K, get some special ones down here too, eight K, and so on forth. That's our new document panel. Let's go ahead and make a simple square thing. I made this one before I just called the logo, 600 by 600, 300 TPI. Let's go ahead and bring this down to 500 and this to maybe 200. RGB, a bit and everything else is set to default. Now, I'm going to turn on artboards. We'll look at that in a further lesson, but to set up our document, we're going to need to turn this on or else you cannot follow along with what I'm doing. Since this is a square, doesn't really matter which one you choose. It's 500 by 500. But once you have that all set up, let it create and there is our first box. If you're zoomed out like mine, pull down Command zero. Or Control Zero. Command or Control Zero to zoom in. You can also do, let me zoom out again. Right click with the Zoom tool and hit Fit on screen. So whichever way you prefer. All right. So this is your Photoshop interface. This is where you create all sorts of stuff. And in the next following lessons, we're going to start by looking at this long range of tabs, then jump into the tools. Basic functionalities before we learn how to create things like a logo, text, maybe a poster and all those stuff. I'll see you guys in the next lesson where we begin to do that. 3. Colors: Welcome back. In the previous lesson, we learned how to create our very first document. We made a simple square document, and now we are here to work on our canvas. So this white box that you see right in front of you is the canvas that you're going to be putting on all sorts of stuff. But before we get into that, we need to first understand how Photoshop functions, and that starts by looking at all these things on the right side of your screen. Now, yours may not look exactly like this, but these are things that you can bring in from the window tab right over here. So you can see if I wanted to get color. You can see color right here. If I'm pointing to something on the right and you do not see it on your screen, just pause, go to window, find it, and then just click it for it to show up on this right. Now, the cool thing about Photoshop is that you can customize your workplace. Obviously, someone who is a graphic designer will have a different workspace than someone who is an Illustrator. That's why Photoshop allows you to say, take your favorite things, pull them out, maybe remove certain parts, and just keep the things that you're going to be using most often. Example, if I don't use the path window that often, I could right click and then just close it. So it's just going to disappear. But again, if I wanted it back, I can go to Window and then find paths. Click at once, and it's going to show up right over there. All right. So even when I bring in all the different tabs, you can see I have from top to bottom, it's all filled. They are in their own boxes. So notice this line between these four and then there's one underneath these two, and they're all sort of separated. That is because each of these windows are for one specific purpose. First four that you see up there is all related to filling in your shapes, your texts, your lines, mostly in regards to color, but there's also that pattern tab. That's where we're going to begin just starting with color and then I'll make my way down in the next lessons. When you click on this, you're going to be greeted by all of these little groups. And when you toggle them on, when you expand them, you will see different colorful boxes. Now, a lot of these groups are there by default, so RGB, red, green, and blue. These are your classic digital colors. Right underneath, we have CMY Kase, cyan magenta, yellow and black, Ks for black here. And earlier when I said that the colors for RGB, digital colors are different from print colors, you can kind of see what I was referring to. So if you pay close attention, you can see how the magenta or pink here is very different from the one right above it. Same thing with blue, the cyan, the green, the red, and the yellow. If you go on each one, and just click on it. You can see that it's still red in both cases, but it's just the way that they're represented on the screen. So be very careful with how you're choosing your colors to be represented when you're printing or where you're publishing online. Gray scale is just black and white. You start all the way from black to white and anything in between. We have pastels, light colors, darker colors, and all that stuff. You can make your own color palettes by clicking on this group icon. Call it my colors, it okay, and just going to click and drag it outside so it's not in RGB. Before I add a color, I can go down here. You'll notice two boxes. Apple click on the front one and then choose that new favorite red. So I'm just going to grab a random one. You can also put in the hex code. This is unique to a number to a color, I mean. You can find unique hex codes online on Pinterest. There's tons of websites out there for you to grab those specific colors. You can also change their values here. I will come back to this. I just want to make sure we finish swatches and then move on to the other stuff. So you can see that once I hit Okay, I now have my new favorite red or this new color that I want to add into the M colors group. Once I have the selected, the group, I can hit the plus and call it my favorite red. And then just make sure the color is the same. There's this option for you to add it to your current library. Libraries are a way for you to organize any sort of media that you have on Photoshop. So we can have colors. We could have different patterns, different gradient maps, and so on forth. This is in regards to the libraries down here, so I'm going to get into that later. But I if I don't want it to be in my library, I could just not check it. But for the purpose of our course, I'm going to check it, and it's going to show up in my library. Once you're done, hit Okay, and there's my new color. So anytime that I'm trying to draw, looking for my color, just hit on Swatches, find it, and just click once on it. So if I had blue I click once on it, it's going to choose that red. If I want to choose a different color, just click on them once and you can see they're being loaded up onto brush. If you don't want that color anymore, you can delete it. So I'm just going to go down to a different color palette. Say, I want to delete this, hit the trash icon once. Okay, and pretty simple. And as we saw, we can reorder them. So say I want gray scale to be above RGB, I can just click and drag it. If you put it on RGB, it's going to go inside this group, which you could do for a different reason. But for now, I'm just going to have them all lined up like this. If you have tons of swatches out there, you can search for them. So let's go for my favorite red. There it is. And go for only greens and it loads the green in all of my groups. They are labeled green. And that is pretty much our sweags panel. There are some options on the top, right, this little hamburger menu. You can make a new preset, which is what we did with my favorite red color. Make a new group, the same thing as these two. Rename your group, dole the group same thing. Tiny thumbnail. This is how they're displayed. So I could choose large list, and that's what it looks like. You can do tiny thumbnails, change that up to your liking, to go back to the default, which is this. We also have the ability to show the search bar and the results. The resents this is the search bar, and these are the resents. If you don't want them to be visible, just click on them once and they disappear. Have append default swatches, which is changing our list to the way they were initially. So you can see that it brought all of these guys below and just sets them to the default. This is in case if you, for example, deleted half of these and you want to get the original pale group colors back. You can just click that to bring them. We can import swatches. If you downloaded a group or a color palette from the Internet. That works with Photoshop. This is where you would import them. You can export your swatches. You can export these watches for exchange. So you can save it like that on your screen, your computer. We have legacy swatches, which if you click on is going to load in some of the older swatches, paint color swatches, something specialized. This is what they mean by that. We have close and then closed tab group, which is just the same thing as doing that or just removing it completely from the list here. Speaking of that, if you right click on it, we can expand the panel like that, make it bigger if you want, minimize it, and then we can collapse into icons, bring it back to what it was. Change the interface option. This goes into your preferences, but I like to keep it as default. That is your swatches panel, pretty straightforward, really helpful when it comes to anything you do within Photoshop. All right, once we have this, right underneath is your color panel, which you can again load in from your window if you're not seeing it here. Now, color is just color. You can click and drag the edge here to make it bigger. This is where you get to experiment with color, maybe grab something real quick. And whatever I select, you can see down here, my fgrown color changes. Can start painting with whatever I select. So you can see that we have almost white on the left, black on the bottom, and the really pinky scenario on the top, right. So in this color panel, going from left to right is your saturation. So if it's all the way saturated, you're going to get a very deep pink in this case. You can go with red to make it easier. So a very deep red would mean a very saturated red. You go all the way to the left, there is zero saturation, which means there's no color. It's just white. Top to bottom is about the lightness of that color. So if you go all the way to the bottom right, you're just getting pure black. So same thing here. This is when you have no saturation because this side means no saturation. And if you're all the way at the bottom, you have no lightness. So there's no light for there to be any color. But if you go all the way to the top, that's 100% lightness, so there is going to be color as much as you saturate it in. So just try to understand the different sides of this square Going to help you make different color choices for your project. So this is pretty helpful tab to use. This was saturation, lightness and this bar here is your hue, which you can just grab in like that. Now notice how some of the colors give us this error message, it says out of gamut for printing. We did talk about the CMYK RGB thing a little bit, but if you choose a very saturated green like this guy, put this back. What it's going to do is not let you print that exact color if you were to do it. But as I drag it to the left, you can see that there's no problem where I have it over here. My color profile is not exactly made for printing, but basically, if you get a very saturated, very bright color, chances of your printer having that are low, especially if you have a standard thing. But this is something you want to pay attention to. So if you are doing something for printing, you're Workflow in regards to color will be very different. I would have to be very careful about the colors I'm choosing. I have to choose a different color profile, load in certain colors to avoid misprinting later on. But that's basically what this triangle means. Similarly, we have that Hamburger menu. I can change the way my cube looks. This is the hue cue. As we said, this was the hue. I can make it based on brightness. Now we have the hue on here, and then we have brightness on the right side. So when there's light, there's color. When there's no light, there's no color. That's the logic. You can choose your hue like this. Next, we have color wheel. This is something that most of you may be familiar with. But again, it's the same thing. We have hue around this triangle. We have brightness really bright. Really dark, full saturation. If you don't want to use this, you can use the sliders up here. Hue saturation, which is how much color there is and then brightness. Type in a number if you want, you can also use your rakes to go down by one increment and change your colors. Next, we have gray scale slider. This is in regards to how much black you have in that particular color. Every color that you see right here has a little black in it, which may not make sense when you're thinking of traditional paints. But let's say I want this blue. There is 84% of black in there. If I choose, like, a brighter color, it's 6%. If I choose this, it has 95%. Now, in real life, when you try to add black paint, I mean a little bit to your colors, it ruins the entire thing, but that's not the logic that is being used here because these are digital colors. Again, we can change the numbers by our rachis or with a slider. And just remember that on the digital world like Photoshop, K is black, so it's not B, but K. Let's go to another one, RGB sliders, red, green, and blue for digital work. So how much red do we have in our color? The opposite of red is green, so I'm just going to bring these two, like, halfway so you can kind of see. So if I add red to my color, which is currently set to this peach thing, it's going to be peach. If I remove all of the red, I'm going to be left with a greenish color. And if I want to remove the green, I'll be left with blue. Add green all the way. I'm going to get a really bright green. Let's bring this to zero. Now that I have blue, if I remove all the blue, then I'm left with black. If I add all the blue, I'll get a very dark blue. RGB, red, green, and blue, just decides how much of each color you have in your current color. It goes 0-255, and that's the maximum you can have. You can play around with these. As a beginner, you wouldn't really come to this tab. You would either import a color palette, use one of the presets or just manually add in the numbers the hex code to make it a lot more simpler. Have HSB sliders, which is hue saturation and brightness. Kind of looked at that already with a different panel. So hue, what color saturation, how much of that color, brightness, how bright is that color? Pretty simple stuff. CMYK. This is for print. How much cyan is in that color, how much Mcenta is in that color, how much yellow, and how much black. So if you remove all the black, you can see we get a yellow. If I remove all the yellow, we just get white. Now, lab colors are essentially like RGB. We are working with the three channels, but it just converts those channels red, green, and blue to light components. Light or L stands for luminance. You can see that when it's at 100%, we can see the colors. But if I remove that, there will be none left. It just turns to then A represents the red and green. You can also see it somewhat here, and B stands for the blue and yellow. Just like the other specialized sliders, you wouldn't really come to this unless you were instructed to or if you're trying to do something special, but it's good to understand what these letters stand for and why we have this many options. The last thing is web color sliders. This is for the websites. Basically, you can see it in different components. That is because you are formulating your hex code. Now, hex codes they always start with a hashtag, so hence the hashtag They're composed of numbers or letters. Essentially, it's a unique code for each color. So when you go on a website and you see a red button, if you were to find the code for that exact red that you would want displayed on your website, you would take in the hex code of that red button. So again, another specialized thing. If I just grab this color, you can see it starts with 69 091c, and that is a color. When I dab or click on this, you can see down here. We have 69 091c. Same thing. This is the hex code area. If you were to have a hex code from the Internet, you just copy it and paste it there. Then hit okay, and your color is ready to use. Alright, and since we're here in the color picker panel, this is extremely helpful if you're trying to pick colors up another image of a color palette, or you just want to manually type in the values and not use the sliders that we saw. So HSB, saturation brightness. That was, I think, one of the first ones we looked at. You can just put in a number. You can use your arcs as well. So we like 80, you can see that we can move it around. 80 saturation, 60 brightness. That is my color. We can see that automatically the red is set to 112, green is 153 and blue is 31. Let's get rid of some of the blue, increase the green and increase the red. That is our new color. Next, we have lap that we just looked at. We can increase luminance to say 95, get a really bright green and the red and green is set to negative right now. We can make it even less. I get a deeper green Then I can add some of that blue and yellow. You can see it's turning bluish. Just playing around with these CMYK, Cyan Magenta yellow black. You can change stuff like this. Let's remove some of the yellow and you can see I'm getting blue instead. I I add 100% K, I just get black. Now, this new color, you can see it's not exactly fully black is this unique code. If you're applying to use these codes, just remember that white is just FFFF F, and then black is just zero. So it doesn't matter if you're here or here. These two numbers, it's good to know them. So if you're trying to get a pure black and you thought this would be it, this is not pure black. It needs to be all zeros. The same thing for white. If you're slightly off, this does look white, but it's not actually white. Alright. And say you have this really nice color, you want to add it to your swatches, you can do it right here. It goes in that color palette that we made earlier. So let's just do that. Let's call it M blue. Click Okay. We can also put it in our compare it with the color library. So these are specialized library for print mostly or different types of display. The one at the bottom is arc color. So I can compare it with these ones if I want to do some special project. And the last thing is web colors. Basically colors that would display well on a digital screen. And just meet these standards. So you can see it kind of added better grouping segment for us so we can just clearly detect those things and go about finding a perfect color. All other things down here, we have Copy color as HDML. So that's the HDML code if you're doing a website or something, or you want to embed something in WordPress. Copy colors hex code. That's the code we looked at earlier. Then we have RGB spectrum, CMYK spectrum, gray scale. So the way it's displaying these colors on what mode are we on? So you can see that it does change as I switch through. By default, it's more it's on CMYK, but just toggle it here and make it your we have web safe. These are colors that are, as the name says, safe for the websites. So you can see that I will not have the issue of going somewhere in between because it's clearly indicated. Undo that. We can then close and close this entire tab group. We can close this and the tab group itself. That is all the color stuff that we have. We looked at swatches. There's also the same thing for gradients. Gradients are essentially how you go from one color to the next. This will be using the gradient tool, so I'm not going to go over right now until we look at the tool right here. We also have patterns. These are pretty self explanatory. It's just images that you get to fit inside shapes. Again, when I introduce you guys the shape tool, I can go over exactly how these functions. Just like how you have a library for your colors, for your gradients, you also have some for your patterns, and this is where they are located. We also have the channels. This is for when you want to look at a certain channel within your image. So if I were to import something real quick, you can see that RGB ends us with hit Command zero to make it full screen. The reason why you would want to go over channels is when you want to isolate a set of colors within a composition. They're labeled clearly on the top right. The reds, the greens, and the blues, going over them, you can just isolate them. Anything blue and red is currently being displayed right now. Anything green and red it's like that, red and green and blue, they look like that. That's the only purpose of this particular panel. So that's all about just color inside Photoshop. When we move on to the tools, I will show you how to use these colors, but this lesson was meant to understand the logic behind them. Why do we have so many different sliders when we're just dealing with one color? What do the codes stand for, when and where you would want to use a certain color mode. And now that we know the basics, we can now move on to our next lesson where we take a look at the other panels on the right. Oh 4. Move Tool: There are so many tools in Photoshop, and it's really important to understand the basic foundation of what they are used for and how do they operate, basically. This will be a rather long lesson, so I will be breaking them up into pieces and parts, and that way, it would be more digestible. But it's important for you to follow along as I'm doing these exercises so you get a better grip of how these tools work. The toolbar is located on your left. You should see the exact same thing. If for some reason you don't, just make sure you go to Window and turn on tools. So if I undo this, I will not have the toolbar. Just make sure that this is selected. Starting from the top, we have our move tool. This is used to move things around your canvas. I'm going to import the image from last lesson and to import, you can just open your finder, drag and drop it right onto the canvas. You can see that with the move tool, as I go over the image, a blue line occurs around the image. Indicates that this is an element that I get to move around. So just by clicking on it and then dragging it around, I'm moving things. This applies to shapes, text, images, and effects. It's a really helpful tool, and the shortcut to get it is just hitting V on your keyboard. If I'm on something else, I hit V. You can see that it jumps straight to the move tool. When you're on the move tool, there are certain things that you can do. So you can obviously move your element around. You can align them, and you can transform them. So if you're using the text tool, you can't really do those same things. So that's why it's probably the most used tool in Photoshop because you use it between everything. So let's try making this image a little smaller. We can have it selected and then hit Command or Control T on your keyboard. So one more time, Command or Control and then I'm going to get these boxes around my image. You can tell that it's being selected for transforming because of this giant X across our element. And again, anything that I show you right here can be applied to a text layer, a shape layer, a path layer. So just by dragging the corners, I can resize my image. Same thing here. This will maintain the original size of the image, so feel free to move it around. Another thing that you can do is hovering your mouse close to the top of these points. You can see that it changes when I do that. And with that, I get to rotate my image. So clockwise or counter clockwise. You can see on my cursor, it tells me the exact degree. And if I wanted to be on a specific degree, I could just type it in this box right here. So let's say 45 degrees, 90 degrees. Zero degrees. Anything at all, you just do that and you can rotate your image. In terms of position, we do have X and Y coordinates. As a beginner, you wouldn't really use that. Usually, it's more efficient, but if you wanted to, you can just position it exactly by the pixel on your canvas. Okay. And if you clicked away by accident, just click the image again, Commander Control So what else can we do over here? We do have the width and the height currently locked. So when I try to change the size of this, you can see that I can't really squish anything, and that is because we have this locked. So if I click on this once, I can now squeeze my image because the ratio no longer matters. Commander Control Z to undo that and get this locked again. I can also go over the letters, go left or right, to do basically the same thing I'm doing here, but from a different method. You can also use your error keys to move them by smaller increments or just type in any number. Let's say 5%. When I try to resize my image, you can see that it does that by the corners. So every other corner except this guy is moving as I'm trying to move this around. But if I want a different reference point, say, the top one, the right one or anything, you can see these little boxes around this guy. I could just click on one of them. So now this guy is my new reference point. And just like that, we can change the reference point wherever we want it to be. Notice this circular target thing, that's what you're looking for. And if you want it to be at the center, just click the center. And that's where it should be by default. If you don't want the center point, the reference points, just turn off this checkpoint and you don't have to worry about that. And this will just by default, go to the opposite end of where you are moving it. Now, in terms of transforming, we do have some special stuff over here right next to the checkmark and deccel mark. If you click on this, you'll notice that your grid changed immediately. So now we have this situation. You can choose the way you can see these grids. You can add more points, more columns, more rows. The more rows and columns you have, the more precise your transformations can be. This right here is pretty standard. And basically, I could squish and squiggle the insides of this based on the grid. So I can't do anything with the edges here because that was for the previous transform options we had. But now if I just click on this end, I could kind of do this. I get kind of three D, move it around. If you have a gradient thing and you wanted to move like a liquid substance, this is where you would come to do that. When you create a curve, notice how we got these two lines coming from the corner. When you grab this, you can change the edge. The more you take it out, the more intense that curve is going to be so notice this curve. But if you push it in, it's less intense. Pull it in all the way, you're going to get a straight line. And this is a case with all the other ones. So hard to grab it sometimes. Looks like that. If you hold down option on your keyboard and click on it, you can move the corner itself. All right. Let me hit Commander Control Z, get my default grid back. There we go. When I hold down command, notice how I'm getting the option to add another row and column. This is the same thing as up here. Let's say I want another row, I should bring my cursor to the edge. Then I can add a middle row here. So just click Let go and you got yourself another row. If I hold down command in the center and not at the corners, I will get a row and a column, which I could add in for a more precise transformation. So notice how the lines here are more detailed compared to the center. This is because of what we had. So when I move this corner, you can see how not everything is moving. I could just work with this tiny section of my work and get some transformations going. This is the same thing as the command thing. You can just split the warp horizontally, vertically or just do one where there's both or just hold down command. We have some grid options. If I hit default, it just brings me back to what I had. I could make it a three by 34 by four and or five by five. You can also customize this to the way you want it, say, seven columns and three rows. You can do that easily. Command zero. And then this is where you get to decide what kind of warping you're doing to your image. So when you're on custom, you're doing a combination of all of the ones below. But these are things that you would use for something like a shape or a text, not necessarily for an image like this. But since I have it here already, let's go over what each of these do. So when you do arc, it just creates an arc from the bottom, gives us this shape. I could still move the top to have it go the other way and decide how much of a curve I want. Manner control Z. Then we have an arc lower or upper, same thing, but the bottom, as you can see, remains intact. So lower would just be the same thing, but on the other end. And with any of these warps, you still can add the row and the column. So this applies to all of these. Then we have a dapple arc, which lets you get one unified arcing. We have bulging, which makes it rounder in the center. Looks like that. We have a shell lobe. These are just different shapes you can explore the opposite end for upper, turn it into a flag, a wave wave on the inside, a fish shape, and we still have the controls to change this up. We have a rise fish eye effect, which you can just grab the point there. This is something you might use. We have an inflate option, a squeeze option. A twist option. There we go, whichever direction you wanted to go, and then a cylinder option. So you may be wondering, apart from text and other stuff, why else would you want to use the warps? This one in particular for the cylinder warping is really good for mockups. So say you have a soda can and you're trying to warp your design onto that soda soda can. The can itself is shaped like a cylinder. So you would do this and then simply change the width of it and match it to how tall your Soda cans. So it makes things a lot more simpler for those type of purposes. We go back to do wave. And then over here, we have some guide options. The guide options here are talking about the blue line you see on the image. You can change the color if you want how visible they are and how thick they are. Unless you have to, just leave them as the default because you do need to see what changes you're making. This right here just separates just switches the way your warping is happening, just the orientation. If it was warping this way horizontally, we can have it warped vertically. Bending is the same thing as that white box. If I just move this around, you can see bend is changing up here. The height is about the height of your work. Then we have the volume. So that sort of stuff. You can then click this to bring it back to default and undo everything. And once you're done, hit the checkmark. So those are your special warping effects. We do have some general transform options which you can get again with a move tool, then Commander Control team. But this one, you have to right click on the image, and then you get that option. So we have place, which is what we did first when we clicked dragged in our work, placing it, which is have you unselected for transformation. You can do the same thing via Inter on your keyboard. Whichever you prefer. Then we have cancel, cancel the operation. Then we have scale, which decides on how large your images. We have rotate. Let's you rotate it. Skew, basically squishing it or making it bulkier on one end. This is, again, good for mockups. So you have a TV screen that's tilted to the right, you would want to match your design according to that tilt. Then we have perspective. Perspective is more justified than skew. Skew can get a little bit distorted, but I would say perspective is a lot better if you have, like, a well defined rectangular shape. And then distort just lets you do anything you want. So it doesn't really care if it's justified, if the ratio makes sense. You just get to move your artwork in weird ways. Then we have rotate 180 degrees, 90 clockwise, counterclockwise. Warp brings you back to that menu we were looking at earlier. We have the split options, which is the same thing as this or holding down command. Then we have some Tuggle guides, which hides those blue lines that you can configure with this. Then we have flip horizontally. Or flip vertically, and that's about it. I'm going to reset the warp and then just cancel to get back my original image. That's all the transformation. There is another tool in the move tool. Whenever you see this tiny triangle in the corner, that indicates that there's another tool besides the tool you're seeing right now. Notice how the Zoom tool doesn't have that tiny triangle, but a lot of the other ones do. So when you right, click on the Move tool, you can see there's the Artboard tool. The shortcut is also V. But when you hit V, you're going to be directed to the Move tool first. So just right click and grab your artboard. So when we were first setting up our document, remember that we checked a box for artboards, and those are essentially different canvases. So this right here is one canvas that I have, and if I click on it, I could move the entire thing. With my artboard tool. All right. When I click it, I can move it around, and then notice these pluses on the edges of my artboard. That lets me create one on the right. It command Z, one on the top, one at the bottom, and so on forth. It Command zero. When you export your work and say you have seven artboards, that's going to be seven pages of art that you are exporting from Photoshop. But it's important for you to not confuse this with layers. Layers are within one artboard. Artboards are within your project. So it's a bigger concept. Now, with artboards, you can create some presets for yourself. So if you have this special dimension that you'd like to reuse, you could just define it here, then hit the plus sign, and then you can just jump straight into Photoshop and start from that artboard size. But if you want to use a well known size, you can go on here. You can see we have iPhones, we have Apple Watches, and all the other stuff that you might need. And when you click on one of them with the current artboard selected, it changes that to the actual size. IPhone ten is 1125 pixels by 24 36. That's why it's a lot larger. This is predefined by Photoshop. But if you wanted to, you can still change the width or the height of your artboard. The next thing is the background color. By default, it's white. You can do black, transparent or other for the color picker to show. You wanted a different unit, you can just type out pixels and put in maybe centimeters, inches or whichever other units you prefer. I'm going to go back to Logo, which is a regular square, 600 pixels. We do have some other options up here, which is making your artboard two landscape or portrait. But since I have a square, those are being graded out. We can add a new artboard based on these things. If I click on this. I will get this loaded into my mouse and I can just click once and maybe put it right next to my current artboard. We have the orientation, which I could justify them at the center, top edges, distribute the width and all that other stuff. This is for when you have multiple artboards. I only have one at the moment. Then we have some options right here, which by default, all of them are selected. That's the artboard tool. Going back to the move tool, there was one other thing that I wanted to show you guys, and that is when you just have an element on your camas. Have noticed these things, same as the artboards, we have a preset option to make some presets defined for this tool. You wouldn't really use it for the move tool since it's a pretty general thing. But you can turn this on to see the transform controls, which is the same thing that we were looking at earlier. Then you can align it to the center of your document, edges, top, bottom, center it completely means pressing these two, and then there's more options down here. If you had multiple things, let's say I had two things, going to hold down option on my keyboard, click and drag to duplicate my two elements, click and drag both of these elements. I can move them both at the same time. The second one just went under the first one. And then again, we have some default stuff at the corner. We have Auto Select turned on. Make sure this is on. It makes things a lot easier, and then you can go based off a layer or a group. We'll learn about layers and groups in another lesson. But that is basically how you get to use the MV tool and the artboard tool, pretty self explanatory. Throughout the entire course, I will be using these tools interchangeably and it will be used for basically anything between Photoshop. Now let's move on to our next tools and see what else Photoshop has to offer. M. 5. Frame, Crop, Eyedropper Tools: M Now, before we jump into the more complex tools such as the three tools below the move tool, the Marquee, the Lasso, and the Quik Selection tool, we're going to look at some of the smaller tools that only do either one thing or have very minimal features. Now, the Marquee, Lasso and Quik selection are all about selecting something in your images. So that's why I can get tricky because we have to make sure we're selecting the right thing. Our edges are smooth. Maybe we want to remove something from an image and just do more advanced things. That's why I'm going to skip over these for now and jump into our crop tool, which is fairly simple to use. Now, Crop tool, as the name suggests, is just for cropping. Whether you have an empty file like this, you can simply click and drag to make another artboard on top of your file. Similarly, you can grab that artboard and just crop it into a smaller size. And if you already have an image, and go to my layers, I have two pulled in already. I can use my crop tool to only grab a certain part of that image. So it's a fairly simple thing to use. When you long click on your crop tool, you do see some other stuff. So I have this image right here and it does have a shape that can be cropped out using the perspective tool. Now one thing to notice is that we made this document with the artboard selected, and you can see that my first layer is within an artboard. So when I want to say, just crop out this sign, I will run into some issues. So I end up moving the entire image. And when I go outside of the canvas, I make another artboard. That's where things can get a little bit tricky, but it's not that big of a deal because if we make another project with this checked off, we will not have that same problem. So let's go over here and just copy our layer. Just do Command or Control C, Command or Control. So now I do not have it within an art word. You can see the difference right over here, and now I can crop this as I please. So let's grab a tool. If I were to only isolate San Diego, I could just click and drag. Once I'm happy with it, checkmark, and that is my new photo. But the problem here is that there is some perspective action being done here. So it's not flat straight to the camera. And whatever I do, I'll end up missing parts. I'll end up adding parts that I don't need. So that's where the Perspective Crop tool comes in handy. So when you long click Perspective Crop tool. It starts the same way. So you have the square thing, but now I'm going to bind it to the two corners. Once I let go, you can see that I have a different result. I could simply grab one of these edges and follow along the perspective of my object. You can zoom in, make sure it's all nice and tidy. Believe this is the corner. There we go. I'm holding down the space bar to move my canvas and my mouse to just move it around. You can use your track pad to zoom in and out or just use the Zoom tool, which I'll show you how to do in a second. So once I have my setup, I can hit the checkmark, and there is my image. So I was able to crop it without bringing in all those unnecessary things. So that's what the perspective crop tool is for and crop tool. Simple to use. Now the next tool is called the slice Tool. This may sound familiar to you if you use Illustrator in design. And essentially what it does, and as the name suggests is that it slices your image into different parts that you could later export. So if you have done one of those carousel works on Instagram, you can see how when you scroll, when you swipe on that carousel, all the images seem to be intact, but they are different things. So essentially, they use the slice tool to create turn one image into three slices. That if you were to put them together, would result in the original image. So up here, you can set it to normal fixed aspect ratio or the fixed size. I'm going to go ahead and do that Instagram example where we're going to have three identical slices for one image. So aspect ratio one to one. And now let's just hold down shift if you did not put a aspect ratio, but you want to make sure that still is square and then let go when you're done. You can see that it cut my work into two identical squares, one rectangle and one longer rectangle. If I long click, we have Slide Select tool, and I could either divide this into more sections, manually just type in one on one. And this would be my work. I could also move the slices. You can see that I'm making even more. And then when I export this, say, I'm happy with this, export, say for legacy, I have these separate slices that I get to export. This is more of an artistic thing, as I mentioned, but if you ever wondered how they did those type of carousel works, it's via a tool like this. Once we have that, we have the option to create a preset for the different slices. And then we have some things that are like front and to back. This is the hierarchy within these slices. You may not need these at the moment, but that's what they're for. So this brings your current selected slice to the front. This takes it one below the front, one before the last one and the last one. You can also hit promote for it to come one level up until it reaches the front. And then there was a divide, some alignment stuff, and then we have hide auto slices, hides the stuff that it automatically did for you, you can just give each of these a name. Instead of slice five, you could be like loco slice or something, and that's about it. So the slice tool pretty cool, and that is all the tools within this button. Right below it, we have something called frames. This is for when you want to create templates and just need some placeholders. So let's say I was to send this photo to someone else to put their own logo in. To guide them as to where they should put their photos, I could use that frame tool. So just click and drag, and that right there tells them that they should put their photo right over there. We can also do a round one. That creates a circular frame. Now, how does the person on the other end actually put in their own photos? You may have noticed that we're getting different icons at the bottom right of each of these, these are the frames. These are the layers original contents. And the ones to the left, the two things are just indicating that these are frames, but the ones on the right are actually Smart Objects. Now, Smart Objects are a great way for you to not only edit your images, but keep track of exactly what you're doing and have the ability to go back to a certain setting and adjust their value. So in this occasion, say we gave that other person this exact Photoshop file because it's a Smart Object, all they have to do is Dabo click on that image, and they'll be brought inside of the image itself. And this is where they can click and drag their new photo or maybe I don't make a change here, whatever they want to do. But just the mere ability of going from our original project to the image itself is only being done because of that smart object. Now, if I were to copy the same image, Commander Control Z, Commander Control Vp and see how this does not have that icon, but double click here, the only thing that comes up is this layer styles panel. I cannot go into the image itself. Smart Objects is something we're going to look at later for mockups. Image editing and so much more, you'll come across it at least once when you're using Photoshop, but try to use it as much as you can when you're making substantial amounts of editing. Okay, so that's the frame tool that you can see, there's not much going on here. The next tool is the Eyedropper tool. So this one just selects a certain color for you to use. When you click, there are a bunch of other stuff that I'm going to show you later. But the first one works just by click and dragging. So this is a color that I just picked, my other color. If I'm not sure which color I want, I could just click and hold and drag and see what color I want to sample. Then let go, and it's going to be here, ready for me to use. Up here, we have the sample size. So five by five average looks at relatively smaller range of pixels. It's really concentrated into those tiny colors. But if I increase that amount, it's going to be relatively the same color. It's not as precise. So that's what sample size means. And then point sample is a singular point, singular pixel. Three by three means that it takes three pixels across and three pixels from the top, finds the average, gives you the sample. You can use any of these depending on what you're doing. Then we can tell it to sample what. All of the layers that you have, the layers that had no adjustments, the current layer that you're on or current layer in below. The layers are the things you see here. If you cannot see our layers panel, window layers. Are you asking it to only take a sampling from this photo? The photo above it, all the photos, only one photo, that's where you set that thing. Then show sampling ring is the circular thing that we found before. That's just a visual preference. When we long click, we have color sampler tool. When I click once, you can see that I can see let me make another one here. I can compare some of the colors and maybe try something similar. You can see the RGB values and the CMYK. You can make multiple of these samples. You can see that they're labeled one, two, three. So once you have all these samples, you can make some color choices, maybe choose a different color, see if everything's in the right range. That's the sort of thing you might use it for. But this would be a more advanced tool. I'm just showing you how it would work. Click, we have the ruler tool. So I'm going to go back here for a second just because it's a lot more tidy. The ruler tool, as the name says, lets you measure things. So how tall, how long is this top part of the sign. You can see on the top right, I have some measurements. So the width is 257. The height is 16. I didn't really set a height. You can use it to measure things. So pretty cool. When you let go and click and drag, you're making a new selection, so bear that in mind. You can strain that layer based of that ruler. So if I set the the line at which I want the image to be straightened on, I would make that line. Strain layer, you can see now this line that I made is lying flat. So this is especially good with, like, geometric photos, any buildings, architectures, and many other stuff. Long click, we have the count. It basically lets you count parts of your image. So let's say you have an image full of balloons. You want to see how many balloons you got, you can do one, two, three, four, numbers are quite tiny, but you can change your colors and increase the size up here. So let's make the six and make this red. You can see they got quite large. Let's make the label 12. You can see the size got a lot bigger. I'm going to count, say, the screws. And another reason why you might want to use this is when you're sharing a document and you're trying to communicate with another designer, you can be like, look at 0.12. There's a problem with it. We need to be we need it to be fixed. That's one of the functionalities, you can make different groups. So this one could be for imperfections. Another one could be for suggestions and all that stuff. We know that currently we have 14 counts, then we can make another group based on what we just counted. Then when we're done, clear. So those are some of the lesser intense tools on Photoshop. So in the next lesson, I'm going to start by the selection tools, which we kind of skipped. So those would be these three, and there's a lot that you can do with it, especially with the integration of AI. So it's important that you have the latest version and that you know how you could best use these tools to, in this case, select something. So I'll see you guys in the next lesson. 6. Selection Tools Pt. 1: No matter what you do in Photoshop, you are going to select something. So the selection tools are going to be one of your core tools, and we're going to go over them in this lesson. So there are two resources that you can download from the resource pack. Simply import them into Photoshop so you can follow along and see how these tools work. So let's go back to our first image. We have two signs. We have one that is circle and one that is rectangle. You can also notice the perspective, so they're not looking straight at us, but rather there is an angle. The selection tools are on the right. We have the first one that includes the Marquee tools and these come in different shapes. We have a rectangular one, an elliptical, a single row, and a single column. You can use M on your keyboard to quickly access them. If I just go to a random tool, if I click M, you can see it jumps into the Marquee tool. Now, the rectangular one is very straightforward. I'm just going to go to the second image. Using Command or Control zero, I'm going to fully zoom into my Canvas just by clicking and dragging I can make a selection. You will know that you have a selection once you see the marching ants, you can see the lines are moving. We call these marching ants. But if you select and there's nothing there, it means that you have not selected anything and sometimes you get this error. Make sure that once you let go, there are those marching ants that we talked about. Make a new selection and get rid of the old one, you just need to do another selection. So you can see I'm getting rid of the older ones, and I could just choose something new. To deselect something without having to do a new selection, you can do Command or Control D on your keyboard, and you can see that selection clears. So so far, we know how to make a selection by clicking and dragging. Once we let go, we have a selection. To get rid of it, we can do Command or Control D. There you go. Now, starting with the marquee, I could grab a space that does not really involve perspective. So the sky here, it's flat. I'm not really getting any of the balloons. And in this selection, I can now do things without altering the rest of the image. So you can think of this as drawing a box around an image where you now can only edit what's inside this box. So right here, I have the marching ants. I know I have an active selection. Perhaps I want to use the brush, get a random color. And make some lines here. Now, if I try to go out of this space, for example, like this, you can see it cuts off because I have an active selection in that area only. I cannot touch the rest of the image. The same thing goes for deleting. So if I just grab the eraser tool, let's make it a little bigger. Can't really do much here, but I could delete this part of the image completely. And you can see how the shape here is starting to matter because if I had a circular selection, it would look like a circle. If it was a line, it would have looked like a line. So we can just do Command or Control D. I'm done with my selection, and you can see that the effect is still in place. In terms of layers, we're still in the same background layer, so the selection is being done on that layer completely. To undo this, we can do Command or Control Z. Once it brings back the selection. Twice, it gets rid of the old effect, and you can keep on doing that until you have your original image. If I do another Command or Control Z, it's going to get rid of the selection. That's our first shape, but now you may be wondering what's the point of a selection? What you can do with these is kind of make some adjustments to a large area. For example, we have this sky right now, say, it's too bright for me. Instead of grabbing everything, I could grab a rectangular marquee, make my selection somewhere close to the mountains all the way to the top. And then in this area, I could now make an adjustment. So the adjustment that I'm about to make will only be valid in this box that I just made. So going down here, you're going to click on it. For now, I'm just going to turn it a little darker so we can grab the levels for that. So you can see that right now, we have this mask on our layer, meaning that whatever I do here will only be visible in this top part because the top part here is white, the rest is black. A general rule for what's visible in Photoshop is that they need to be white. And if you don't want something to be visible, it would be black. So if I hide this and I just make a normal levels without making the selection, you can see the whole thing is white. So whatever I do here, is going to affect the entire image. If I just click on Command or Control I on the white box, it's going to get flipped to black, meaning whatever I do now is not visible because the mask is fully black. If you get rid of the mask, it's going to be white by default. Whatever I do is once again visible on my image. We're not really working with an entirely visible or invisible image. We are working with a selection, which is that little square that we made earlier with the Marque tool. So now I could grab my slider and make it as dark as I wanted to. So maybe somewhere like that. When I zoom in, or you can just see it right here, actually, there is a clear cut between what was before and what is now. So I was able to get this done using the selection tool. Now, selections may be harsh like it is right now. It's a very sharp line and it looks very fake. But because I have a mask layer, we are going to learn about masks in the future lessons, but for now, you can follow along. We can easily blur this out to give it a more natural. Click on the mask layer until you see this in the Properties panel. If you're not seeing this, just go to Window, scroll down to properties and make sure it's selected, and you could either use it like this on its own or drag it into your right side panel. Now, here, all we have to do is grab the feather slider and increase it until that sharp line is blurred out. So we still have the effect. This is without it. This is with it, so it's not like we got rid of it completely. But we have now kind of darkened the sky using our Marquee selection. Let's do Commander Control zero to fit it back to our screen. Now, the sky is looking great, but we do have a problem where the balloons were also darkened. So that's where you can switch into a different selection tool. And before I go into that, I will show you the rest of the shapes. It's the same exact thing as the rectangular marquee. It's just that the shape is different. So instead of a rectangle, we have a circle or an oval, however you want to do it. If you want it to be a perfect shape, you just hold down Shift on your keyboard. If you don't want it to be perfect, you just free handed. Same thing. If I let go, I have a selection, if I do another one we get rid of the old one and it's the same thing as the old version. Commander Control D will delete that selection, and we can choose the correct shape based on what we have. For example, if I had the moon here, I would not use the rectangular marquee, but rather the circular one, which is what we're on right now. Another thing about this selection tool, which also applies to shapes is that if you wanted to start from the center, so we're going to pretend that this is a circle. Instead of trying to figure out, you know, the perfect size that will fit my balloon, I could go to the center of the balloon a zoom in, click once, then hold down alter option and shift and pull out. So you can see it starts from the sides now, and the two bottom ends match perfectly with my balloon. If I let go of alter option, it's going to be at one corner, which is the problem we had initially. If I let go of shift, it's not going to be a perfect circle. So alter option for the selection to be made from the center point. If you don't hold down alter option, it's going to start from one corner. Shift is going to give you an even width and height. Now, for the balloons, like I was saying, we would have to move on to a different type of selection tool. Now, for this example, I'm going to skip over to the other set of selection because this is the automated one and probably where you're going to find yourself the most. First one is the Object Selection tool and the shortcuts here are W, so you can bear that in mind. First thing is the object selection tool. Essentially, when you click on it, you're going to get this square on your mouse. Now for this to work, you want to be on the main layer, not the levels that we were on right now, but the main one, I'm just going to unlock it. When I go over the image, you can see that it did take some time to load, but now it has fully detected my object. I could go to the other balloon and now that's pink. I could go onto any of the balloons and even the sky and quickly make my selection. This is only possible because Photoshop detected and analyzed the image before you could even select anything. If you go on this guy right here, click on it once, it's going to re analyze the image, but you don't need to do that unless you have a new image. Now if I want to exclude this from my levels adjustment, I just click on it once, and there we go. I have a perfect selection around this shape which is not a square or a circle using the object selection tool. I could go onto the levels and just hit backspace and you can see that it's now removed from my levels adjustment. Commander Control D is going to reveal our basically the original color and lighting of the balloon. Now, there is a halo effect, and that's because we have the feather applied to every single selection that we do. So what you could do is remove the feather and simply smooth out the edge here with a brush. Now that I remove feather to zero, you can see that we don't have that halo effect. Again, I'm going to go into masking in a different lesson, but for now, you can click on D Levels mask. Go to your brush, right click, adjust the size. Make sure hardness is zero. Then with the color black as your front, your four color, you're going to just go over the edge once, just like that. If this is too obvious, still, you can work with the flow of your brush. So simply go up here, bring it down to 50 or something, get a bigger brush. To help soften the look. Not that big, something like that. Click on this again, again, have it as black, low flow, and just go over the edge. Now it's a lot more smooth because we lowered the flow. This way, I don't need to use a universal feather slider. That's one way to select an object, but we still have a lot more balloons just sitting there in the dark. Just to make this more intense, I'm going to go to levels and make this even darker so we can realize the selection capability once we bring the balloon. We'll fix this later. But going back on the mask, we're going to switch over to a different selection tool. The next thing is the quick selection tool, which as the name says, it allows you to quickly grab something. I'm just going to zoom in on this guy. You can use the Zoom tool, click on that balloon, then use your scroll wheel to go down. With the quick selection with the plus because we want to introduce more selection here, we're just going to go over the balloon and let Photoshop decide and detect the edges. So I just clicked once, but you can see that it understood the edges of the balloon. Again, the fact that the background is very simple is a huge help here. We're going to click on the edges here as well until we have our full balloon. So you can see it's kind of editing its own election. I'm just going to go over the bottom here until we have the full balloon. Now, you made your selection, but sometimes it introduced something irrelevant. You can either switch over to minus to remove from that selection, like this part, or you can click on basically hit Q on your keyboard to refine a selection. So Q is just going to take you to this page. And then using your brush, you can introduce or remove something from the selection. Now, the same idea where white is visible. Black is invisible is going to apply here as well. I go to zoom right in. Using space. I can move my canvas. We're going to zoom in here again. And because I want to remove this edge, I'm going to switch to black. So right now it's white. You can click on this arrow or you can hit X on your keyboard to make the switch. Black now as my four color, I could go in, maybe adjust my brush a little bit, increase the hardness, lower the size. I could paint out this part for my selection. Now when I click on Q on my keyboard, the selection has been modified. If I scroll down, we're going to do another part. Notice how here it's out of place. If I hit Q with the color black, go over this area. Click Q again. The selection is now different. So that's another way where you can modify your selection. Once I have my selection, I could go in again on my Levels mask and click Backspace. Once I go on Devels mask, switch to white, and then hit Backspace, I'm going to exclude this balloon from the effect that we applied. So I can't really zoom in here, but you can see we're getting some extra dots in addition to the bottom area. Then Command or Control D to deselect. So those were two ways of selecting. We have more selection tools, but we learned the core ones so far. We can also use the magic wand, which is basically you point to an object, Photoshop detects it for you, and then you just go about editing. So I just clicked on that once and it selected a large area. If I continue clicking, it's going to add onto this. But sometimes it may think that you're trying to redo the selection so you can hold Shift and you can see a plus shows up next to our mouse. Then I'll make my selections. I'm adding to what was there before and you can use this to make multiple selections. It's a little hard when your object is big and has different colors in it, but this is one of the selection tools. Right now, it selected the ground as well. I could hold down alter option to now remove. So there's a minus remove from this selection. I don't want the grass, but only the balloon. Shift again and we can grab the rest of our balloon as much as we can. It's not really ideal for this object, but you can see that it's still a selection tool. Then we can do Commander control team to deselect. Now, up here, we have a different set of selection tools that I'll continue to show you in the other photo. So we have more geometrical shapes. But before that, let's try to isolate this balloon with the easiest tool for this example. Gonna click on it once. It makes the selection. I'll go on this with the color white hit backspace. So now this balloon is also safe from our levels adjustment. And I could just bring this back to our first look, our first amounts, and everything looks normal now. So we learned some of these selection tools here. In the next part of the lesson, I'm going to show you the geometrical ones that are more suitable for a situation like this. So I'll show you what that looks like in the next lesson, and we can also explore the select and mask tab. 7. Selection Tools Pt. 2: Alright, welcome back. So we learned about some of the selection tools, but we left the more geometrical applications for this lesson. So the second row has a different set of tools that are called Lassa tools. So it's exactly as the name says. You basically make points. Sometimes it's two points, other times it's multiple, and it's usually used for things with edges. Right here, we have two types of signs. One is a circle and one is a rectangle. The only problem is that we're dealing with perspective here as well. So I can't really use the marquee tools because it's not going to exactly fit the shapes due to the perspective that we talked about. Same thing goes for the rectangular one. It doesn't really work. That's where you can switch over to the lasso tools for selection. You long click on this one, we have a different set of tools. For the first one, for this shape down here, you can switch down to the third option because it allows you to define the corners and easily make your shape. That means corner one. If you click and let go, there's this long strand where you now have to connect it to the second corner. Say this is my second corner, third corner, fourth corner, and I could either close the shape. There's a circle next to my mouse, or I could make even more corners, and you can see how we're going to get a very different type of selection here. But everything else after that is the exact same thing as we saw in the previous lesson. I could make an adjustment just with the selection, and I could deselect with Command or Control D, it's the same idea. It's only how you get to that selection. For our real application, hit C on your keyboard to zoom into the sign. Then go back to the Lasso tool hit L. And we can start defining the corners. So first corner, second corner, third, and fourth, and then we can close the shape. So now I was able to include perspective here just by switching over to a different selection tool. And I could do whatever I wanted to do, maybe change the hue of the sign. I want to go for something more green, maybe work with the saturation and the lightness overall. So just like that, I made this selection. Now there is more Lasso tools other than this one. Now the first option works with the other selection tools. Maybe you made something, but you want to further define it. For example, I made this selection right now. You can see it's in my mask layer. If I hold down Command or Control and click on that layer, going to get that selection back. But because I'm on the selection brush tool, it's now pink. That means that I could now work with different things such as using generative fill to modify what's inside using AI, when I go to the original layer, we could remove what's inside here. I could modify the selection further by either transforming the selection. I could rotate it, I could scale it. Whatever need be. Or I could maybe expand the selection without altering the shape. I could make a mask. I could fill it in and do a bunch of other stuff. So this is a little different from all the other selection tools that we've looked at, because just drawing isn't going to give you a selection, like the other ones do. But I'll show you where we could use this in the circle sign. Going down, we have the Lasso tool. So this is a free hand selection tool. I could draw anything, and as long as I go to the first point, I make a selection. So it could be a little wiggly shape. It could be a long shape, it could be a short one, anything that you want. And if you don't close the shape, it's going to automatically snap it to your starting point. So that's my starting point. That's the end. You can see there is a sharp line. If I let go, it becomes a shape like this. I could do different things really with this type of selection tool. Again, everything else that comes after is the same, modifying the selection, making a mask, and even doing Command or Control D to deselect. The last thing is the magnetic Lassa tool, which is going to basically attract the edges of the selection to the edges that Photoshop detects. So right here, this is an edge a clear cut between the orange background and the sign. So if I attempt to make a selection using this tool, I will make a point, and if I drag on, you can see how it starts making shapes. But if I go closer to the edge, it kind of snaps to the actual edge of the sign. And I'm getting all of these points that I could now modify. This is a little bit more precise than the other ones. And once I'm done, I click on it. So we have this shape right now. It has its own applications. I tend to not use this one that often, but the whole point is that it's magnetic. It will look at the image behind, and it will create all these points for you. If you click, you're going to make some points yourself, but it's a lot less smooth than all the other ones. If you want to get out of it, you can hit the escape key on your keyboard and you're back to your original selection. We have this selection right now. Let's try to select this sign. So what we could do right now is use the Elliptical Marquee tool, and I'll go to the center, as we learned, hold down ulteruption and shift to make a circle. Just like that. Once I let go, we can see that it doesn't exactly fit with the sign because of the perspective problem that we talked about. But if I now switch over to the selection brush tool, it turns pink, and I could now transform the selection by dragging it to the right area. And by right clicking, I could access the other transforming tools. So I'm just going to undo the scaling that we did. We'll switch over to perspective and then grab the edge here, simply move down our shape like that. If we wanted to, we could also work with distorting the shape just so it can fit in. So that's going to be distorted. You can grab the corner and try to fit it to the circle that the sign has. Something like that. Once I'm done, I could hit done, and I have this pink selection. But if I go to any of the other tools, it will look like the marching ants that we looked at. Now, before continuing with anything, I could now switch over to the Select and Mask tab where you can do more precise selections. But you need to have that marching Ant active. So right now, we're seeing it right here. If ID selected for any reason, this will not be available. So selecting the main layer and having an active selection allows you to go to this tab. I'm going to click on it, and you can see how similar it is to when we hit on on our keyboard. The only difference is that you're now working with different sliders rather than the brush tool. On the left, you have some additional tools such as refined edge brush tool. So this is really good for edges that are a little bit out of the ordinary. For example, hair. It could be frizzy, it could be wavy, straight, pointy, or anything. And this really comes in handy because it allows Photoshop to grab those details, analyze them, and give you a better selection. On top of that, we also have refined hair, which is made for hair or anything fuzzy, and you could use it in addition to this tool. Have the Quick Selection tool that we already used. It was one of the main tools on the side, but we also have some of the other tools here. So this is our brush tool, which is the same brush tool we used to make our mask in Photoshop with the black and white. We have the Object Selection tool, which is the one that we used for the balloons. We just brought it in here. We have the Lasso tool for free selection, the move tool to move our canvas, same thing as the space bar, and then the Zoom tool, which is similar to the Z that we did to Zoom in. Now, say you made your selection, we already have one. What can you do on the right side? The first thing is how you're viewing your selection. So right now, whatever that is not included is red. I could change that by going to view, going for onion skin, marching ants on white, black and white. Whatever view helps me best, I personally like the red one because I could clearly see the edges. You can also go for the refinement area, basically show everything. You can show the original if you want to just cut that out for a bit. We didn't do any adjustments here, so I don't need to use these two. High quality preview if you're dealing with really small details, you could turn that on. The opacity bar is how intense this color is. So mine is red, so I could decide on the opacity. And then you can assign what this color means. So masked areas is red right now, but I could have it be the selected area, which is the other way around. Some presets in case you want to save any of these slider numbers for yourself, you save them here. You can also remember the settings so that the next time you open this panel, it has the exact same numbers. Now, edge detection, you can kind of have Photoshop detect a certain amount of radius whenever you're brushing over it with one of the tools. I usually do zero, and if needed, I increase it. So with a smooth shape like this, I don't really need that much precision. Then we have some global refinements. Once you have your selection, do you want to smooth it out? Do you want to blur the edges a bit with feather, create more contrast, or shift the edge to either add to your selection or remove just like that. If you clear the selection, you get rid of what you did and you can also invert it to grab everything else. The output settings is basically whatever you do, where do you output it to? So when we exit this tab, is this going to affect the selection that we made? Is it going to create a new layer, a new document, a new mask? You can select it here. I tend to go for selection so that if needed, I could make more adjustments and then make my own mask. If you have selection, click Okay. We end up with the selection output. Once we have the selection, I could now go in with a different slider and do something else. Maybe go for purple. I was able to select my two signs using the Lasso tools. But of course, we have all the other ones for you guys to explore, as well. So those are these selection tools. When we move forward, you're going to see that they're very important, no matter what you want to do in Photoshop because they lead to masking, selective adjustments, removing subjects, adding subjects, using AI in any way, cloning and many other things. Make sure you're comfortable with them, try these exercises and get a hang of how to use them and which one you would use for certain situations. But one of the applications that you could do once you have a selection is healing, which is what we're going to look at in the next lesson. So let's go ahead and see what that looks like. 8. Brush and Layers Pt. 1: This lesson, we're going to go over brushes and layers. This will be a two part lesson because these two work together, and it will really help me tell you how the whole layering works within Photoshop. Now, layers are essentially pieces of paper that you place on top of each other, and the more you add, the more details and the more flexibility you have over the way your image looks. One layer could be dedicated to some filters, other layer could be for some colors, and that's how you build up things in Photoshop. I just made a new document. You can see that on my Layers panel, which is right over here, if you're not seeing this, go to Window. And click on layers. We will always start with a layer called background that is locked. Notice this lock and everything else will be great out. It doesn't matter if this is a white box, an image, a cartoon, anything you bring in will start this way. Now, if I unlock this by clicking one on the lock, you can see everything else comes back. Now I have some stuff to work with here, and most importantly, I can start editing this layer. The first thing you can do is change the name of your layer. So instead of layer zero, I can dapple click on the name and call this something else. Once I have that written out, hit Enter and there is my new layer. Now, on this layer, I could start adding things to it. Let's go ahead and get our brush tool, which is right over here. Click once on it, and you will see the circle, which may be a different size, might be this tiny, might be this big, depends on what setting you had before. Then when you right click on the Canvas, this is how I got this panel. Let's actually go over it, size, either type in the pixel number or just change the slider here. One thing you can also do is use your front and back bracket keys to increase it by one increment or decrease it. Hit the right bracket, you can see that I'm making this bigger. Hit the left bracket, it will make it smaller. This is on your keyboard. Let's right click again. Next, we have hardness. Hardness is talking about the edge of that brush. Is it very soft or very hard? Let me just show you visually the difference. I'm going to increase my size until I get a nice color. Let's click away. And right here, I have the color black. We learned about colors already, so you can just tap a click and get a different color, but I will go with a bright one so we can tell the difference. With this in the front, I will make one click on my canvas. Once I let go, I have this red shape. Let's right click and lower the hardness all the way to zero. Now you can see that my brush size changed, but I didn't really go over the size. That is because most of it is this feathering effect. In theory, these two circles are the same size. But this one has a softer edge. What's happening here is that from this part till around here is that softened effect happening. But here, it looks like that. That's the difference. I will now go back to my brush tool right up here, right click again. Now, instead of just hard or soft, you can choose a middle ground that's a little bit softer and this really depends on what you're trying to draw in. If you have a tablet and you would like to paint, this is a tool that you would be using most often. But using the brush tool, you can also make a lot of masking, which we'll get into in this lesson a bit later. These are the general brushes. You do have some libraries on how the edges of your brushes look like. This was soft round, which is this, hard round, that. If you scroll down, we have soft round pressure size, hard round pressure size, this one, it's mostly for the tablet because you can't really determine the pressure with your mouse on your computer. But that's what the pressure is talking about. We also have some artistic stuff like pencil. You can see that looks like a pencil and make it a little bigger. It looks like that. If we scroll down, we got some special effects stuff, some wet media stuff, let's go for one of these. This is a blending brush, actually. I can blend this red into this white, and it looks like I'm painting. Blend these more. If I blend the whole thing, I get this soft pink color. Think of it as a regular paint brush. I'm hitting Commander Control Z to undo. If I scroll down, I got more stuff like woods a little smaller, gives us this woody effect. So if I have a brown with a lighter brown spots, I could use this brush to make, you know, the wooden pattern and Photoshop. We have raindrops, snow and rain, a leaf design, but snow and rain. And a lot more. If you want, you can import your own libraries, by going over here, we can import our brushes. So on the Internet, there's tons of libraries for you to download. Let's say you want a special effect, maybe oil pastels. There's oil pastel brushes on the Internet for you to download, and then you can paint in Photoshop with pastels. You can also export your own brush. Show you how to make a custom brush in a further lesson. But this brush panel is pretty important. You can rename a brush, delete it. Show what you see here, so the tip the name, you can see it showing us a tip here and a stroke. We can change our default brushes, import export, get more brushes, convert legacy to presets and show legacy brushes. So legacy basically is bringing a new set of brushes from the older versions of Photoshop. So you can see that we didn't have this tab before, but now we do. So let me just go to one. Like, for example, flat angle, low person. That's one of the legacy brushes. For more detailed work, essentially, we have watercolors. Can see um it has the texture. If I go on it again, I can darken my coloring just as you would with normal paint. We have some pastels. We were just talking about that. Right, click. Got plenty of more. Some chalk, if you need it. I'm in grass shape. So if you like painting, this is a place to do it. See, I got this nice grass shape. You can change the shape, the size of any brush that you see here. So that's how you do it. Another thing you can change is the direction. So right now all my grass blades are facing up, but I could change the direction here and have them face this way. Perhaps another way. All of those changes can be done rather simply. All right, so that's the brush panel. Now let's go back to layers now that we know how to use the brush. Again, we'll use this in almost every lesson, so it's important for you to be familiar with it. I'm going to go back to hard round, which is what we have here. It's increase the size. Now I want to get rid of this layer and start fresh. Selected. We can go ahead and first of all, make a new layer because you can't have a layer panel with nothing in it. Click on this plus sign to make another layer. Now, grab this and hit Delete. Here we go. I could make more layers. It'll be layer two, three, four, five, as many as we need. If I want to delete more than one layer, grab the first one, hold down Shift, grab the other ones, and then hit backspace or that trash icon in the bottom. You can also let me hit Command C. Grab a few by holding down Command or Control. So let's grab five, three, and one. Right click. We can delete the layers or hit backspace. And now I only have two and four. Now, let's try to do some stuff here. I'm going to hide layer four, turn off this eyeball, and just work on my layer two. Using my brush, I'm going to make a very simple line. Notice how my background is this checkered situation. This just shows that it's a transparent layer, meaning that right now the only thing on my layer is a red line, and it's not like the previous layer where we had a white background. So if I've turned this one on layer four, you can see you can't really tell the difference because there's nothing on that layer. Let's step a click here and get a blue color. And then on this layer, I will make another line. There we go. Now I have two things on top of each other. If I want the blue to go underneath the red, click and drag it right underneath, and there we go. If I want two reds, I could right click duplicate the layer and then maybe bring one below layer four, Command or Control team to transform it. Let's maybe move it up here. Let's grab all our layers, bottom layer, shift, top layer using our move tool, click and drag it to the center. So you can see that everything is starting to connect in terms of the tools. Now, if I want to make a change to my red layer, the one at the bottom, so it will be this one. You can see the blue outline telling you exactly where it is. I can use maybe the erase tool. It's the same thing as a brush tool, but it just removes instead of adds. I will now click and drag to erase parts of my brush. Now, if I'm on this layer, I cannot erase the blue things. I can only remove the red things. Because the blue line is only on layer four. I can only do it like this. If I'm on layer two, you can see I get an error because it's hidden and I cannot delete anything from layer four. You can see this sandwich effect and I could just build on on top of this, maybe 50 layers, ten layers with different things, and that would all be okay. All right. So going back to the layers panel, we can now decide how two things can blend on top of each other. So layer two is currently the top layer. It's on top of everything else. You can see here it's called we have normal opacity fill. So the normal is talking about the blend mode. How is this top layer being blended with the bottom layers? So normal is just your regular thing. But if I click once, you can see, we get this long menu of blending options. So if you go over each one, you can see how things start to change in interesting ways. I will go over what these mean. Let's actually make a new layer, and delete these for now. Use my brush to make 22 circles. One circle. Make another layer. Let's make a different circle and put one on top of the other. All right. I'll use my move tool, click and drag to move both of them towards the center. Let's actually use this one to align it, and I'll just move this guy a little bit like that. All right, so we have these two circles. Let's go to layer six and call it red circle. Call the bottom one. Blue circle. Let's go over each one. Dissolve, you can see how the edges turned a little bit different. Let me zoom in actually. Using my track pad. Pay attention to the edges right now. They look pretty normal, but dissolved pixelates the edges. Now, between all of these, you can see there's these lines in between, and that is because each of these groups to a certain thing. So the top group, which consists of darken, multiply, color burn, linear burn, and darker color, are all about darkening that top layer on top of the bottom layer. So darken, you can see that intersecting layer turns black, and it's the same thing for almost all of them. The second group is the opposite, so it's lightning. So now we can see we're getting a lighter color. The next layer is about building contrast. So right now, you can't really tell with these two shapes. But when we do our healing lessons, these will be pretty evident. Then we have difference. What's the difference between these two colors, the exclusion, subtraction, and divide. And we have hue, saturation, color, and luminosity. These, as long as you know what each group is for, using them in different situations can help you blend layers on top of each other. Next to this is some pretty simple but interesting things like opacity. How much of that entire layer is visible? Right now, it's at 100%. Lowering this will make it go away. Make it transparent. And you can click on this to get a slider or type in your percent manually. Now, Phil is talking about that color. So how deep is that color that layer's color, and you can change it just like opacity. Now, opacity is in terms of everything, so the lightness of color, desaturation. But Phil is about how much presence it has within that layer. Now, we have some lock options here. At the beginning of the lesson, you may have noticed this. This will lock your layer, which means that if I grab my move tool, I can still move the blue. But I can't move the red one because it's locked. If I unlock it, I can move it again. The next one is in regards to artboards. When you have your artboards, you can click and drag a layer onto another artboard. But doing this will prevent that from happening. So that's what this is for. Next, we have it to be locked in position, which means that I could still make changes to it, but I cannot move it with my move tool. Hence why it has that icon. Next, we have the brush lock, which means that I could move it, but I cannot make changes to it. You can see it makes a new layer. I can't do it on top of red circle anymore. And then finally, we have transparent pixels. So if I do this, I cannot paint on anything transparent, which is the exterior. If I just clicked on this to get black and white. I'm on red circle. I can paint the inside of that red circle only, not the areas around it. If I deselect that, I can do anything I want. Those are some of the lock features for the layers panel. Pretty cool stuff. Next, we have some things that we can do with more than one layers, which is grouping. Right now, these are two individual layers, meaning that they're in no way connected. They just simply happen to be on top of each other. But what if I want to add an effect to two layers at the same time without having to combine them into one? That's where the group option comes in. So if you click this once on top of a layer, it will create this group. Now I can click and drag a layer to put it inside the group. You can see how it's indented to the right a bit, and now red circle is inside group one. I can put that second circle in there and do something like that, and now I can change the opacity for both or lock both of them. I can remove something by clicking and dragging it out, and now it's no longer indented. Now say I want to combine my two shapes. I don't want them to be separate anymore. That's where I get to merge the two layers. So right click on your top layer and hit Merge Down. And now I have one layer. I can no longer move them separately. I wouldn't suggest you guys doing this unless you are certain because you cannot undo the layers anymore. Say I did this, I went ahead and painted a few more stuff on it, I can no longer break the two apart. Let's hit Command or Control Z. Click. I also have some options to merge everything visible on my screen, even the group got merged. I have the option to hide a layer, rename it, flatten the image, which takes away everything, even a transparent background and takes you back to square one, which was a locked background layer. So pretty simple stuff. We have some other things here as well. To keep this short, we mainly want to remember how to duplicate a layer by clicking this to copy one of the layers, can also hit Command or Control D to duplicate. There we go. You can hold down Alter option on your keyboard. You can see how my cursor turns into two. Click and drag on your layer and let go. We just made a duplicate. I can make multiple ones and do the same thing with the red layer. There we go. Now I can put everything within this group or actually make a new group, so select everything. I make a new group by hitting Command or Control G, and there is my group. Now I can maybe turn this into one full image by hitting merge group. Now, once again, I'm not able to move things independently and get to do it as one solid unit. We're also able to add adjustment layers. So the reason why these are in here is because each of these will give you a separate layer to work with. So on top of group two, let's add a brightness and contrast. Going to make some changes. You can see how this is a new group. Let's actually choose an adjustment that's more visible. I will go to hue and saturation. So with this made a new layer. Let's tap a click on this icon and just change the hue. Once I have this, this will be a separate layer to work with. So I can hide it. I can lock it, lower the opacity, and the logic is the same as everything else. Just like layers, I can just click and drag this below. Since this adjustment is below my layer, it's not affecting anything. Adjustment layers only work when they are on top of a layer. That's why when we move this around right below, my shapes are as they were before. I I move it up, you can see how the adjustment is being made. Let's delete this. We got some other stuff, these are all things that you will learn in the photography lessons. If you've edited a picture before, most of these words are familiar to you, but if not, don't worry about it. We'll come back to this in a further lesson. Now, in the next lesson, I will show you how to work with layer mask. This was something we saw in the selection lesson as well. When we went over one of these, we saw select and mask. So mask refers to a masking layer, which you can also create down here. So let's go ahead and move on to the next lesson where we learn how to do exactly that. 9. Layers Pt. 2: So I have this photo right here. We're going to get started on learning how to use layer mask now that we know what layers are. So with this image, we have the subject floating in the air. I plan to use the transformation tools, the selection tools, and the brush tool to add some elements behind the subject while keeping her still in front of that background. So first thing you'll notice is that there's a lot of white space. So let's transform our image so that it fits our canvas. Down Command or Control team until you see the outline like this, hold down Alt or Option, click and drag until it reaches the edges of your cavas. Hit the check mark once you're done, and now we have a full image. What I'm going to do now is use any of the tools to select my subject. So you could go ahead and use the Object Selection tool because this is a pretty easy separation. You can see that since I have this turned on, it immediately finds the subject for me. Even considers these two as two separate objects. Also go ahead and use the Quick Selection tool, the L as Tool, the Magic Wand tool and just isolate that subject. So since this guy has it all figured out for me, I'm going to click once, and then using the option we learned about, add on to my selection. So now I have my subject selected. If I were to right click on this layer via copy, that is what it looks like. But what if I don't want it to be a singular separated layer, but I want to maybe later bring up a little bit of the sky or some parts of her body that were removed by accident. So let's hit Commander Control Z and go back to the marching ants using any of the selection tools. Once you've made your selection, you will notice that there's this layer mask down here and it's the same thing up here. Difference is that when you click this, it will make a mask for you immediately. But if you want to refine your selection and then make that mask, we can hit Select and Mask. So before I go there, what are mask? So masking is basically where you tell Photoshop, you want certain parts of the image visible while hiding the rest of it. The good thing about masking is that you can use your brush tool to reintroduce parts of the image and get rid of the parts of the image in a very precise way. So you can use a one pixel brush to really fine tune those edges and then use that method to kind of have a way to go back and fix your mistakes. If you were to make a selection and just copy that layer, there isn't much room for you to go back and fix your mistakes. So this is where we're going to be brought in when we hit Select and Mask. It's a whole different page, but don't panic. You can always hit Cancel down here or hit okay to just leave this and go back to your original canvas. So let's start with the things on the left. Lot of them should seem familiar to you. We went over them in the previous lesson. But let's take a look. The first one is our Quick Selection tool. And these are just ways for you to fine tune your selection. So that's the reason why we're brought here. So the Quick Selection tool, this tool is native to this panel only this page, and that's the refined edge brush tool. So it essentially works like a brush tool, but the difference is that it really focuses on the edges of that subject. And then, of course, the more finer part. So it could be hair, fur, little bits of dust, whichever part of an image you are finding hard to select on your own. We have the brush tool, the Object Selection tool, the Lasso tool, the hand tool, which is what you use to move your canvas and the Zoom tool. Now, when you're working on Photoshop, there are some shortcuts you need to know, especially with something like this where you really have to zoom in and out multiple times, move your camas around. So just as a reminder, you can use your pad, your mouse track pad to zoom in or out. You can hit Command or Control zero to fit on screen. Hold down the spacebar to move your cavas around. And do all that stuff. So these three things you need to know they'll come in handy. Alright, so let's zoom in on her hair. I'm going to use the Zoom tool for now. Let's say the way the hair was selected was just not up to our standard. We obviously don't want this chunky mess over here. So let's try using the refined brush tool. So we have the plus and minus. Whenever you see plus, just know that it's going to add to a selection. Minus it's going to remove. And in this case, because it's a mask, it's going to restore the original image, meaning that if I were to minus my selection, we remove from the red part. So whatever is red right now is not in our selection. As you recall, we chose the subject in the balloon only. So plus we'll add more of this red area, which is excluded from the selection, and the minus will bring some back. So with the plus, we want more red, basically. Let's go over the edges of her hair. Go, and you can see immediately we have less of that sky blue. I'm going to go in on the other areas and just fine tune my selection. So that's what it looks like, just to show you up before. This is what we have now. This is what we had initially. Now, another thing you can do is have Photoshop do that for you. You can see right up here, we actually have a refined hair option. Click it once, Photoshop will detect a hair and it will fix it for us. So I didn't really have to do the brushing myself. Now, keep in mind, it does say hair, but that does also apply to fur, maybe some fluffy shirt, anything like that. So mainly it's used for hair, but you can also use it for other stuff. So let's say I'm happy with this. Let's go over this area a bit. Using my space for, I'm going to move down and make sure we don't have something like this. For something where we have more manageable shape, so we're not dealing with hair, we can actually go ahead and use the brush tool. So it's right beneath that one. Again, plus minus and then the size. It's just like the brush tool that we learned about. You can hit the forward bracket key to increase the size. And the left bracket key or backward bracket key to make it smaller. That's another helpful shortcut. If you hit hold down Alter option, you can just switch. So notice up here, plus or minus, hold down Alt and just remove these parts of the sky that ended up in our selection. We use the bracket keys, zoom in a little bit more, and you can see how delicate this becomes. So we're working literally pixel by pixel over here. Anything you see that is blue, we're going to get rid of it. Now, from afar, when you zoom out, you may not be able to tell that this was a bad selection and that we got bits of the sky. But when you add other designs, it will become really evident. Okay, let's go down here. I think everything looks fine. Just gonna assume this is the shoe lace and remove it like. Alright, so I have my selection. Before I hit Okay, let's take a look at some of this stuff on the right. These are the properties for your masking operations. So first of all, there's this thing called show edge. So when you press that, it's going to show only the parts that you've edited so far. So as you recall, in the beginning, we worked with the hair. So this is now showing the edges that it refined, which in our case was simply hair. We have show original, so you can see it before and after, just like this. Hold down peak to do that. We have the view which shows you how you want the masking to be seen. So usually it's just this red color, but you can do onion skin, which is basically where it takes that excluded area and lowers the transparency. We have the marching ants, which we're already familiar with on black on white, black on white, and then on layers. So currently, we don't have any other layer. That's why it's transparent. Usually, this is what you should go for because you can tell the difference between what's being selected and what's not a lot more easier. We have high quality preview. This will really help when you're working with larger and more precise selections. It will take a toll on your Ram, so make sure your computer can handle it. But instead of showing you the mini pixels that we had before, it's going to try to show you a higher quality preview when that zoomed in. Next, we have opacity. That's just how visible this red is, this overlay. You can also change it to a different color if you want, but red is a classic, so I'm going to leave it as that, and then you can decide what this red indicates. A selected area or de masked area. The presets here, you can either load a preset, save your settings as a preset itself, and just have them here whenever you need it. You can also hit remember setting. So the next time you open this panel, every setting here is already set to what you had it before. We have the refined mode. When you exclude those parts of the sky to isolate the hair better, are you using color aware or object aware? Now, what's the difference? When it says aware, it's basically talking about what it's using to replace those areas. Color just looks at the color around that selected area. Object looks at the object. You can see when you go over it, best choice hair or fur on complex background. To say if there's a couch behind my subject, I do want Photoshop to be mindful of that and not create some smudged look behind her hair. But since we had a blue sky was pretty much the same blue throughout, I chose color aware because it's just one color. Edge detection. So right now it's at zero pixels because the refinement area is very tiny. So hair in general, you don't want to have a lot of radius for it. But say you were refining a tree, you do want to increase that radius because there's bigger parts that you're trying to set apart. Then if you're not sure what to add on here, just enable Smart radius, and it will determine the radius of your brush. Now, here are some global refinements. You can smooth out the edges, feather the edges, create more contrast between them, and then shift the edge. So if I just go over each one, you can see going to the left is going to go inwards. Our selection, going to the right, does the opposite. Contrast, lightens or darkens that edge. Feather softens the edge, and then smooth smooths your selection. So if you use the hard edge brush and you have these jacket lines, you can just smooth it over with this. All right. Let's step or click on each one to set them to zero or their default values, and then move down to our last setting. We do have clear selection and invert. So if you wanted to grab everything else, leave that out or clear the selection entirely, you can do that as well. Alright, so decontaminate colors. So sometimes in images when they're taken and uploaded on the Internet, you will end up with some glitches where they show themselves as, like, purple bits around the corners of your subject, maybe some cyan. And when you sell like decontaminate colors option, it's going to look for those glitches and get rid of them. And then you can decide how intense you want this to be. So at zero, it's going to look like that. At 100, it's going to look a lot better because it's getting rid of those glitches. Is specifically especially important for low quality images. So if you notice some weird colors around your subjects, the edge of your subject selection, just come down here, enable this, then play around with the amount. Lastly, we have the option to choose where we want this new thing, output it to. So we can either make a new layer with a layer mask, just a new layer on its own, a whole new document, a new document with layer mask. Now, the ones with the layer mask still allow you to fine tune your selection in the future and then go back to change your selection. There is a new layer or the new document has this current selection set in stone. You can't really do much with it. Basically, you have to start over. Let's go ahead and choose new layer with layer mask and hit Okay. There's my new layer with the layer mask. That's what it looks like. I'm going to go to a different tool. Let's hit Commander Control zero and move this here. I have my background hidden, but if I bring it back, that's just our original image. Now, when I bring our top layer, which is the mask, I make it visible. You can't really tell the difference. That is because it's positioned right on top of it ground. But if I were to move this with my move tool, you can see I just have another subject. So notice here that the subject is all in white and the background is in black. When it comes to masking, always remember that whatever is white is visible, whatever is black is not. And you can also fine tune this, if you were here, just make sure you're on the mask itself. Use the brush tool that we already learned about, have the color set to black and white. Let's switch to black. Let's hide this for a second. This layer, I could use the color black to exclude parts of my subject and then use white to bring it back. But the problem is that it will bring back the entire image. So do be careful about that. You can also switch between these two by hitting X on your keyboard and just making this a lot simpler for yourself. So what's the point of making a layer mask? For the purpose of this lesson, we're just going to try something really simple. Let's make a new layer right above our background layer one, and then use our brush tool. To make an interesting shape. So let's grab one of these artistic ones, increase the size, get a nice color, and just start drawing. So notice how our subject is not being affected by this brush at all. But if I were to hide this, the original image is because as we learned in layers in the previous lesson, hierarchy is really important. If I bring this below my background, it's gone because this is being placed on top and it covers everything. So let's go back, bring this on, and now I'm able to just put whatever I want behind my subject. And then since it's a separate layer, I get to move it around. I make some pretty cool stuff. What I can also do is use all the filters we learned about previously. Make maybe a hue and saturation effect right above our background, but below our layer mask, table click and maybe change the hue of the sky. Let's make it purple, maybe lower the saturation a bit, and there is my new background. My subject still remains the same, but we got this going on. Another cool thing you can do is, as I've been saying this whole time, going back to adjust the selection. So right now, there is no marching ants for me to immediately go in and adjust my selection. Let's say I'm trying to get rid of this balloon and I just want my subject. What you can do is hold down commander control on your keyboard. You can see my cursor changes, and then click once on the mask, and there are the marching Ads. Now, when I'm here, you can see that there's no selected mask. If I want that option, I have to go to one of these tools. But since this is a perfect circle, what I can also do is use my brush tool. So with this selected with the marching ants visible, hit Q on your keyboard, and you can see that we get that red overlay again. Once we have this, we can hit B on our keyboard to bring our brush. Right click. Let's get a better brush, hard round. And then using that black and white logic we talked about, get rid of that balloon. So let's hit X on our keyboard to get the black color as our foreground, zoom in, and just remove the balloon. Once we're done, we can hit Q on our keyboard again to exit this mode and then make another layer mask. Go to layer zero, duplicate layer zero by holding down alter option, clicking and dragging that layer. And then with the marching ants, we're simply going to hit the layer mask again. So now I only have my subject and not the balloon. Then I could use, let's bring this all the way above, grab the same filter and saturation. And then just change the color of the balloon. Now notice how it's still changing the color of my background. That's where we need to limit something to one layer only. So I'm going to make this neon green, go back to layers, and instead of having this effect, everything below it, I'm going to hold down alter uption and then have my cursor in between the two layers. So alter option, click once between them, and you'll see this arrow pointing down. That means that this human saturation to effect is only being applied to background copy, which is the layer the first mask that we made, meaning that my subject is not going to have anything done to it. This one is affecting the sky, but I could do something else here just to show you. Hue and saturation, let's make her pink. Go to layers, again, alter option, click in between, and now this pink can rename it even. It's only affecting my subject and this one just the ball. As we also learned, we can play around with the opacity, change the blend mode, do whatever it is we have to do. Lastly, we do have some special effects. It's called effects. These are things that you can apply to one layer alone. I will go over these in further lessons since each of them are pretty heavy on their own. But essentially, these are just for the selected layer. So it's not like the adjustments where it would be applied to everything below it. It's just for that layer. So to show you an example, I'll just go to Bevo and Boss, say, this is the effect we're going for. It okay. You can only see the effects on that layer. I can hide it and do other stuff to it. But that about covers how we can use our brush tool, the layer masking, and just layers in general. In the next lesson, we're going to go over other tools that can help us work with these layers. So we have the healing tools which are the following, this one, the brush tool, the Clone tool, and then we have our text tool, which is just dealing with text, but in Photoshop, there's a lot of options for you to make it more than just a text. 10. Heal and Adjustment Tools: When you heal in Photoshop, you're essentially getting rid of that original layer and replacing it with a modified version made from the surrounding parts of that selection. That's going to make sense when we actually apply healing to this image, but it's basically an extension of selection because you have to start by selecting an area and then heal that part that you want to remove or modify. So go ahead and import the two images that we have right here from the resource pack, and then you can follow along the exercises so that you can get a better idea of how they work. This is our first image. Now, we have some areas that we're going to remove, and I'm going to zoom in right here. But notice how in order to remove them, I would have to select them first. So we looked at some of the tools in the previous lessons, but for things like pimples or any sort of spots that we want to remove, I tend to go for the Lasso tool because you can generally select a rough area and still get away with a good result. What we're going to do here is zoom right in and make our selection. So I'm going to start with this pimple. Once I let go. We have a couple of options. So some of these are AI integrated. If you're using the latest version of Photoshop 2026, you should be able to see the same thing. But you can also right click to not use any AI. So if you click on fill, that's going to fill this area. With what's around it, but you can also use generated fill, as I said, using the help of AI. So if I click on fill right now, we can choose where it's going to draw the content from to rebuild this area right here. So we have content aware, which is being aware of what's around. This is where you need to have your setting on. It could be based on a pattern, which we don't have, or it could be based on history, which is what was there in that layer before. We're going to go with content aware and we're going to click on Okay. You can see immediately that spot is gone. If I do Commander Control D and Zoom in, there is no harsh line, and it looks like the skin was like that from the beginning. Now, I could just repeat the same process with another area. Now we could do something else with fill. This other pimple is also now gone. It looks exactly like that. I'm going to undo the two right now, Commander Control Z, get back our pimples. We're going to look at the tools that are also designed for this purpose. Let's first duplicate our layer with Commander Control J, and I'm going to hide the original just so that we can go back and see the before and after. The healing tools are all the way here. If you long click, we have different types. Same thing as a selection tools. Each one is meant for a specific aspect of healing, the main action. They're each used for certain scenarios. So the first one is the spot healing brush tool. This is the most straightforward. You have a spot that you want to remove. You select it, and then it will heal it for you. So I'm just going to adjust my brush, which is basically the brush tool, and I'm going to remove some of that hardness. So just by clicking once, I didn't let go of my mouse yet, there's this black spot. Once I let go, it's going to heal that spot for me. So we can see now that the spot is missing. Notice how because of my selection, there is still a little bit of a red rim around that area. So I could just go back and make my brush bigger from the start. So let's make another duplicate. Use the right bracket key to increase your size, and then make sure you're not selecting or clicking on the Eyedropper or the serum applicator. So now it looks like this. If you want to go for a more precise version, you can zoom in, make your brush smaller, and then just paint over that area. So you could do one tab or just click and drag for a little paint either way, it is still going to remove that area for you like this. So that's the spot healing tool. We do have some versions of how it's going to heal this spot. So right now we are on the content aware type, which is the same thing as the Lasso tool example that we did, where we right clicked and then did fill, but you can also create a texture. So let's undo. Now with create texture, I'm going to go over the same area. So you can see how now it focused more on the texture of the skin rather than actually removing the blemish. I'm going to do another version here with the content aware and we can kind of compare the way they performed. So this is content aware, which is going to focus on everything. But if I do texture only, it's only going to focus on the texture and not so much the color or any sort of bumps that the subject has. Let's undo that. Now, this type is going to look at the pixels around the edge of your brush only. So within a proximity, that's where it gets its name from. So right now, this was the size of my brush. It's only looking on the edges. It's not really looking at all the other content that's around that brush. So you can switch between the types and make your adjustment. But, for example, example of where you would use this would be the lip. So you don't want the lip to be reconstructed based off of the texture and the color of the skin because that's a whole different texture and a whole different color combination. So you would go for proximity match. Now, if you do use content to wear, it's not going to mess up the whole thing, but as you can see, it may introduce some blemishes that are basically irrelevant to that area. So this is likely from the skin that was pulled in here to fix that spot. Let's do that. That's our first healing brush tool, which is for a spot. But we also have something called the remove tool. So maybe we don't want to heal it and we want to completely remove something. When it comes to skin, it's not that different because whether you're reconstructing it or removing that blemish, you're still going to end up with the skin underneath. But this is another option that you could look at. To remove this blemish, I could hold down alter uption to sample an area for Photoshop, and then I could just replicate that in this new area. For this to work, you would want to grab an area that is similar in lighting and texture so that it will look the most natural. So something like this, I could click once, and as you can see, it is changed completely. Now, if I grab something from a different part of the face, Photoshop is going to try to blend it in with the lighting, but the texture is still not a match. So you want to be careful about where you're sampling. But even if you grab something close, you can see that Photoshop kind of darkens this spot to help blend out that le. Same thing would be applied to an area like this. I could sample a better part of the skin, do a few tabs, and it's completely out of sight. Now, the source can either be the area that you sampled or it could be a pattern that you introduce. Say you're editing a picture where your subject has a lizard skin, that's a specific pattern that needs to be replicated. It's not something blurry like the skin, it would be lines that need to be the exact same. You would import your pattern and then proceed to make that healing process. For the application of this course, the sampleed version should be enough. Now, I skipped over remove tool, but this is basically one of the AI tools that Photoshop has introduced. Again, we're going to get into those a little later. But for now, if you're curious how this works, you just choose your brush size. So I'm going to use my right bracket key to make it larger, go over one area, and then using AI, it's going to remove it for you. So as you saw, I didn't have to sample anything. I just clicked on the area that I didn't want and Photoshop removed it for me. You can set your size here, and you can also create a new layer based on what Photoshop creates with AI. So I'm just going to go over this area, and we can see that we have a new skin, but on a different layer. So I could easily delete this if I changed my mind. The next removed tool is the patch tool. So this is when you have a large area that you're trying to remove and not so much one spot. So we're going to just go over a part like this. I'm going to grab a large chunk. And what you do is that you slide over to a part of the skin that you can kind of copy over. Now, the issue with this tool is that if you're not careful about the selection, you will get a glitch sort of thing on the side. But if you avoid that from the beginning, so let me just undo. Let me grab this section and then slide it over, it's going to look a lot more natural. So that's one way, another way of removing and healing. As long as I picked an appropriate area, it worked just fine. Now, another issue with the patch tool is that if you don't have enough space to use as a reference, it's not really going to work out. For example, if I have a blemish over here, where there's, like, a clear line. I can't really replicate that area because the skin, the face is moving at a specific direction. So no matter where I go, it's going to look a little odd. So that's where the patch tool becomes a little limited. But if you have a large area like this, you can easily use. Switch between source and destination. So source means that this is where you're going to start out and what is going to be replaced. But then you could also switch out to the destination and just, like, make this the destination, basically, and put this over that pimple that we had earlier. So to try that out for you guys, we could grab this part, move it on top of the new pimple, and you can see that it blends it in for you in terms of lighting and color. Go to undo that. Now, the content aware move tool is basically where you grab a section and you move it to a whole different destination. For example, if your subject has a lot of freckles that you want to introduce to the other side, you can use this tool. I'm going to demonstrate with this pimple right here. We're going to grab it and simply move it to a different location. Once you click Done, you can see Photoshop tries to blend it in for you. But we essentially have a moved pimple, so it went from here to here. You choose a more suitable destination, it will blend in better. I'm just going to take it again and go for this area where it's also dark. Now the pimple is moved from here to here. Instead of a different brighter area, we're keeping it within its original region. The last tool is the red eye tool. Now, this is as the name says, it's for red eyes, but we don't really have that problem. Essentially, what you do is you click and drag over that area, that red eye, and it's going to fix it for you by changing the color and, of course, any sort of flash that may have appeared during a photograph. Now that's not really applicable here, but it's a pretty straightforward tool that you can try if you have old photographs or you turned on your flash when you were taking a picture. Those are all the move tools, but we also have some other tools underneath. So you could just steer away from healing and work with what's already in that picture. That's where the rest of the tools come in. The right over here, we have the clone stamp tool and the pattern stamp tool. Now pattern is for patterns, but the clone stamp tool is where you clone an area over a different part of the photo. Already when I go over with my brush, we have this random sample, but I could introduce a new sample by holding down ultra uption, clicking on an area, and simply copying over the skin as it is without any adjustment. The heel tools when you choose a source and then you apply it to a new it may do some modification on its end to help blend in that new selection. But the clone tool is not going to do that. So if I grab a dark spot from this area, put it here, it's going to remain that dark. So you can use this when you don't want Photoshop to do any sort of post editing once you make that selection. Now you can decide which tool you want to use when you're trying to clear blemishes like this image. It could be the many heel brushes that we had. It could be your selection tools and then healing or it could be the clone stamp tool. The cool thing about the Lasso tool is that you can make a very large selection, and then with the help of AI, you can basically fix that area. That's a large selection. I just did fill, and you can see how the whole area is gone and I didn't go for a tiny spot. This is what I tend to do. You can also combine different selections, basically add to a selection. I just made one right now. By holding Shift, we're going to get a plus on while holding Shift, I'm going to make another selection here and then another one down here. That's three different areas, three different lighting, but still I could fix it with the fill option. Because it's using AI, it's a lot smarter and it understands what it needs to do in order to help blend in this new adjustment. Commander Control D, it looks really good and very natural. So using this, you can fix pretty much anything, really. You can also use the remove option that we looked at. It's also generative AI. So you are now more aware of how they work and which one uses AI versus what doesn't. So there we go. And then we have this last spot that I'm just going to use remove to get rid of it. And there we go. I'm just going to zoom out now with Commander Control Zero, select them all with shift, Commander control G. This was before, this is after. Those were the heal tools, but we were so far focusing on little spots, little blemishes. Now, in this image, we have three people sitting together. It looks like this person is on its own, on their own, and these two are closer. So I'm going to try to remove this person using a combination of selection tools and the heal tools. So first, make a copy of your original image and using whichever selection tool you prefer, we're going to select our subject. You can use the Object Selection tool after it's done analyzing, click on your subject, and then simply make your adjustments going to zoom in here and add to my selection by being on this second option. Let's grab the pants as well. Grab the arm. There's this little area. The hands, the phone, everything. Just by clicking you can switch over to quick selection if you want, but make sure you're on plus to add to that selection. We have the bags and going to hold down alter uption to remove the rest of the area. To make sure he's fully in, we can hit Q on our keyboard, and I could see that I missed a couple of spots. With a white brush, we're just going to paint over these little strokes and get our subject completely in the selection. Hit Q again and now we have a selection. What you could do is click on Remove, which as I said, uses AI to remove the selection. If you're not okay with that, you can use the content aware film or the clone tool. They just take longer, but they can still work for your purpose. So right now, we removed the subject, but we have his shadow just sitting there so we could use the Lasso tool to clear that area or just use the Lasso tool from the beginning. As you saw, we have a lot of options. I'm actually just going to remove all three people and make this into a landscape shot. So let's try a larger area, click on remove and see how Photoshop performs. So you can see how smooth that was, and it's a new layer, so I could just, you know, go back to the original, make more adjustments, and do other things. So depending on the size of your blemish or thing that you want to remove, you can switch between the heel tools and the lasso tool. So those were the adjustment tools that you can use to remove or modify a spot in Photoshop. Looked at two examples. So by now, you have a better idea on how to use these tools. Again, going forward, we're going to have a lot of exercises where you get to practice with them more. But for now, knowing where to grab them and what their differences are is already a huge step ahead. 11. Text Tool: Now, with the text tool, you can easily access it right over here. That's a letter T. It's very straightforward in terms of how you add a text with the fonts and the sizes. So a lot of you should be familiar with what these are, but I'm still going to go over each one and then we'll move into how we can distort text and do other things with it in the rest of the course. So the text tool is right here. When you long click it, there are four options. So the first one is the horizontal type tool, which means you're going to type horizontally. How you would type it anyway. But we also have the vertical type tool, which is going from top to bottom, vertical type mask tool, which is going to create a layer mask on the edges of that letter, and then of course, the horizontal type mask tool. First, let's go ahead and unlock our background layer. I just made a very simple document. Start with the most basic one, which is the first one, horizontal type tool. On the top right here, you get to choose your font. There's a lot of options and there are some filters to tell you what they are. These are the different styles of text. They've been grouped in to these tabs based on how they look. You look at a few different types of fonts, you will notice some major differences. Some of them being very bulky and fun, some of them being cursive. We have really thin ones. Those that look like a typewriter and all that sort of stuff to isolate those types of Visuals Photoshop has filters right here for you. We have Serif. These are your sera fonts, Slabserif, Sand serif, script, monospace, handwritten. There's no black letter and then decorative. Depending on what type of font you want, you can go over to these categories or just explore all of them via the classes. Now, where do you get your fonts from? If you go to more fonts, you can import the ones from Photoshop, of course, but you can also download a font and install them on your local computer. If you have an Adobe subscription, there is Adobe fonts. So if you activate it on that website, it will be added to your Adobe account that you've used to log in to Photoshop. You can also download fonts from third party websites. Just make sure that you're installing them properly depending on the system you're using. Once you've installed it, restart Photoshop, and it should show up in the list that you're looking at right now. Go to your font. We can search for a font here. Let's say I want Times New Roman, I get a bunch of different options. I can choose the regular one and then decide on the style that's native to this font. My times font right now has a regular bold italic, but that is not the case for all the other fonts. Let me go with eight heavy. This font is called eight and when we go over here, the style is only one. So this depends on your fonts capabilities. You can also see that on their left, there's this drop down menu. So you can see what type of styles each font has. For example, April Fatface doesn't have any styles, and it's just a regular. But Acumen Pro has all of these styles, and we can see the sample right here. Also add in Imogson Photoshop with these ones. If you're not seeing these, you can try downloading some Emoji fonts from the Internet as we talked about. You can filter through the fonts you got from Adobe phones, your favorite fonts, and then something similar to the one you had selected. I had the letter eight font, and now you can see it's suggesting these two to me so that I may have more options to choose from. Let's clear all and then just choose a font for now. Let's grab this one. Click on your screen and you can immediately start typing. Click the Move tool and you have the option to make it bigger, smaller, flip it, rotate it if you want, and just treat this like a regular layer. Because as you can see on the right, we now have a separate layer that we may do all the things we learned about. Dragging it, putting it in a group, changing the opacity, the fill, the blend mode, and anything else. Let's go back to the text tool, double click. Right here, we have the font size. You can use a drop down menu, type something in or use a slider here. Then we have the alignment. So we want it centered to the left to right, the color of our text, and then we have some of those special things that Photoshop allows you to do with a text. Warping in general is when you get to distort something into a certain angle, certain direction, and right away, everything is grayed out because we don't have a style selected. But let me bring this here with a space bar. Once you choose your style, we have arc, bulge and a bunch of other stuff. These are decorative things that you can use for posters or whatnot. Each of them will give you a set of options down here. The first one is horizontal or vertical. Right now, it's creating this bulge at the bottom, but we can also make it do it vertically. Decide how much of a bend you want, how much distortion horizontally, how much distortion vertically. So you have the same options for all of them, and some of them will create out some stuff like twist because it's horizontal and vertical, we don't really need to choose anything here. You can go to arc and just make some changes to our text. You can type in your values, and I'm going to make this horizontal. Let's make something like that. Once you're done, hit Okay, and now we have a decorative font. I can move this around still. Not much has changed. The fact that this is still a text tool lets me to double click, go back and maybe adjust a few things. If I turn this into a asurized layer, which you can do by right clicking, going to Raserize type, it will become a regular layer, meaning that I can no longer use my text tool to double click and change the way it looked. I can now treat this as a regular layer. Let me lock my background and play around with this one. All right, Commander Control Z. That's a horizontal text tool. You can also go over to the Properties panel and do a few other stuff. The same things are available here. But you will notice we have some other things starting from the space between lines. What I'm going to do right now is set this to zero and write another word. Hit Enter, type in something else. All right. The first one is the space between hello and world. Right now it's set to auto, but I can decide how close or how far I want the second word to be to my first word. This one is the space between each letter. This one's a color. If you go in these three dots, you will also find the height of each of the letters. The width of each of the letters, we're basically distorting our thing and then the baseline shift. The baseline is where your text is sitting on. But if I have this at zero, you can see that the baseline is right over here. If I shift it up or down, it's going to move where the text is sitting on in a different direction. Then we got some languages which won't change the language of your keyboard, but just some of the settings made specifically for that language. For example, if you're using a Middle Eastern language like Arabic or Persian, Photoshop does have to connect the letters, whereas with English, there could be those spaces between them. But of course, you're going to need the Persian or Arabic keyboard to be able to use one of these. If I said this to Arabic right now, you can see it didn't really change this word into an Arabic word. It's just applying the settings that I would need if I were to type in Arabic right now. Next, we have the paragraph settings. This is for when you have a paragraph. How do you do a paragraph within Photoshop? Let's delete this. T on our keyboard to get our text tool, click and drag to make your paragraph. By default, it will give you this dummy text, which is perfect because now we get to see how we can paragraph settings. Just going to choose a lighter font, change the color. When we scroll down, the first thing is alignment, and then we have justification. If you hit the three dots, we're going to get new stuff. Indentation. And then from the left side, same thing from the bottom. Say, this is what we had set all of them to zero. Hitting tab on my keyboard to move to the next thing. Let's enter. All right. Now hyphenate is talking about this one. When a word cannot fit on this line, there's going to be a hyphen, and then the rest of those letters are going to be moved down to the next line. But if you don't want that happening, just turn off the hyphenate option. I hit Command or Control A to select everything. When I undo this, you can see that word was moved to the next line. But if you're okay with this effect, Leave it on. We have some bullets and numbering, so you can make bullet points, just like you would in a Word document, turn it into numbers, letters, Roman numerals and anything else. It's undo that. You can also change the style of your bullet, which we have up there. It's only four things to choose from. Select it again to undo or just not apply that effect to it. Then we have some type options. First one is capitalizing everything. So when I click it once, turns everything into capital letters, this one turns it into lowercase. Next one turns it into small caps. Right now, this is way too giant. I could click on this to make it more refined and better. We have superscript, which will allow you to write a text a top of a word. So let's do that. You can see how it turned that into a little text on top of I. So if you have any math equations or physics formulas, you can use this option. We have subscript, which is the exact opposite, so it goes at the end. We have underline, we have overline which draws a line on top of your words, your letters. Looks like that. And the rest of them are currently grade out because they are not suitable with this particular font. But if you were to choose something more basic like aerial, you can see we got this guy and this guy brought out for us. So let me just undo all of these, get my lowercase back. So the other stuff down here is really depending on the font itself. It's talking about how words are blending into each other. Do they connect? So if you have, let's say, a cursive font, you can decide how, say, the letter L and E get to connect. So these are just some stylistic choices that you can explore with. Then we have a special tab for East Asian features and Middle Eastern features. So East Asian, if you're doing thing like Chinese, Korean, there are some specific rules that are only needed for those type of fonts. So you can choose how thick the characters is, which is called sum. We can change the text orientation and line breaking rules, text composition and all that stuff. For Middle Eastern features, you can choose that it's being written from the left to right or right to left. So in this case, it would be right to left. So if this were an Arabic text, it would have to start like this. You can also decide that connection I talked about earlier, so how thick or thin that connection is. That's if you're using these type of languages. And then at the bottom, we have some quick actions converting this to a frame. If you click that once, you can turn into a frame or a shape. The reason why you would do this is if you want to put a pattern or a specific design into the areas where the text is. But normally, you wouldn't do it. So let's undo that action with Commander Control Z. Move on to the other stuff. So in terms of which of these belong to text, we have, of course, the Properties panel, but there's also paragraph styles. So let's say you are editing different types of newspapers or doing magazines, there's a specific style that you have to keep using for each of the pages. So instead of choosing your font again, your size, your style, you can make a paragraph style yourself. So say I want to have one style like this, I will hit the plus sign, and now I have paragraph style one. So changing the font, you can see how I can switch and then I can rename this into, say, magazine, body text. Come over here and put in my options, like I want it to be this font, 12 points. Maybe we can make it smaller. I want them to be red, formatting, open text, composition, and all that stuff. So if you do a lot of text work, these should be both for you. Hit okay once you're done. And with one click, I could just change this to that new textile. Then we can, of course, go back and switch around between these styles. You can delete a text style if you wanted to and rename it as we saw. This will remove the overwrite, so it will take you back to where you began. That was paragraph styles. We also have character styles. So this is for individual characters or letters. If you want a specific type, so let's make one right now. Double click. Say I want it to be an emoji or actually it's something else, something big like that. So I can go to none and then just choose a few of these characters to have this specific style set to it. So it's the exact same thing, but just for characters. We have the paragraph panel, which we went over, the character panel, we also went over that and I believe we do have one more called GLPS. Now, GlipS when you download a font or import it, the designer who did that initially has different options for you to explore different ways that the K is being written in. Right now, by default, let me choose the same font. Just eight. Right. So right now, let me try to find the M, for example. So right now when I go over here, you'll notice these tiny squares at the corners of the letters that are being used here. But there are different ways for me to write my letter M. So we have this option. If I don't like this, I can click on on that. Table clicks. Now I have this special input. Same thing with all the different alphabets. We also have some symbols for you to choose from. And if you're doing any sort of logo type or poster design, I highly recommend coming over here because you never know what kind of options your fonts came with. So we have some cool case. We got some decorative stuff as well. I could replace this D with this shape. Totally fine. We can scale up the glyphs, make them bigger, make them smaller, and the way we are seeing these previews. We can also go over what parts of this glyph we want to see. So everything for this font, only math symbols, there's only a plus and minus, only symbols, and all that other stuff. Now, not every font has this. I believe I mentioned that. Say if I were to go on this MOG one. This will have its own set of glyphs. So it's never one thing. If I go over this one, you can see how it's a lot more different. It's still a pretty cool panel to come to when you try to make your text a little bit interesting. That's about it. That's how we do the horizontal text. Vertical text is the exact same thing, but just vertical. But I'll show you that anyway. You can see our cursor turned the other way and now I can write the same thing, but on the other end. So if you have a specific language that's looking for this version, this style, then this is how you do it. We also have those masking that I told you earlier, which is when you get to create a mask out of those letters. So notice that red overlay that should be pretty familiar to you. Let's decide our font and size and Enter. Now you can see I got the marching ants. Meaning that if I go in my layer panel, right now there's nothing there, but I can add in a pattern. Let's say if I'm here, click it once, and now I got myself this effect. Go to my layers panel and we can find that layer mask. Can dabble click here and choose a different pattern. Let's go for trees. And this is applicable to the vertical version as well. And then you can treat this as a regular layer. Delete that. And right. That concludes our text tool. Pretty simple to use, but there are some hidden cool features that allow you to take your text to the next level, especially for poster and graphic design work. In the next lesson, we're going to go over a very big and important tool which allows you to do a bunch of things, and that is the Pen Tool, which is situated right above the text tool. The pen tool, you can not only draw with it to create strokes with it. You can make selections with it. It's used for healing. It's used for layer mask and all those other stuff. So it's a pretty diverse tool, and we'll learn all about it in the next lesson. 12. Pen Tool: Now, let's take a look at the Pen tool. It's situated right below our Dutch and burn tool, and it looks like a pen. So when you along, click on it, there are tons of other options. But we're going to start right at the basic, the general Pen tool which allows you to do basically all the other stuff below it. So grab that. G yourself a canvas. I just unlocked my background layer, and let's take a look at the stuff up here. First are the presets that we get for all the other tools. But right next to it, we have the option of either shape or path. Now, let's start with shape. That's the easiest method to use the Pen tool for. Right next to shape is the fill color that you can grab and the stroke color. Then it's the thickness of your stroke, which you can use a slider and then what your stroke looks like. So is it a dashed line, dotted line, and then the alignment, caps and corners. To show you these better, I'm going to just start drawing a shape. So grab your pen tool and make some dots. So first dot, you need a second dot, so it connects. Let's do a regular triangle. And as soon as you have an area between your strokes, that is when the field color will show up. To close your shape, which is go back to our first dot. Let's zoom in right here, use our space bar, and let me show you what those three options were for. A line is talking about the alignment of your stroke based on that path that you just drew. The blue line here, which is what we're making with our Pentool, is the path. It only turns to a shape because we're having a closed area for there to be a fill color for. So do we want this width the stroke to be aligned at the center of the path on the right side or on the inside of our shape or on the outside? Next is the caps, which is the cap of the path right now is sharp. We can turn it into round or a square shape. I will have to show you this with a different one, but right now we're dealing with a corner. So corner, we have a sharp turn right now. We can turn it into a round one or something cut like this. Take a look at our caps. I'm just going to do one, two. That's all we're doing. Let's zoom in. And now we get to use this option to decide where the cap ends. Right now, it ends right at our point. Second one is a rounded one, and lastly, it's a square one, but it extends from that point that we made. We do have more options, but these are in regards to our stroke only. These are the same things as the one we chose here. But if you chose a dash line, which I'm just going to turn on right now, turns your stroke into dashes. Now we get to decide how many dashes we want in this path. Right now it's four. Use your rakes, let's do six maybe. I'm getting larger things, but the gap here is what making it different. You can make this into three. And just add different spacings and different length for each of them. This is how you get to change it up. You could turn this into your own preset or just use one of the presets that were made for you. Once we're done, we can hit Okay, and then let's take a look at some of the other options. I'm just going to lock our background layers so I don't move anything other than my shapes. Next, it's talking about the width and the height. That's talking about the path only. In terms of the shape, you could use it, but it's going to give you a distorted result. If you're not comfortable using these, you can also hit Command or Control T to resize that shape just like you would with any other layer. Lastly, we have the option to combine the shape, subtract the shape, intersect, and exclude. This is the same logic that we looked at in the selection lesson. Instead of adding to our selection, we can combine two shapes. Let's make another one. You can see how it's on the same layer. But now I have this combined shape. Have alignment, so aligned to Canvas or selection. You can distribute it, and then we have the hierarchy of that shape. So it below one above one, and you get to situated like that. All right. So going back to our shape, let me hit Commander Control Z. You can see the blue line going around our shape. So let me actually change this into something else so we can see that color better. Now, what if you wanted to remove a point? Say, you made your shape, but you made an extra side by accident. Let's draw a random shape. Let's do this, for example. But I realized that I wanted a square, and this thing is just not up to my standard. When I hover over any point, notice how there's a minus next to my pentle. That minus indicates that when I select it, it's going to delete that shape. If you go on that same selected path, there's going to be a plus. That indicates that you can add a point. Just like that. Now, why would you add a point? When you add a point, you can see that there's two circles right next to that point. So let me do that again. The square is our point. We get two circles. Now, we get to move this point simply by holding down Command or Control on our keyboard, clicking once on that point and then just dragging it. So I can adjust my shape as I go forward. Now, why is it rounded when I didn't even create a round? I just did one, two, three, four. That is where those rounded handles come in handy. Essentially, the more these handles are stretched out, the curvier your path is going to be. Holding down Commander control again, click on the handle and just experiment with it. You can see how that's changing the curve. And as I mentioned, the longer the curve, the more of a rounded effect you're going to have. Whereas this one is pretty short, it's barely rounded. And if we didn't want this curve, we wanted a sharp turn. All we have to do is hold down alter option and then click on that main point. And now those handles are gone, meaning that we're just getting a sharp edge like this. Similarly, we can do that alter option thing on one of the handles. What if I want one side to be curved? The other side to have no curve. That's where I get to hold down option. You can see my cursor changes. Click and drag on that edge only. So when I push this all the way into my path, there is no curve, and that's precisely what you see. So even though they are supposed to be moving together, you can only move one of the handles via Alt eruption. All right. So this was our shape. But what if you want to turn this into a selection? You can do that by right clicking and then making the selection. That familiar marching ant shows up, and what I get to do is adding a shape or a color restricted to the inside. Let's go ahead and click the adjustments right here, go to pattern, and just add this forest pattern. You can see that shape is exactly the layer mask, and that is how you can use the Pen tool for more than just drawing. Now, going back up here, Remember that there is a shape tool within Photoshop and there is the path option. So when you're making shapes, it's generally an extension of the shape tool right here. If you long click, you can see all sorts of shapes. We have the classics, and then we have a custom shape tool where if you press on it, you're going to get a large library of all sorts of shapes. So let's say a tree, we can just put that in right there, and it will follow the same fill and stroke that you have selected here. So if I lower the width of my stroke, we can actually see that green. But sometimes the shape tool doesn't have the shape you want, so you'd end up using the Pen Tool to create that shape. But everything above here for the shape tool is the exact same as the Pen Tool except, of course, we have that library. Now let's go over the path option for the Pen Tool, and that way, I can show you exactly what you can do with it. Let's switch from shape to path. And immediately, it gets rid of the colors, the width, and the stroke. Instead, we can make something like this. Let's say this is my path. I'm going to close it, and as you can see, nothing happens. That's because we need to choose what we want to do with this. So you can click Selection. This will show up. And basically, it's asking you if you want to feather the edges of this selection, which if you do, it will make the selection a lot more natural. Let's say two pixels. Click Okay, and there's my selection. So if I had an image, I could make a new layer based off of this or I could do what I did before, which was to add a pattern. So notice because of that feather radius, the edges are not as sharp. Going back to that path, let me make something else. You can also use it to mask something. Let me just bring in another pattern. Let's just go over here and I'll get this tree. Let's delete the layer mask right click. We just have the pattern fill. Now with the Pen tool, I can start making my selection. If you hold down Shift, you can make straight lines, and now I have a perfect square. When I hit mask, it will create a mask on top of that layer. Now I have my forest fitted into a square. And this is with zero feathering, so you can see the edges of this selection is a lot more sharp than the previous one. Alright, let's go back here, do a few more things. If I changed my mind about making this into a path, I could just switch and change it into a shape. And now I have shape one. So if you go on the shape tool, I can change the fill from a pattern into a solid color like we've been doing so far. We also have a gradient option, which is when you go from one color to the other. So black to white, red to white. You can change the angle, change the type of gradients or radio from the center, angle, reflected or diamond. All the other things we have a large library for you to choose from. You can also switch the colors by hitting this button. We have solid color gradients and patterns, which is what we've been using so far. You can also just click this and put in your own code for that unique color that you want. Alright, so that was the original Pen Tool, but there are some other stuff in the drop down menu that we can also explore. So I'll just make a new layer. Let's long click on this and take a look. So that was the Pen Tool. Next, we have the free form Pen Tool, which basically allows you to make really free selection. So I'm not dealing with points here, but I could just go around and make something like this. The same options up here. I could right click, make this a selection, choose the radius for feathering, maybe fill it with a certain color. So if I choose color, they'll ask me what color, and now it's filled with red. Now, with the free form, you can't really make points. You can see I'm clicking everywhere, nothing's happening. But once I make my weird shape, close it up. I will see the points made for me. This is less precise, but if you do want something curvy like this, you still have the option to either delete one of the points or use the handles that we saw before, hold down command or control, and maybe intensify or sharpen one of the curves. It's the same thing. It's just the way that you're introduced to them is not the same. We can also the other Pen tool add to our selection. Let me just continue this. I'll go to the edge here and connect it to my first thing. Once you've filled in your shape, you've closed the shape, you can go ahead and make a new shape. So right here, we have combined shapes, subtract, and the same things we've had so far. Let's try the intersection. I'll draw something else, close it. And now I have this effect. I could make a selection of it, and it's pretty much the same thing. So I'm just going to hit delete. Notice here that even though I deleted the previous selection, I can't really grab this one to delete it. I'm selecting it, hitting backspace, as you can see, nothing happens. That's because I'm dealing with a path here, as I mentioned. The way Photoshop works is that it saves your paths in a different window called Paths, which if you're not seeing it here, just go to Window and click on Paths. When you go on there, you can see there's something called Work Path and it looks exactly like what we have here. If I wanted to delete this, I would have to come here, hit Delete, and there we go. If I make a new path, it will show up right there. I could make another new path like this and then proceed to fill it in or just do it vice versa. You can hit that button to turn it into a selection with the marching ants or turn it back into a path. Also, if you've used the Lasso tool, you can turn it into a path just like that. These work interchangeably. Let's delete both of them and take a look at the other Pen tools. Next, we have content aware tracing tool. Now, this is for when you have something already on your screen. So for this, I just imported an image into Photoshop. This is in the resource folder, so just import it in. And using the content aware Pen tool, it's going to detect an object for you and automatically create a path around it. So we have a human subject and we have this balloon. When I have my mouse over an area like the sky, you can see nothing's going on with my cursor. Once I go towards the balloon, especially the edge of it, you can see something does show up. When I click on that area, it creates a path around my balloon. The same thing can work with the human subject, but since that is more isolated, it was easier to find. Notice how I did make a mistake around this area. We already learned how to deal with that. Let's grab command or control and just simply work with the point here. Click on until that's the only dark blue one, and you're able to move this to the side. Then work with the handle. There we go. We can add to that selection so I could try getting the mountain here or that tree. You can see I still have that blue line around my balloon. I could remove from that selection. Let's hit around the balloon and I'm getting rid of the points. We have make selection. So it's saying no pixels are selected because I don't have a closed shape, but it essentially works like the other pen tool. Let me just grab this and then click here to complete my shape. And I think we should be good to go. Let's see if we're missing an edge. So now I can make a selection. I can go to paths and just call this balloon. So whenever I'm in need of a selection for my balloon, I just need to make a really precise selection once, save it over here, and then I can just come back to it and click on it. Let's go ahead and delete that. And now the blue lines are gone. We have some other stuff here. This is the same for every Pen tool alignments, the hierarchy, the different settings we went over. And then tracing, we have normal, simplified or detailed. This is depending on what kind of shape you're dealing with. By default, it's normal. But if you're dealing with a really detailed work like a building, you might want to switch onto this. This will use more computer powers to make sure your computer can handle it. And then here you're determining how much detail you want Photoshop to put into this selection. By default, it's set to this. Again, you can determine how much you wanted for your object. Next Pen tool is the curser Pen tool. So this is just for curves. I'm going to go back to our original document, and unlike the first Pen tool where we made points and we got sharp edges. This allows you to make points, but it's going to be rounded edges. So unless you're making it sharp, you're going to be getting curves all the time. So if you hold down alter uption and then click on one of these points, you can see how it's turning what is not fully curved into curve and then vice versa. So I could uncurve everything by holding down alter option, bring it back by holding down alter uption again. And the other ones make a point and then just click and drag it. You see I'm not getting any handles here because it's curved by default. I only need to make it sharper and undo that. Same settings up here, not much has changed. Going to delete this, and then we get to move to our other tools. We have Add Anchor Point tool, which adds the anchor point to that path that you have, so I'm just going to go back just draw something real quick. When we add points until now, we've been using the Commander control to do it, but you can also just use this tool to add points. And because they're anchor points, they come with those handles. So it doesn't matter if you're using the curve tool to make your curve or the regular Pen tool, you can add the anchors just like this. Then, of course, you can move them around, play with the handles, and do whatever else. We have the opposite, which is delete anchor point tool. So it deletes these points that we just made. Next, we have Convert Point tool, which is the shortcut alter option that we've been using. But if it's a curve, it gets shifted to a sharp edge. If it's sharp, it gets shifted to a curve. Now, before I end this lesson, I do want you guys to practice going around a subject. So let's go back to this image right now. What I want you guys to do is use these selection tools that we've learned so far to grab the human subject and these two walls. Let's go over that together. You may choose to use one of the auto features. Let's hit Cloud, select subject. There it is. Now using the tool, I can make an estimate of what I want these lines to look like. Let's actually go for the ones at the bottom to make it a little easier, grab your Pen tool, and before I hit anything, I'm going to go to paths and create a new one. Let's hit this first, and now we got one. Let's call this human. Let's make a new layer. And on path one, I'm going to use my Pen tool to make a line from there to the edge, close it off, and then from there to the edge, and then make sure to connect it. To make it precise, we're going to hold down commander control and match it up with the correct perspective. Be sure to click again so that the blue line only applies to the point you're trying to change and then do the same thing down here. Once I have this, I can make a selection. And let's do some adjustments. So I'm going to go over here, and let's say I want to change the ground color into something else, maybe something like that, a little reddish. Close that off, go to our paths, grab the human layer, quick selection, go to layers, and we're simply going to remove the adjustment from this human saturation. So currently you can see it's coloring his pants, too. That I have the marching answer on my human subject, all I need to do is make sure that white is the foreground color. Let's hit X to switch it on this layer, let's hit deep backspace and then Command or Control deep. Now my human subject is no longer pink. To soften the edges a bit, I'm going to double click on the layer mask and simply feather the edge. Not a lot because it gets rid of everything, but we're just going to feather it by around a few pixels. If it's too intense, we can lower it by a little bit. And now the floor is pink. So before or after, really simple thing to do. So we use the selection tools and the pen tool and use some masking to change the ground color. In the next lesson, we're going to learn about the Action Panel, which basically takes all of these things we've learned so far and allows you to create a preset for each of them. So that's a really cool feature to learn, and I'll see you guys in the next lesson where we do that. 13. Action Panel: The Action Panel in Photoshop allows you to frequently use edits into one button. So if you frequently turn your images to black and white or change the hue of your greens, the Action Panel can make your workflow a lot faster as you can record your workflow once and just use that button over and over again. So let's go ahead and take a look at that panel. If you go to Window, it's going to be the first one there called actions. So if you have the latest version of Photoshop, you will see a lot of these predetermined actions. But let's just go over some of the basic ones. I'm going to close all of them, and we can see we have Wig, we have frame channel, wood frame, and all that stuff. These are things that if I were to hit Play, using this button, feather is not available. Now, these are things that if I were to just choose one and hit play, I'm going to grab this one, which is supposed to turn our image into sepia toning. If I hit the triangle next to it, I can see exactly what happens. So we make a snapshot, we merge to layers, we desaturate, and then we make the following adjustments. Those are the steps that this action will take. Let's select it, then hit the Play button down here. You can see in one click my image, turn into something else following those steps. And if I go here, it just made layer one and the hue and saturation. So when you first import, as you know, we only have our background layer. This came up because of the actions panel. All right, let's go back to our actions panel gets lost there and see what else we can do. So you can delete an action, make a new set, which is what you can use to store these actions. So right now they're in default. Let's go ahead and make a new set. Let's call it colors. I okay? Now, within colors, there's nothing in there. So let's go ahead and make a new action. Before that, I'm just going to delete the adjustments that I made, delete the layer mask, and then delete that. So back to the beginning. Let's go to the actions panel, and what I'm going to do is create an action for turning an image into black and white. Very simple. Hit the plus mark right here. Let's call it, make it black and white. Set. We want it to be in colors, but you can set it into whatever sets you have. Function key, when you hit a keyboard shortcut, which would be from the following, this action will happen. I'm going to select nod for now. And then a color for you to organize them better. Now we're going to record. Now, whatever you do from the time this turns red until you stop it is going to be saved as your make it black and white action. So let's go ahead and duplicate this Command or Control J. And let's do something really simple. So just black and white filter. Let's clip it down, play around with these slides a bit, just so our action is interesting. Let's say that is my adjustment. Go to actions, and then hit Stop. So what do we have here? We have layer via copy, which is what we did. Make adjustment layer, create clipping mask current layer, set current adjustment layer. That's exactly what we did. If I were to delete what I just made, all of that, start from fresh, go to the actions panel, and simply play this action, I will turn it into black and white. You can do this for more complex workflows, such as turning the hues of every color within your image into a specific color palette, maybe adding some vintage filters, creating things from scratch. This will make things a lot faster for you. In the next lesson, we're going to look at another way to make our workflows faster within Photoshop. 14. Custom Brush and Pattern: Now, let's learn how to make our own custom brushes from either a drawing or an image. I'm going to start with an image right here. This is available in your resource pack. We use this before in an on lesson. So import this into Photoshop and let's go ahead and select the subject using the methods we've learned so far. I'm going to make this quick, grab one of my selection tools, have Photoshop selected for me, and then go to Select and Mask just to fine tune the hair. So it refined hair, Photoshop detects it for us. Everything looks good. As you recall, we did have some imperfections here that I'm going to remove via the brush tool. Once we're done with our selections, let's hit okay. And it's going to make us a new layer with this selection. Let's delete the background, right click on the mask to apply that layer mask. We have a transparent piece out of our subject. Next, we're going to grab the adjustments down here exposure and turn this image into just a black solid shape, and this will give us our brush. So make sure there are no details available or visible inside your object or subject. And if you have to, if it's kind of gray, and you can see the outline for whatever reason, you can just duplicate the exposure layer with Commander Control J just to intensify the effect. We're done, we're going to go and just merge everything together, so grab the first one, hold down shift, grab the last one, right click, and then merge the layers. So that's all we have right now. Let's go to edit, then define brush preset. Call this flying weighty with balloon. It okay. And now I have my brush, so I can click. I have my red color loaded in with 55% flow. Let's increase that. Click once and I got myself the subject. Now, with something like this, where you have one singular subject in your brush, if you click and drag this, it's going to look weird. So what you can do is increase the spacing of your brush. Go right over to this box containing the brush, and it's going to bring the brush settings for this particular brush. So down here, we can see that when we stretch it, we're going to get this effect, which is what we just saw. But we want it to be in a way when we click and drag, we're just getting like, multiple flying people. So this is just size, the orientation, but this is where we need to be being at. So the spacing between each of the strokes. If you increase the spacing, you can see slowly we're getting different people. And now, if I draw, getting them just like that. The more I increase, the more space between each of the two. So use this as you'd like to make this work. This is especially helpful with singular objects. So even if you have this leaf, you want it to be differentiable and not just one giant blob. You have some stuff on the edge right here, so if I can find my new brush, there it is. Let's make a new layer. I'm going to just do one for reference. Let's increase the spacing again. We have some angle options. If you ever wanted to change the angle, we have flip Y, flip X, the roundness of that shape, so you can squeeze it for whatever reason. Now, on the left, we have some interesting things. So you can go into the way shape of your brush is. So when you're talking about shape of your brush, you're talking about the tip of that brush. So hence why when we change the jitter, we can do, like, different sizes at the same time, just the minimum diameter. Can do an angle jitter, so make it more randomized. Again, if you have a leaf brush, this is perfect. Roundness jitter, so making it more random, minimum roundness. You can flip the X or Y jitter and the way the brush is being projected. I'm going to uncheck this. Then we have scattering, which is scattering the brush strokes. You can do it on both axis. So it just travels into space. We have count one, then count jitter. So we have 16 right now, eight. The next thing is the texture. We don't really have a texture here, but if we did, we could adjust that the brightness of the texture, the contrast. You could technically make a brush that is not just an outline like this. So this is where the texture comes in handy. We have dual brush, so you can combine two brush strokes. That was the person, and I selected this, I believe, wooden brush, and this is what we're getting. You can choose something else. Let's undo it here. So we have the person here. I could select one of these and notice how it combined the two. We can change the size, the spacing of that fusion, the scatter, and the count. Color dynamics doesn't really apply since we have a solid color brush. Next is transfer. How does the flow transfer in So flow is, as we said, how much ink is coming out of your brush. We have the same thing for opacity. So this would be good for, like, clouds. Have brush post, which is how the tip of your brush is situated. So noise, which is, like, little things you can add to your brush. We don't really have much texture going on here. Next, we have wet edges, so it kind of gets that watercolor effect. You can build up on it. Build up. That's another thing you can do. So going on top of it. We have smoothing, making sure your selections are smooth, your painting, should I say? And then protect texture. I don't really have texture, but it will maintain that texture with every brush stroke. And then once you're done, you just close off and can start using your custom brush. Now, you can do the same thing if you didn't have an image. So let's say I wanted to grab something like this, one of these brushes that are currently there, and I draw something cool. I could turn this into a brush. So simply go to Edit, to find brush presets, then hit okay. There we go. It doesn't always have to be an image. You can draw something yourself. If you have a signature, this is how you would do it, if you want to create a pattern like this. Speaking of patterns, actually, once I have something interesting like this, I can actually define my own pattern for the pattern panel. Same place, edit, we can define a pattern. Let's call this silly lines. I okay? Now, silly lines will be visible in the patterns panel. If you're not seeing that, go to Window patterns. And if I were to delete this, let's make a new layer so we can delete this, go to patterns, click this one, it gets loaded in. I can now use this on my design, on my photos and have fun with it. But that's pretty much how you can make your custom brushes and custom patterns in Photoshop. In the next lesson, we're going to go over the last thing that concerns how Photoshop works, and that is the animation feature. Of people don't know this about Photoshop, but you can do frame by frame animation here. It's great because you have all these tools that allow you to draw cool things. Why not animate it in the same place? So I'll see you guys in the next lesson where we do that. 15. Animation: So let's go ahead and use Photoshop's animation panel to create some smiley faces on the piece and just see how we can deal with motion within Photoshop. So go ahead and import this image from the resource pack. And what we have right now is simply our background layer as we've had so far. I'm going to do is unlock this and simply bring our timeline right below. So go to Window, scroll down to timeline, and this is where all the animation will happen. G to put this up there. You can also go to Window Workspace and just work with this in the motion workspace. But I personally prefer the essential with the addition of the timeline because of the layers panel. So you can see that right now we have two things. They're marked down here, zero, second, 0 seconds, one, two, but we said we want to create some video motion. So let's go in the top right corner here and convert to video timeline. Now, let me just extend this a bit. This is going to look like a regular video editing software. We're going to have our layers and then make changes as we go. You can use this thing down here to increase the thumbnail, and that's exactly what I'm going to do. And basically, you're going to be stacking layers on top. And as the video plays, it will go over each of those images. So in one image, you can have a smiley face. In another image, you can have a set face, and that's generally how your motion is going to go. So this is more of a frame by frame animation. So layer zero, let's call this our main, and then you can see that it changed the same layer here into main. I'm going to duplicate this a couple times. So command or control J, so three times. And then what I'm going to do is go on my first main copy, use our brush, adjust the size, get maybe a white color, zoom in with a track pad, and just draw some smiley faces, maybe on this one. And let's hide the other two so we can see what we're doing. So there's some eyeballs. Alright, so this is what my first look is. If I bring back the other two, it's going to hide my first thing because we learned with layers that it's all about the hierarchy. So whatever's at the top is the visible layer right now. So let's hide the second copy and sorry, the third copy. On the second copy, I'm going to lower its opacity so we can see the smiley faces. And because they're positioned in the same exact location, the original image, I can just change and be focused on these smiley faces. So on main copy two, I could maybe draw the eyes again and just maybe have this P stick its tongue out. Second one, I could have him kind of be grumpy. And this one, I could have the same eyes. But have it like snore. Then we're repeating it with the same with the third layer. So let's hide the main copy. Based on copy number two. We can decide our next thing. So this one, I'm just going to keep it as it is, eyes, eyes, and then just the tongue. This one I could maybe move its math a little bit. As if you turned away, you can use the erase tool to delete something as well. Then the third one, same thing, sleeping. But I'll move the Zs in a different way. So draw Zs in between the previous ones. Okay. So we have three things. Let's bring back their opacity all to 100%. But when I bring them all back, we're only seeing the last edits. That's because these are starting at the same time. To make this like an actual animation, I need to offset the last two layers. So this guy can stay as it is. So when I go over, you can see it's nothing, then the faces show up. I'm going to actually move this. I'll have to draw something here first, actually. Let's hide the top two. Bring the cursor here, lower the opacity and draw something on the first layer just because I want them to be alive from the beginning. So maybe have it look to the side and then make a different smiling face. This guy is going to look this way before they begin their motions. And the third p is just sleeping. Okay, let's bring back the opacity. And now, just like the first two, we're just going to offset these like that. Now when I go over it with my thing, you can see that they're changing. Let's bring them back first. We can see like they're moving around, they're alive. And when I hit space, it happens really quickly, and that's because we're dealing with one frame at a time. So 0.1, 01020304. If I want them to run longer, I simply have to extend them. So let's say the first scene is five frames. Second scene is also five frames, and I'm just offsetting it like that. You can use this to minimize your view. So let's go on ten frames and then cut it right there. Hit the scissor, and just delete with backspace, the extra bit. Bring this here, get your timeline slider on 15, cut again, and then just delete this with backspace. Bring this here and then have it continue for the rest of the thing. Now let's hit the space bar and we can see how it's pretty cool. I'm going to extend this because I just remembered we erased a part of the eye. What you could do is also open these guys and change the position, opacity and style. Position just means that you can change where the image is. So if I move it to the side, you can see how in the beginning it's up there, then it comes down here. And that's just a simple animation. You can do the same thing with opacity, so it's fully visible at the start, then transparent at the end. Then we have the style, which is what we've been doing so far with the brush adjustment. Click on here, you can add more media, make a group, make a video group from these clips, and just delete this track. You can also go back frame by frame, go forward, hit Play, stop the thing, go from the start, move to the end. If there's audio, you can have the audio going. There's actually an audio track down here so you can put a sound effect file right below and then match your animation to that. Once you're done, you can render the video, so it's play smoothly and then decide where you want to save this at. Another thing that you can do is start an animation without an image like this. So let's go ahead and make a new document. So I have this layer zero here. It's not an image, and what I want to do is animate my own thing right here using the onion skin feature and just make a silly frame by frame animation. So what I have right now is layer zero. This could act as your reference layer. So say I want to draw a path for my falling ball to follow. Going to draw something like this, and then this would be my ground. To bring in the actual ball, I need to go over here new video group. And now within this video group selected here as well, I'm going to make a layer. Now, this is a video layer and not your typical layer. I'm going to zoom out a bit and extend this to one or two frames, maybe three frames. So align it with three F and just duplicate this. Commander Control J until you're happy. So I'm going to go to six, hit the scissors, delete that, and maybe one more at nine, then delete the rest. I have three scenes for my animation. Have the play head at the beginning, Layer one. Let's actually call these something. It's a background scene one, scene two, and scene three. And call the group balling ball. Alright, so scene one, let's grab our pencil, choose her color and draw our ball. Now, if I go to the next frame, you can see how the ball isn't there. And that's because we said we're dealing with frames. So to enable onion skins, just go over here and choose enable onion skin. Now what is an onion skin? When you go past a frame, the next frame, you can see how my ball fades out at the end. The beginning, it's all dark. At the end of that scene, it's this color. That is because onion skins allows you to see a reference of your previously drawn figure so that the next time you draw a ball, you can make sure that it follows the same width and height and the same direction. If I don't have onion skins enabled, I wouldn't know what the ball looked like. So in my scene, too, if I assume it's here and I draw it like that, you can see how it's a lot different from my first ball. If I have onion skin enable to go over here, I have a reference to follow. Someone to zoom in here and draw my ball relatively the same and in the same direction. Then that's our third ball. So I'm going to go on scene three and draw my ball again, making sure that it looks decent. When I go from the beginning, you can see, I have a falling ball. And all I have to do is just duplicate the scene numerous times until my ball effect is complete. When I'm done with my reference, I could just um either hide it or delete it and maybe replace it with my own background, say, this red color is my new background, and just continue making my animations. And that's pretty much how you use the animation panel in Photoshop. It really depends on how you use the tools over here to make video layers. It's the same logic as regular photo layers, only that you have a timeline and you're dealing with seconds or frames, and your playhead needs to be able to show that sequence perfectly. You can add an audio track and then render and save it for your next project. Use this in Photoshop a lot for looping their text effect. Maybe if they make a cool composition, they have, like, the stars sparkling in the back. Generally, you want to use it for shorter and more simpler animations. The heavier works is going to need a really good and fast computer because this is obviously a lot more complicated than a regular two D static image. Now that we know how to use all of the basic features within Photoshop, we can now move on to different use cases. We're going to start with photography and then make our way to graphic design, some mockups and many other things. I'll see you guys in the next chapter of this course. 16. Poster Design: Whether it's for your own purpose or for a brand that you're designing for or for a little page that you have on your social media, posters are a great way to inform the people of a certain event or of a new product or any other thing that you're trying to advertise. The thing about posters is that while you're designing it and even before you're designing it, you should know exactly what you're going to put on there and also keep in mind the things that I'm about to tell you. So the first question you need to ask yourself is why am I making this poster? Is there a new product? Is there a birthday event? Is it a wedding? What is it that I'm trying to advertise to my followers? Once you have that in your mind, you got to think about what's going to help your message shine through. Is it going to be patterned? Is it going to be a photo of yourself? Maybe some graphics? You have to know what will go next to your text. Another thing is for is to design the poster in a way so that the person who sees it can get informed, know where to go to if they want to reach out and also be attracted by the graphics. So obviously if you just write a bunch of paragraphs on a poster, no one's going to take the time to read it because nothing attracts the customer into the poster. If you do this wrong, if you put the text wrong, if you put the graphics wrong, you're going to make the poster boring or not pleasing to the eye. When a poster is not pleasing to the eye, no one is going to look at it, which defies the whole purpose of you making your poster. So there are a few things that you have to keep in mind and I've written them down here. The first thing and the most important thing is the title of your poster. What does the title say? Does it say New collection? Does it say your invited birthday party? Does it say, New book alert? What is the title that's going to introduce your message through the poster. The title would have to be really big. Because you want the person to know exactly what they're looking at. Is it ad Is it an ad for university? Is it a new Donut? What is it that they're looking at? The title is really important, and that equals to emphasis on the thing that you're trying to advertise. Instead of being like, hey, you're invited to my birthday party, should just write birthday party. That's the title, and then below it or before it is where you would write more to complement the title. The main title is emphasis on the main thing. The next thing is the text which goes before or after the title, and the text is where you would give more information. For example, you can write make your dreams come true by coming to Jackson College or something. You can write text, and it's okay if you have more than a couple sentences, but make sure that the proportions are right. You don't have a whole paragraph sitting right in the center of your poster because no one is going to read that. You need to make sure that it's divided correctly and there's no a big paragraphs. There is no paragraphs, actually, don't want any paragraphs in your poster. Even if there is a lot for you to say, you wrote an entire paragraph that you want on the poster, you should break it up and place it on different parts of the poster. Next thing is the graphics. Now, the graphics are what's going to bring in the eyes of those who see it. If there's no graphics whatsoever on your poster, then that's going to be a really boring poster and no one is going to look at it and that is guaranteed. Now, graphics could be either a photo, maybe the photo of a model. It could be some patterns that you designed. It could be some illustrations, some dots, some geometrical shapes, could be anything, but it has to be there. And also with graphics, you don't want to put 100 circles on your poster. You want to give it variety. If you're putting circles here, you want to put maybe lines here. You want to change the sizes of the circles throughout. You have a big circle here, a small one here, and you don't want to make things the graphics identical. You want some variety in there. If your poster is about fruits, instead of putting a singular apple, you should put different kinds of fruit to give it some variety. Another thing now, this is something that a lot of people don't pay attention to and that's what causes their posters to be a bad poster. White space is when you put white spaces around your posters. In the examples, it'll be easier to understand. But essentially, it just means that putting either shapes or frames of white around your poster to make it more balanced and easier to look at. Just the color white is a color that you should definitely put in any poster, doesn't matter what it's about. It's the only color that can make things easier to look at and can balance out the entire thing. White space causes the poster to be balanced and once it's balanced, people will look at it. Another thing is layout. Where are you going to place your text? Where will your graphics go and all that? Layout is something you will probably understand by looking at other posters, maybe get some inspiration through the works of others. That way you can understand the popular layouts, the right layouts. In the examples that we will look at shortly, you will also be able to pick up a few things. Layouts cause rhythm to your poster. Without a proper layout, your poster is going to look like something you made in 2 minutes, something that you didn't put a lot of time in and it will show if the layout is not proper. And then we have another thing, which is the flow. It's the movement that you're creating for people's eyes. What is the first thing that the person will see? What's the second thing? Where does the eye flow? Does it go from here to here? Does it go from here to here? How do you want people's eyes to flow through your poster? What is the most important thing? What's second important? You want to balance it in a way that the person sees the most important thing first and sees the least important thing at last. Flow is really important. Finally, we have color. We already talked about color. The different kinds of color that you use, the different color palettes can change the mood of your poster. Let's say if I have a watermelon palette. It's like a watermelon pink, watermelon green and I use it in my poster to advertise for a new drink, I'm giving a fun summer vibe to those who see it. They're going to look at it and be like, Oh, this is great. It's fun. I want that drink. It's also summer. But if for the same drink, the same fun summer drink, I use all black and maybe I use some white, it's way too serious and I'm not going to look at it as a fun summer drink. I will look at it as a really luxurious, maybe alcoholic drink. But that is that's not what the product is and I showed the thing wrong because I use wrong colors. Colors are very important. Make sure you're using the right palette for your mood and message and colors need to have harmony. We mentioned this before. If I'm using one color from one palette and three colors from another palette, I'm not creating harmony. Color palettes are made and are made of colors that are in harmony with one another. That means that their hue is one, they have a similar hue and maybe the saturation and the brightness changes, or they have the same saturation and the hue changes, and it all depends on the hue saturation and brightness values of the colors in that palette. They need to be similar in some way, or else it's going to not have any harmony. So these were some things that you should always remember when you're designing a poster and a great tip before designing something is to go through Pintres, Bhans Instagram and look at the posters of other people. It's going to help you a lot. It may seem like something unnecessary, but just looking at posters helps you envision your poster. You're going to maybe use the layout of someone's poster and then change the colors to make it your own. So definitely get inspiration from other people prior to designing your poster because once you get into Photoshop and you have nothing in your mind, it's going to be really frustrating and you'll end up with something that you will not be happy with later on. So now that we know what makes a good poster, we can now go ahead and look at some examples to better understand these principles. I got some posters from online, some good ones and some bad ones, and we're going to see and examine each and every one of them to see what makes them good and what makes them bad. So here is our first poster and you can see the first thing, the title is Work conf, which I think stands for work conference, or it could be the name of the event. I'm not sure. That's the thing. The first thing that you'll see is actually the lady and that's the graphics that we talked about. The graphics are there to bring in the person's eyes, bring in the person's interest. Then after you saw the lady, you're like, Oh, what is this? It's a work conference or this event. And you can see that it emphasizes on the title because it's the biggest among all the other titles. So use your graphics to bring in people and then put your title somewhere related to the graphic. Now, here's another tip, human subjects. Human subjects will attract attention more than other things. If I had a triangle here, it will not attract my eyes as much as this human. The same thing goes for photography. If you have a human subject, your photo is way more attractive. For graphic design, it's the same. Human subject make things attractive. So we have a human subject. I have attracted and caught the attention of my followers. And now that I have their attention, I can tell them that this is the name of the event. And then below it, I'm telling them what exactly I'm like, what is this event for? It's for career and chance. I'm going to assume that this person is going to have a conference to talk about career and chance. Before looking at any of the tinier text, I already know what the poster is trying to say. This is a great poster because in less than a few seconds, it allowed me to understand what it's about. You can also see the balance the poster has because of all the white space around the event. After you've read all of these, the main part and notice how the main thing is in the center, you definitely want to do that because the first place that people are going to see is the center of a work. If it's a four paper, they are going to see the center. You probably notice that in business documents, the thing that's in the center is the logo, but it's really faint. That's the first thing they're going to see and then they'll read the document later on. Now after this, we have some additional text that we have put into different spaces. This is the date where it's going to be held and how much reservations are there, and then the company name, we have some logos here if you have logos. Down here, it's telling us a little bit more about the event, but it's not as important as the name and the reason for the event. It's smaller. Then here we have some contact information. This is a QR code to go to their website where people can just put their phone on, open their phone camera and then go on this and it will bring them directly to the website of this organization. We have the contact information. Now the reason why this is smaller is that you don't want people to immediately contact you. You want those people who are interested to contact you, someone who is not interested will only look at here and then just go on with their day. But people who are interested, they're going to first look at this, then they'll look around for the contact information. That's why it's small. You don't want to make it as big as this or as big as this because it's something that you have put there for those that are interested. All right, also keep in mind the flow of the poster. This is the first thing that people saw, the lady. Then if you see it ends here, the main thing. It's kind of like an F, see the top, the bottom, and the middle line. With posters, people's I flows will go in a form of F. Well, that's for English. If it was another language depending on where it starts, does the type starts from the left or the right? If it's from the right, it would be from the right. But you can see a F right here, top, bottom, middle. Just Imagine this F as you're designing. We'll also use that to, um, design things in the future. While we're designing posters, we'll keep that F in mind. But this is just a tip. It doesn't necessarily have to follow the exact F letter, but you get the idea about how the I flows around the poster. This was a good poster. It got the message across, I told us information about where to contact the people. I brought us in with the graphics, which was the lady. I told us about the date and the seats, which are some important things but not as important as the title. It also gave us an additional interesting information like the lady's name. If I know her, I'm like, Oh, it's her and then I'll continue reading the rest. Now let's look at our next poster. This is a bad poster. It looks like you designed it in maybe Microsoft paint and you didn't have any skills and we're just trying to put some text onto a bunch of colors. Immediately, the first thing you see is this really dark red and tiring for you to look at the text because the text is a neon green. This is the color that we talked about. Colors need to have harmony. These two do not have harmony. Then we also have this bright blue. The first thing that we see is actually the cupcakes, and that's because it's the only thing that's normal in terms of color and position. We have a familiar shape that we can relate to. But then when we look at the rest, it's too hard to look at. I don't even want to read what it's saying. And yeah, the font is not okay and we mentioned that we don't want paragraphs. There's a paragraph right here and then there's a little white space between the next paragraph. We have this empty space here, which should have been filled with something. The text, the main text, it's too small and the font is making it look less important. So this is a really bad poster. We also have the image. You can clearly see that the person didn't crop this part out and the text is going over the image. Again, we have another empty space, and it's just a mess. This is not what you want to have. Nothing brought the person in. We don't have anything that's going to draw in the attention of those who see it. We don't have a main text emphasis. And we don't have the layout. We don't have a flow, we don't have color harmony. We don't have anything. This is a terrible poster. Let's go to the next one. This is another bad poster. And you might be wondering why it looks a lot better. Now, it does have some good points, but it has some bad points. The first main text is apparent ice chips. What does that even mean? Is it an event? If it was an event, they should have told us about the date where it's going to happen and who is going to be at that event. The text makes no sense and it's right in the center, which doesn't allow other things to be next to it. We have some empty spaces here. I guess this is the logo. The logo is placed in a really awkward position, and then we have the QR code, which is in a bad position. And then the only good part about this poster is the bottom here. The top part is a total mess. The bottom, the colors are in harmony. The text is there, the most important thing being apply now, and then you read reverse read this, and you go here, and then you read each of these ones. We also have some graphics which is drawing your attention to here. You can see that it fades away. That's a smart thing to use to show people that this is where they should be focusing and not here. Below, we have enough information for people to contact. But then above here, it's a total mess. The colors are also in harmony. The yellow goes well with the gray, maybe not the dark gray that we have. And yeah, also, this WTE is not a good idea. If you want to put something that indicates what this is, you should put for E, you can put a globe. It's like the world wide web. For T, you should put an actual telephone icon, and for W, you should also put sorry, for the email, should put an envelope and then for the W, you put the globe. But putting WTE is not a good idea. So this was another bad poster. The next poster, this is another bad poster. It's way too crowded and we don't know where to look at. Your eyes is just confused and you don't even want to spend time to read what it is. But the good thing that they did here was that, like we said, the eye goes directly to the center and the center says fundraiser, which is the title of this. But then we have the other unimportant things that are larger than the title. We also have colors that do not match. We have this red, we have this yellow, this random pink, these blue, and we have the first letter it's white. That's not really nice. We have this random circle that is out of frame. It's not even placed in the center. There's some random shadows and stroke, it's just so confusing and I don't even know what I'm looking at unless I spent maybe two to 3 minutes trying to figure out what is what. This is a terrible poster. And the main reason is the text. We said that we want our text to be proportional, meaning that we don't want everything to be portioned in one big slab of text. We want things to be portioned in the right way, so it has flow. This has no flow. It's just a flat text in your face, and you're just reading way too much things and you still don't want to continue contacting this person because they didn't leave a good impression. And let's have a look here. Yeah, this date is way too big. With the white letters, it's bringing the attention away from the rest of the text. Hold on, let's have a little look like this random dollar sign. Why is it there? This professional has a drop shadow which is going over the graphic and it doesn't even have any graphic. If I was passing by this poster, I would not look at it. I would not take a second look at it because there's nothing to grab my attention. We also have the website that's going over this text and also this. If the person made it a little smaller, try to work with the font, the font size, the font color, it could have been better. But unfortunately, that was not the case. Our next poster, this is a good poster. And immediately, the first thing that you see is hands, the graphics, and what are the hands doing? They're snatching things, which is the name of our title. You see the hands reaching out to snatch something. This guy is going for the pen, pen, guys going for the text. Because we have a nice flow, it starts from here, it goes from here and you're driven to the text no matter in what direction you're going. So we had the graphics to bring us in to catch our attention. The title is there. It's also interacting with the graphic, which is a really smart thing to do. Then below the text below the title, we have additional text. This is, I think the slogan. Then here a smaller detail, smaller than the slogan is the director, and then this is additional information, something that people who are really interested will read. But if they didn't, it's not a big deal. So here's some information about the actors. And then here, the actors are more important. And then here, the least important things are the music director, the cinematographer, and all that. So you can see the order of importance in the text. First is a title, then is a little text about what the title is about. Here, they have a slogan. The third thing is the director. The fourth thing is the actor, the actors, and then finally, it's the crew behind this movie. The colors are also in great harmony. We have a bee color palette, yellow and black and white. This gives us a fun but um silly mood. I wouldn't say silly. It's serious. It's like the game of card. It's fun, but it's serious. That's a good addition. We also have some bullets to show that this is not as serious. It's a little fun because we have the yellow, but it's also not a little kids show. It's using the bullets and a card to show that this is maybe about gambling or mafias or things like that. It's a really creative poster. Our next poster is another illustration. The first thing we saw was the lady's face, then we see that it's a gun. Then we see the gun has fired and there's bullets around it. Notice the flow that we had in this poster, first, second, third, fourth, then we're like, Oh, this is an interesting illustration. What is it about? We see that it's cry for the bad man. Now, the bad man is the main text, and this is also the main text, but the most important thing is the bad man. If this was something popular, I would be like, Oh, I know the Batman, I'm immediately attracted to the poster. And then we look after this, we're like, Okay, I want to learn more. We see that there's a short description of this. It's three intruders, two guns, and one woman. Then down here, it's the least important thing. I think I can't really read it. But I think it's giving credit to the design and the storyline and stuff. The colors are again in great harmony and notice how the good posters so far, they have a small amount of colors. Here we have one, two, three, four, four colors. That's it. And one of the half of the colors are just shades of blue. The hue is the same, but the saturation and brightness are changing. So when you're using a small amount of colors, it creates minimalism, which we mentioned is really popular nowadays, and it's the best kind of designs that you can create. Try to be as minimalistic as possible because that's the only way that people will look at your posters or any other designs. Our next poster, we have a fashion poster. The first thing you saw was the lady. She's the graphics that is bringing us in to see the rest of the poster. Go to zoom in a little low quality. So we see her, and then we see fashion. Fashion is broken down. That's another thing you can do if your text does not fit in. You see fashion and there's a repetition of the word, but it's not as bold as the main text. And then here we see discount 50%, and then you go down here, start from $49. We see outfit of the day. Then we see these lines. That's the website. This is, I think the phone number. Then here we have an email too, and then finally, we'll see what's in here. Can't really read it, but clearly it's not as important as the rest of the text. The colors are in harmony. The colors also match with the model's outfit and her hair color. Everything in this poster has harmony. Here the F letter that we talked about is a lot more bold. This is the first line the bottom, we're drawing an F right now, the top, going down and the middle line. Notice the F. That's because that's a popular I flow when it comes to posters. The text also has good font. You can see that they're all capitalized, but this one is thinner, this one's thicker. This one is italic, and these ones are in between. If you're using even one font for your entire poster, try to use different styles throughout to create variety. Our next poster The Zoom out first. Our next poster, there we are. This is a really simple poster. Again, we saw the model first, and then we see this giant sale. If you're following this fashion brand and you like the brand, you're like, Oh, sale, I want to know more. Then you will see save up to 75% and then you'll see on all summer dresses and accessories. Now the bad thing about this poster is that there's no contact information, but it does work if the brand is posting this on their Instagram story where people already have a way of reaching out to the brand. If you follow, let's say Instagram and you see a poster like this, you know that all you have to do is to go in Zara's profile. Maybe there's a link in their bio or you can just message them directly, go to Instagram shop. There are many ways to contact the brand after seeing this. But if Zara is planning to put this poster on the streets, maybe on a billboard, they should maybe learn more at zar.com. Just a small detail for contact. Or put a QR code that we saw earlier for people to scan and go immediately to the website. Again, it works if people already have a way of contacting you. But if they don't, you should definitely put contact information. Here the colors are great. We have this really bright reddish orange. We have a fun orange in the background. Notice the color palettes and summer here. These warm bright colors already give you a sense of summer a sense of fun and the familiar sense of summer outfits. The color palette complements the message and the big sale because it's cursive, it's creating a elegant, fun look on the poster. Then finally, we have this poster, which is not as fun as the one we saw, but it's not supposed to give summer wipes because it's about football, it's about Pepsi. Pepsi has its own colors. It's using the colors in the font in the logo. As the graphics. The first thing you saw was Messy himself, and then you will see the graphics behind it. The reason for that is like we mentioned, the most attractive thing is human subjects and then illustrations. It's a really smart take to put both the human and the illustration, but put the illustration behind the a human subject, and you can see the illustration is interacting with the subject and also with the text. This is a really smart poster. It's creative, it's innovative and it's great. It's a great thing to attract viewers. And then after this, you will see maybe you'll see Pepsi, the logo, and you're immediately interested if you drink Pepsi or if you like Pepsi. And if you don't, you'll be like, Oh, this is about Pepsi. I'm going to walk away now. After this, if you saw Messy and you know who he is, you'll see the confirmation text and if you didn't, you'll be like, Oh, this is messy. Cool. So and then after we have the Pepsi slogan, which is there, and there is not much information, but because this is something they will probably put under social media platforms, there's not much contact information in the poster, but because they could be putting this under social media platform where people already have access to Pepsi's website, their social media platforms and all that. There's no need to put any contact information. But that is only working because Pepsi is a known brand and everyone knows what Pepsi is. They know the website, they know what it's about, what is the project, and all that. Pepsi doesn't really need to give that much information about what it is, what the drink is about because everyone knows what it's about. But overall the colors are matching. We have a nice gradient in the back, which creates a powerful presence over messy, you can see the dark parts here, but it gets brighter. It's like there's a light behind messy and there's a spotlight going on. Overall, a great thing. We again have the same font, but this one is bigger, this one's smaller. It's putting emphasis on the title and not on the supporting texts. Then we have this as our final poster. The first thing you see is the doughnut. You could be thinking, is it Dunkin donut? Is it Krispy cream? Is it some other chain? And after the fun little illustration, you will see July 14 and you might not see this logo. Is not that smart. They shouldn't have put this here, but it does make the illustration special. In below, you will see that, oh, it's crispy cream. I love crispy cream, so I want to learn more celebrating 80 years of the original glazed doughnuts. This way, you know that it's interesting that the balloons are coming out of the logo. Interesting take on showing that the glazed doughnuts that we all love are from crispy cream and also this event that is going to take place on Friday, July 14 is also coming out of the logo. Crispy Cream is giving all of these to us with these fun little balloons and then you're invited. This is a supporting text that makes this fun. It's giving a birthday mood, which is a birthday because it's the 80th birthday of the glazed doughnuts. With the fun pattern in the back, it gives us that fun summer doughnut mood. So the colors are great. They're matching with each other. We have the logo. We have one supporting text. We have the date, the place, not the place, the place is just Krispy cream. The date of the event, and some little text to kind of make people more excited. Get a dozen original for only $0.80 when you buy any dozen. So when you see this, you're like, Oh, this is great. I want to go to Krispy Cream right now. The layout is great, the flow is great. The colors are great, and so is the font. Actually, this is our last poster. That wasn't the last one. This, this is the last one. Now, this is, I believe a restaurant. You can see that the first thing that drives you in is the colors because everything else is black and white. Then you see that there's a knife, a plate, and a fork. Immediately, you assume that this is related to food. You will see taste upper west side. And then you'll see the 80 Chef Unlimited Food, the date of the event, the website. After seeing these three and the suggestive graphics, you're like, Oh, this is a food event. So if I want to get unlimited food, wine, beer, and spirits, I would go straight to this website in between the state. And then we have benefiting the Upper West Side community. And finally, the least important thing is presented by American Airlines and Mastercard. So you can see the order of importance in this poster. It's a really clever thing they did that they kept everything on a white background, use black text and make the only colors be the graphics. This is for sure going to attract people's attention. This is a smart thing that you can do. Now after seeing all of these good posters, you may already have an idea of how your poster is going to like. That's what I meant by saying to look for inspiration and that in your head while you're looking at those posters, you're going to create your own poster in your head. In your head, you have your poster and then maybe you can sketch it out to make things easier for you. You can do that as a beginner. It's totally okay. You can maybe bring in this image onto Photoshop while you're designing to maybe use the colors, use the layout as an example. It's always good to practice as you go on. A good practice for if you're just starting out is to try to mimic the poster, but put your own text and graphics so that you can practice using other people's work and as you progress, you can maybe make your own work soon. So this was it for this lesson. Now that you know what posters are supposed to look like, what helps make a good poster, you can now go ahead and start practicing, making your own posters. In the following lessons, we will learn more about graphic works and designing posters. I'll see you guys in the next lesson. 17. Logos: In this lesson, we're going to learn more about logos and see what exactly makes a logo good and what makes it bad, as well as what makes it minimal and acceptable in the modern world, or if it's too crowded and it will not be acceptable. Similar to any other design, logos also have their own principles. There are a bunch of things that should be considered before you start sketching out your logo before you start designing it, once you have these things in mind, you will be able to place your ideas and creativity in the right molds, so you get that perfect logo in the end. Again, just like any other design, it's always helpful to look for inspiration, look through popular brands, less popular brand, just scroll through Pinterest, Instagram or any other place. It's also a good idea to follow some designers on social media because you get to be more familiar with their workflow. There maybe fails, if they fail to do a logo, and I tell you, I couldn't finish this logo because you can use that to help yourself out if you were placed in a similar situation. So one, always look for inspiration online, and two, always be on the lookout for designers that you can follow. It doesn't necessarily have to be a logo designer. Just any graphic designer that uses either Photoshop, Adobe Illustrator, in design to create works, it's always helpful to follow them because you'll learn about new techniques that you might not have known before. Let's jump into the principles. The first thing is the title. Obviously, when someone looks at your logo, they want to know what's the name of your brand. And this only applies to new brands. If you see Nike or Apple, they don't really have a title because their brands are so well known that nobody's going to look at the Apple logo and be like, Oh, what is this? I don't know what this is. Everyone knows what Apple is. But there are times where you're just starting out and people don't know your logo. They don't know what this is, so they need a title to know more about that brand. So if it's a vector of a pancake, then you need to write your brand under it, like breakfast house or something. That's the name of your brand. A lot of times the title is in the logo, it doesn't matter whether they're known, they're not known. The title is still there, like the Krispy Cream logo. The name is in the logo, so no one's going to be like, what is this? I have no idea what the logo is for. They'll just read the thing and be like, it's Krispy Cream. The title is to introduce your brand. Again, if you're already familiar and popular, there might not be a need for it. Now, the second thing is timeless. You want to design something that can easily be remembered by those who see it. Meaning that you want to keep it less complex. You want to use little lines, you want to use smart shapes, maybe some negative space and stuff like that. You don't want to overcrowd your logo because when someone looks at it, they're going to be really confused and they will not remember your logo. So keep it minimal. And by timeless, it means that if you created this logo in 2008, it still makes sense in 2021, but maybe you'll just need a little bit of improvement. But overall, the logo will stay the same. Again, I'll use Apple as an example. Apple's logo has been around for so long, therefore, it makes it timeless. They don't have to change the logo every year because they designed it so smartly that it makes sense with their brand title and their brand identity. Okay. Then we have smooth. Your logo needs to be smooth and needs to have flow. What's the first thing people will see? Is it your title? Is it the character? Is it the negative space? What is it that they're seeing? You want to direct the eye across your logo as people see it. You want to direct their eye as they see it. We'll learn more about this in the examples. Then we have negative space. Similar to white space, negative space is when there's two black shapes and in between, there's a space, but that space causes a different shape to form. It's hard to explain this. In the examples, we'll learn more about it, but this creates a smart balance and overall makes your brand seem really smart and also balance. The appropriate. You want to make sure your logo is well appropriate for your brand. If my logo is an apple, but it's a shoe brand, it doesn't match up unless the shoes are made from apple skin or something. If your logo is not related at all, it's confusing. Therefore, people will rather not look at it because they would have to just go straight for your brand title and will not remember your logo because it's not related. So if I have a shoe brand, maybe I want to make a shoe, a logo made out of a shoe, maybe a logo made out of, maybe I have a mascot. I'll put that mascot as my logo. The mascot is also going to be all over my store. So people will be like, Oh, I've seen this logo before. This is their store. All right. Then we have simple. Again, you don't want to overcomplicate your logos with lines, with gradients, with dots, circles. When you make it too complicated, it'll be too hard to look at and people will not look at it. So keep it simple. Simple logos are the ones that will be remembered the most. So keep that in mind when you're designing. Don't want to make it too complicated. And that means that it'll be easy on the eye. That's your goal. You want your logo to be memorable, easy, and balanced. Finally, we have the color. We already talked about color, but I'm going to revise it in this lesson too. Color delivers the mood of your logo. Again, if it's a gradient, black and white, it shows a really luxurious brand. But if it's a fun orange, red color, it shows a summer mood, a warm mood that is acceptable for everyone, and it shows that the logo is for everyone too. To make sure your color matches your mood. We'll learn more about the moods soon. Now, now that we know what the principles are, and what we need to keep in mind before we start sketching, before we start looking for inspiration, we can now look at some examples and see what makes a logo good, what makes it bad. How can you improve those logos and what colors are suitable for your logo. So first, I'm going to go to another image that will tell us the principles. Five tips for a great logo design. Number one is your target audience. Is the brand for children? Is it for adults? Are you maybe targeting college students? What are you trying to target? Because when you make it for everyone, it's not going to make it niche. And when your brand is not niche, it's really general and it doesn't make it special. Let me try to zoom in, see if I can read. Okay, identify the type of person who will potentially buy your product and services and then design it around those principles. What that means that you need to get demographic information. Like we mentioned, college students, maybe kindergarteners. What are you looking for? Is it made for Christians, for Muslims? Where do they live and all of that? You can also, you have to look for their um psychographic information too. Are you making the logo for college students who are into fishing, college students who love reading books? Then we have font choice. Font is very important. It helps deliver the mood that you're trying to create. If you have something cursive, it creates an elegant mood. If it's all bold, it may create maybe a fun thing. And if it's like this, it shows a professional look and this is more of a casual look. You see all of these fonts have their own look to it, but it has to match up with your logos mood and your logos message. Font is really important. Again, there are plenty of sites that will tell you which fonts will go well together and which fonts are suitable for logo design. After this photo, we're going to look at some of the websites that I just said, you're going to use those websites a lot. Then we have color theory, which will get into another image. But like we said, color is very important when you're trying to deliver a mood. You want to make sure all the colors are in harmony with one another and you're not putting complete strange colors next to each other because then it will be hard to look at. Number four, avoid the obvious. So it's a cliche, but sometimes it can work like Apple. But when you're first starting out, try to kind of make it look like you tried and you are trying to design a logo in a creative way. So yeah, if it's an airline, don't try to draw an airplane, try to make something like a nice little mutant shape out of an airplane and maybe a flight attendant. Try to be creative. That's a great tip, and five, keep it simple. Then this is what we talked about earlier. Don't try to make something too complicated. If Apple made this logo, it would not have been remembered as much as the current logo. You could see there's so much detail here. We have the sets, we have the inside of the apple, the stem, but here is just two shapes and that causes it to be easier to remember. Because remember, people are not going to stare at your logo for 30 minutes. They're just going to have one glance at it and if it's simple, they'll remember it. If it's difficult, they will not. It's just in a matter of seconds. You want to make sure in those seconds you capture the attention of the people who see your logo. Now let's go to those websites that I mentioned. Let's go to Chrome and search Font pair. Fonpair.co. This is a website that I use and maybe a lot of other graphic designers out there. Essentially, what it does is that it pairs popular fonts together. So let me come down. You can see here it paired this with this and it gives us a preview. And if I want to write, maybe design a poster with it, maybe put it in my logo and generally, I want to have a font for my brand. This is a great place to find fonts that go well together. You can see here, this one, and you can go to popular fonts and it will tell you the options you have, font pairs. It has some blog, type resources, and you can even search your favorite font. Let's see. Let's see what we can search. Let's go to Centaur, see if they have this font. They don't have this font, but this is the monster ut. I think that's how you say it. This was the font that we used am of times in our lessons. You can see it's telling us about the font. I can learn more about it. And yeah, it's a great site you're trying to look for if you're trying to find a logo that will go well with your brand and you want to find a supporting font that will go well with the first one. Let me go to the first page. You guys are not familiar with why there needs to be more than one font is that if you have a website or a application, your titles would be this font, and then your paragraphs or bodies of texts will be this font. Together, they make a good representation of your brand. There needs to be two because we don't want the same font repeated everywhere the customer looks at. This helps create variety, but they are in harmony with one another, it works perfectly. Let's go let's go back to the image. Let's look at our next image. All right. So when they give you a brief, a logo design brief is when the brand or the customer is like, Okay, we have an ice cream shop and we're selling strawberry ice cream only. We have a mascot, let's say it's a bird, it shouldn't be a bird. But because we have birds here, it's a bird and I want a logo for that. So once you have a bird in mind, like a bird here. You have the option or not the option. You have to work it through and see which type of style goes better with the brand that the customer described. Is it more feminine, masculine, young, mature, luxury, economical, modern, classic, playful and you can see the difference here. Now, the ice cream brand that we mentioned, it's neither of these, neither of these. The best one that goes well for an ice cream brand is actually the modern. It's easy to look at. It's not gender based, it's not age based. It's for everyone because everyone eats ice cream. But if I go for playful, I'm giving it a childish look to the brand. If the brand is for everyone like this ice cream brand, I will go for the modern style of the bird Brief. Okay, let me zoom out our next picture, and this is the type of logos that are out there. There are six types, and we're just going to go through them. Number one is pictorial. This is, you can see, Apple and a lot of other brands. These are logos that are based on a picture that does not say the exact thing as the logo. Starbucks, this is not saying Starbucks, it's a picture that identifies Starbucks. We have an alligator here. It's not stating the obvious, maybe Apple is, but because it's so popular, everyone accepts it now. These are just represented these brands by a picture or an illustration. Then we have letter forms, which is just letters of the first letter of the brand. So McDonald's, H&M, these are just letters. They're not too complicated, as you can see. Third, we have emblems. This is regular text, but it's limited to a shape. You can see here Samsung, UBS, and it's not too fancy. They're just text placed on front of the shape. Then we have word marks, which is a stylized type of the regular text. Disney, you would write it. If you have a normal text here, this is a more stylized version. The D is like that, D is like that, the Ps like that. Here you can see that the V is coming out like that. The letters are special, so it's not just regular text. It's essentially typography design. We'll get into typography later. And then we have abstract. These are just symbols that represent the brand. They're not exactly related to the name of the brand. But if you look at Nike, for example, when they have just do it, the check mark makes sense. But other times it doesn't necessarily have to be identical to your brand name or your slogan. Again, over time, people will remember the symbol. If you're just starting out, and you're looking to expand your brand over the years, then I suggest one having a symbol. Let's say this is your symbol and two having the text below it. As the years go on and people look at your brand, they're going to first see this, the symbol, and it'll be like, oh, it's Johnny's Ice cream store. Then after a while, when you're just so popular, everyone loves your store, you can slowly remove Johnny's ice cream store and it will just be the symbol. That's the symbol that people will remember. And finally, we have the characters or the mascots. These are just characters that are somewhat related to the brand. For example, this one has piggy in it or piggy. This is a pap. It makes sense. Michelin, this doesn't really make sense with the Michelin, but because it's a symbol that has been on the logo for so long, people now know this as part of the Michelin identity. And yeah, these are just types of logos. Before starting to sketch, you got to ask yourself what type I'm going for. Do I want illustration, letters, emblems, word marks, abstract characters. What is it that I want? Then you can continue sketching out your logo. Next, this is good logos. It is using negative space, the thing we talked about, negative space for balance. Look how balanced these logos are. It's really smart. You can see grill and just like a regular grill spatula. That has holes in it, this guy used those holes to create the I and the dabble L, using negative space to his advantage. Another thing is panda. He used the Although this is not necessarily negative space because the spatula already had the lines. I have another example for negative space. Here, I'm just trying to show you guys some really smart and modern brands. Now, these are something that I will remember. We have panda, we have jazz, this guy was on a challenge to use regular text to design logos from. But obviously, if your brand is grill, you're stating the obvious, not with this necessarily with the panda. If your brand name is Panda and your text is Panda with a Panda, that's just really obvious. But I just want you guys to look at the design and learn what a modern minimalistic design looks like. Now let's look at our next image. Now, this is an example of a bad logo because when I look at it, I'm so confused. I don't know what the brand is. I can't even read the letters. It just really confuses the people who see it. Maybe the color scheme is right, the geometrical shapes are correct, but I'm not seeing anything that helps me identify the brand. Now this will work well as a pattern. Maybe they wanted to make a abstract pattern, but because it was supposed to be a logo, you can see that they printed it on a mug, and I believe this was a university. You can see that they didn't quite get the right logo design, and it's just really confusing. Let's look at another design. This is another bad design. Because they try to write text here, but you can't really read it. You can tell it's related to Japan, but once you try to read the text, it's making you dizzy. I made my eyesight blurry when I looked at it because it looks like a maze. I couldn't quite read it. This is another way that you're not supposed to write your text. You want to make sure your text is readable and that other people can easily read it through and understand what it is. A great tip to do that is to design your a text. For example, this was your text and then have strangers or people in your family try to understand and be like, Hey, this is my logo. What do you think? They'll be like, Oh, I cannot read this at all. You hear this response from five people, then you know that this is not readable, those people will not be biased because they don't know that you can even say that what do you think of this logo? You can say that you didn't design it, say, what do you think of this logo, and that way they will not be biased and they will tell you exactly what they feel. Which a lot of times can be harsh, but it will help you guys grow immensely. Another bad logo design, our next logo, this is another bad logo design. Now you can see they try to make something smart with the shapes, but you guys cannot read. I cannot read what the brand is. This is Go goon. I can't really read. This way, I don't know what brand is. If I went to this cafe and someone's like, Oh, which cafe did you go to? I cannot say where I was because I can't read. Now if they had some text here, it would help a lot, but since they tried to put it all in the shape, it failed. But I do like the color scheme and the letter font. It goes well with the shape, but they failed with the letter placement. Now, here is color logos, and emotion. This is very important. Always know what color you're using and what energy or emotion that color portrays. This is a simple chart. We'll go over them. There's even examples for us to follow. Let me come up here. We're going to start with red. Red is bold, courageous, stimulates appetite, and once you look at them, you can see Coca Cola, CNN, Nintendo. These are just the color and the boldness of the text and the outline. It's a in your face logo, which is great for if it's a supermarket, if it's a well known brand logo, Coca Cola, it makes your logo seem really strong and powerful, which all of these brands are strong and powerful. You can see Cannon, Coca Cola, Target, Kmart, Nintendo, all of these brands, even CNN, they are really powerful. They have a big audience, they are bold, they're courageous, energetic, and they also some of them stimulate appetite KFC, lace, Coca Cola, and I think that's all the food ones we have. I cannot read the rest. Yeah that was for red. If you have a news brand, you have a maybe let's see, a food brand, you should consider putting red in your logo, or if you have a athletic club, you can put that in there, so it's energetic and courageous. The next color is orange. Now orange is a really great color because it's cheerful. It's fun. It's for everyone. Like Amazon, Amazon's for everyone. It doesn't matter if you are 30-years-old, 20-years-old, 50-years-old, all of these things, they're made for everyone. So it's friendly, it's welcoming. It's like, Oh, come use our app. By having orange in their logo. It's a smart take. It's a friendly, warm color that you can use in your logo. There's also confident and cheerful. Then we have yellow. Now, yellow is also good for spreading positive messages. And then here it says, I see yellow first, which is something that you should consider if you're trying to make your logo really noticeable. Clarity, warmth, if you look at the examples, Subway, Shell, IMDB, National Geographic, Nikon or Nikon, McDonald's, DHL, these are all a warm brand, and they're really eye catching. If you're just passing by in a store and you're just walking and you see the McDonald's logo you see it immediately because yellow it's such a popping color, and you will notice it really fast. Then we have green. Green is for balanced harmony, health, growth, and all that. You can see whole foods, monster. The monster is not related to health, but a maybe for prestige. Starbucks, prestige maybe Spotify and all the other brands. Green it's mostly used for maybe environmental brands, health brands, fitness and anything that is related to energy, which if you see master, it is related to energy energy drink. Starbucks is because coffee. Spotify is because music, whole foods is because it's energy and health. Then we have blue. Blue creates a sense of trust. So most of the popular brands like computer brands, HP, Dell and Walmart, Facebook, WordPress, all of these are brands that everyone trusts, and they're everywhere. It's kind of like your company, like a friend who's always there. These brands are always everywhere. Everywhere you go, you hear Facebook because people are sharing on there, you're selling things on there, Twitter, and unlike the social media platforms, the other ones, they are great brands that have been built on trust. And apparently it's secure preferred by men popular in offices. It does also create a cold environment. We did talk about the cold tones and the warm tones. Warm tones make things friendly and approachable. Cold tones, not so much. A lot of corporate and organizations use the color blue to create a sense of prestige and seriousness. When they use the color of bloom. Then we have purple. Purple is wise, creative, imaginative, nostalgia and all that. It is true Taco Bell, Barbie, Yahoo. And all of these brands, they are wise and creative. If you go to Taco Bell, there's a lot of creative tacos and it creates a fun place for you. You always go to Taco Bell. You're always excited about their new Products. If you go on Yahoo, it's a fun space, they remove Yahoo answers, but it makes things wise. That's what the color purple is for. Then we have black prestige, serious bold classic, and also luxurious, Blackberry, DNG product and all of these brands create a really serious and luxurious take on the logo. If you have a jewelry brand that's really expensive diamonds and all that, you should go for the color black. But if you have a jewelry brand that is maybe for everyone, so it's stones, maybe some crystals, you should consider, I would say maybe purple or green. If you have a computer place or a corporate, go for blue. If you are an organization hoping to maybe clean the waters and the environment, green, if you are looking for a makeup brand that is for children, maybe orange will do, and if you are a brand to help those with breast cancer go for the color red for yellow, maybe if you have a social media platform that is for everyone, everyone can share their music and all that, yellow. This is just how the colors are. Let me zoom out. This is another type of logo. We have different types of logo. This is called the flat logo design. What a flat logo design is is that it's a two D shape and yeah, it's just two D. You can see poli chat, two D, we have this reindeer, we have PayPal, brick Cap, I think that's W. You can see that they're flat. They didn't try to use so much gradients. They didn't make it too complicated. It's a really simple logo design. I will say that flat logos are really popular right now. If you're looking to create a logo, definitely give it a try at making it flat. Our next logo, these are called geometrical logos, and that is because they use geometrical shapes. You see they use circles here, they used rectangles, they use straight lines, triangles, and geometrical shapes give a sense of smart smartness. A lot of tech brands, a lot of universities use geometrical logos to show their intelligence. The previous logo style, forgot to mention, gives are really casual and it shows that this is made for everyone. I have no restriction. For example, PayPal, PayPal has no restriction. Anyone from anywhere can use PayPal. And making it flat gives it a casual, friendly look. But geometrical logos give it a smart tech kind of effect. So yeah, depending on what your brand is, you would want to choose a style based on it. Our next logo is logo style or hand drawn logos. In a lot of coffee shops, maybe butcher shops, you will see hand drawn logos, even hair salons. You can see that this illustration looks really hand drawn. It gives it a nostalgic look, a homemade look, a really authentic look to the brand. This coffee brand gives me a feeling of being at home because they're really authentic, we have good coffee. A lot of times based on the logo, I determine whether the coffee is good or not. So here, a lot of wedding places also have hand drawn illustrations. You see here, the butcher place. And I'm not sure what this is, but this is another style of logo design, handrawn. Look at the next design. These are line logos. They're made from lines, really simple. Could see that they're all made of lines. Maybe some parts are filled in, but this is a really cool artistic take on logos. A lot of artists or photographers or other studios use line logos because it gives a artistic feel to their brand. And if you have a photo studio, it makes sense to have an artistic logo. So these are line logos. A lot of times they're like we said, black and white, but they aren't exactly colored usually. There may be times where there would be a single color involved, maybe like this sun with the orange, and then that's it. But usually, we don't color them in because we're trying to make it look minimal and artistic. We don't want to make it look like a drawing. Our next style, this is the negative space that I talked about. Look at the name. The candle makeer maker has hands that is making a candle. Now, negative space is the space between your main illustrations. It's the hand and then the space between the two hands, make a candle. This is called a negative space. It makes your brand look really smart, but in a casual way, not in a tech way. So this logo is great, you can see, uses negative space. It's straight to the point. It's obvious, but because they're using negative space, it's done smartly and it's more acceptable than if it was a hand making a candle. This is another example of negative space. You can see that the coffee mug is not exactly outlined or colored in. It's the same color as the background. The only thing that makes it look like a coffee mug is the space in the middle and the way that the hand is holding it. Another great example of negative space. All right. Then we also have some, like we said earlier, symbol, sorry, picture logos, pictorial logos. We already went through this. Sometimes it's related, Panda Express, Twitter, Target, Shell, Apple. Other times, it's not exactly related like Nike, Starbucks, Olympics, Pepsi, but it works because these are brands that people have seen so many times that now they have it engraved into their minds. So that is it for the logo styles. I did wanted to show you guys another website to go to Google. This is another way to analyze your logo and see if it's okay for different purposes, and if you should continue with it, go to a new tab, write Logo Analyzer, logo lab dot app, click on it. Here you need to upload your logo in either PNG or SVG. I have my Pang here, open. It tells me of the balance. It's in the center, color, a hallmark of what logo, color black and white. You can see here, black, gray scale, white. Color blind. Some people might be color blind, here it's analyzing your logo if those people were to see it. I see here, scalability, small, you can see that it's pixelated, so I need to work on that. Tiny, it works because I can still see the outline, containers, just for me to know pixelated. A good logo retains most of its form at low resolution. It did. You can see that we can still see that it's a bird, still a bird, blur. We can still see the outline. See it here, slices and here, if your logo is recognizable in slices, I guess this will do app icon. Now here in the white, it makes sense, but in the black, it doesn't because, well, you can't really see anything, so I need to work on that. That's it. Just by going to this website, uploading my logo, I can see that the areas that I need to work on it's a great analyzer. Let me go back. And let's go here, brand Marko Lognk. Let's see. Upload logo, with the same logo. Let's see that it's an AI system, so it will it will try to understand your logo design. Okay. So 944 uniqueness. And it has a library of so many other logos and it's going to compare it to it. It has 1 million plus icons. So if it got a 94 on uniqueness, that's a good point. Come down 96, it's a strong bold silhouette. 96 is good, and this is what it means. This is what you shouldn't do, this is what you should do. It's giving you some examples. Color contrast, it's got a low mark. It's true because I barely have any color and contrast, so I need to work on that. Overall, a 68 and a noticing the stuff I learned in the previous website and on this website, I should combine those and better improve my logo, and that's it. It's brandmark I O. I suggest writing these down the other website was local lab dot app. Always have these three websites in mind. When you're designing a logo, make sure to write them down. They're really going to help you. Another place to look for logo inspiration if you don't know exactly, the easiest one is Pinterest. I believe everyone has Pinterest. Just search for logo design. I like to search for minimal because that's the style that I always go for. And here I can get some really good inspirations, maybe go on one, and then they'll give me more here. I really like this feature that Patris has the visual search, click on that. You click on that icon down here and it brings logos that are similar. I can look and see which one I like. Another website is dribble I want to go to the actual website, go here. And this is just a place for graphic designers. You will have your profile and you will put your designs. If I search here, was right here, not following, go to popular. Let's see. Branding. Here are more logo designs that I can use as inspiration. Just looking through, I can even like or comment. I I add a new questions, I can ask the designer. Another website is B hands. Oops.net. Bhands.net. This is Adobe platform. So if you have an Adobe account, you can go here, upload your designs. I use Be hands as a photography portfolio. There are a lot of designers. So let's go to Discover. Up here, let's go to Graphic Design. And there is a lot for me to choose from. There, let's see. These are series by things, by graphic designers, I'll go to logo because I'm looking for logos. Again, I can get so much inspiration from the following graphic designers. They even put a bunch of logos and symbols in one photo so I can use them as reference. So here's how the workflow goes. First, go onto one of these websites or any that you know that I didn't mention. Look for inspiration. Second, although first, you need to know what your brand is, who are you targeting, what are they like? What is your age and stuff like that, the demographics. And once you know what your brand is, what the name is, um, yeah, just one of those, just what your brand is. Go to one of these websites, look for inspiration. I my logo is related to CAT, I can search Cat ogo Design, Cat Logo Design, and I can get inspiration for cat logos. Then I can save a bunch of these to my page. Then now that I know what my logo is supposed to look like, in my head, I can start sketching on a paper. Now, give yourself about maybe an hour. I will actually talk about the logo design workflow in another lesson because this will get too long. But generally, after you have an idea of your logo, you'll start sketching, then you look for color palettes. Color palette. Let's go for pesto. I will find color palettes that will look good. Now that I have my logo sketch and color palette, I can start designing. After my design, I will check the scores in the following websites. I can use font pair to add some fonts, and then finally, I can export, I already exported it. I can share my logo and make maybe mockups with it, posters and all of that. So this was it for this lesson in the next lesson to learn more about graphic design and the other principles. And it will just be a really important thing for you guys to know as you progress in your Photoshop journey. So I hope you guys enjoy this lesson. I will see you guys in the next one. 18. Colors: When it comes to giving people a certain mood or emotion, colors are the main thing. And through your works, be it graphic design, photography, and movie, you can use colors to make people feel a certain way when they see your work. In this lesson, we're going to go over some steps that you need to take when you're choosing a color palette for your brand or any other type of work. These steps should be taken in order, and it's going to help you get the perfect color and in return, be able to portray the best emotion that people will get from your brand when they pass by it or look at it. Before we get into what each color means and what works best for a certain emotion, we're going to look through the steps that you should be taking when you're choosing a color palette for your work. Number one is decide. What emotion do you want people to get from your work? Do you want them to get a sense of trust? Do you want them to feel like this is a really warm and friendly brand? Do you want them to feel like it's really cold and really cold and professional. You just got to think what do you want people to feel from your brand before even knowing what it's about before reading the text below the logo and going to your website. The first thing you will see will most likely be the colors. So number one, decide just have a little sit with yourself or with your team and decide the emotion and the mood that you want people to get from your brand. Number two is explore. Let's say you wanted to choose a trustworthy color palette. You got to explore and see what options are out there. You can look through different brands, look at their color palette, scroll through some movie scenes, pay attention to the colors that they use and the emotion that you're getting from that movie scene. Explore, make sure you explore through amateur work and professional work. This way you get both perspectives on a certain mood. By that I mean that if an amateur designer design something that is using the color blue, you can have a look at that, see what they did, what they believe is right, and then go to a professional designer who also used the color blue in their logo and see how they got to that point, what techniques they used, what shade is the blue? Did they use blue and green, blue and white and try to use their work to help create your own style in your head. Number three is fine. Now you have something in your mind, you know that you want it to be trustworthy. You want to follow this certain graphic designers method. Now you need to find a color palette or create your own. You can go online and search blue color palette and you will get a lot of stuff. If we go to Google, I search blue color palette. There are many shades of blue, some are paired with other colors. Sometimes it's just different shades. This way, you can find what kind of blue color scheme do you want? Do you want it to just be a dark blue and a light blue? Do you want some reds in there? Got to find something that works well for you. So just scroll through the options. You can go on Google or any other platform that you like and find a color combination that you like. Let's say this is the one I chose, it even gives me the codes and I can put these codes in Photoshop and then make my own color palette. Maybe I want to add a soft gray and a white to this, I will do that in Photoshop. Let's go back here. After you found it, number four, you got to choose. Like we just said, you got to put those colors that you like and then experiment with them in Photoshop until you get the right color combination, one that you feel will represent your brand in the best way and it's also matching with the emotion that you want to portray. Number five, experiment. What that means is that use the colors that you just chose and maybe put it on top of your logo. See how it looks. Do you like the way it is? Try it with different colors, maybe show it to your colleagues or a friends to get their feedback before you finally execute the final product. This step is really important. You want to use a lot of colors on not a lot of colors. From your palette, you want to experiment and find which color works best for your logo, which one works best for the text. Which one is better for your website if you plan on making one. Once you're done experimenting, name your color in Photoshop, which we will see soon in the following lessons. You can name them. Maybe you'll name let's go here. I'll name this website header, I'll name this text, and just some little names that will help you out through your designing journey. And then finally execute, put this color on your logo, then export that logo. Now we're going to look at exactly what emotions a certain color portrays and also see some examples to help us better understand those emotions. So the first thing you need to know is color theory. We're going to zoom in on one of them. Now, black is one of the main colors. It's used for text, it's used for maybe outlines of shapes. And generally when you want to use a color black in your palette, you should know that it is mysterious. It's luxurious, it's modern, it's serious. And if you've seen horror movies, you will see that all of the colors are really darkened. So if it's a green, it's really dark maybe slime like green, we'll see in the examples after this and we're going to point out to the dark colors used in horror films. If you add black to your color, just know that you are creating something high class, something serious, and of course, modern. But in a lot of color palettes, it is used mostly for text. Although sometimes it's gray, sometimes it's black, you just have to see. Red is the most attractive color, and by that I mean that it's the first thing people see in a color palette. Now, red can increase appetite. It can cause an alarm, make you feel alarmed and it's just a really intense bold color. If you see a character in a movie where red lipstick, you get the sense that they are really bold, they're really brave, and they are really confident. McDonald uses the color red in their brand because it can make people hungry. Now, orange is the warmest color of these all and the reason why we call it warm is that it's really friendly, it's approachable and it's really social. It calls the attention of people who see it. It's playful, friendly, creative, and it's related to maybe organizations that are fun. Maybe those that are trying to encourage the youth. They all use the color orange because of how neutral optimistic playful and warm it is. Unlike the other two warm colors, orange does not alarm those who see it. It's a really neutral and positive color, unlike the other two. In movies, it does create a sense of a warm memory. And we're going to look at some examples and you can notice the orange hue. For example, if the main character is getting married, there will be an orange hue on top of that screen and that will create a sense of warmth and joy for the people who see it. Yellow is a really energetic color. It's in your face color. After red, it is a second color that catches the most attention. I think about yellow, this may be a fun fact is that it induces hunger. If you can I'll use McDonald's as an example, McDonald's uses the color yellow and the color red to make you feel hungry and excited. Yellow is also alarming but not as much as red. It's positive, it's like we said, energetic, just like the sun, it does create a warm environment and a happy one, of course, if it's used in the right setting. Now we are entering the cold colors, which is green, blue and purple. Green is a really peaceful and soothing color. It reminds us of nature because of the trees, the grass, the bushes, and all of that. When green is used in any setting, it creates a sense of peace. It is also a fresh color, just like nature, it's fresh. If you look at Subway, because they have fresh in their motto, they use fresh ingredients and all that. The color green is used a lot in their employee uniform, in their logo, and in any other setting related to their brand. And green also is related to the youth. If there is a youth empowering group, they will probably use the color green because it's friendly, energetic, it's peaceful, and it's encouraging. By far, the coldest color out there is blue. It reminds us of the ocean, the sky, water, the clouds and all of that. Blue creates a inspiring mood and a lot of times a sad mood. It all depends on what it is combined with. If we have a look at the stormy sky where everything is blue, everything is dark, then we will get a sense of sadness. But if we look at maybe the beach where we have this really vibrant blue, the sun is shining on it and it's really clear and it has a cien look to it, that is a warm blue. It gives us a sense of summer fun. It makes us feel excited and happy. If you look at corporations, computer companies, they all have the color blue. The reason why they have that is that blue creates a sense of trust. So when we look at it, we will trust that brand. It shows that they're professional, they're independent and trustworthy. When you look at lavenders and you see this really great purple color they have, it makes you feel like that's such a fancy color. The flower itself is really elegant because of the shade of purple that it has. When we look at the color purple, when it's used in different brands, it shows that it's wise, it's elegant. It's related to magic and spirituality and finally, it's royal because of how fancy and vibrant it is. Back then, only the royals could afford to buy the purple dye. That's why it's a royal color and it does make your brand look really fancy. When you mix red and white, you get the color pink and pink is used to show innocence, maybe childhood, just pastel colors in general, which are just made of each of these colors that we see here. And white. Therefore, the color pink is not as vibrant as all the other colors here, but it is meant to be a soft, innocent, pure, playful and fun color. Now, white is not listed here, but we need to talk about it anyway. So generally, white is a pure and clean color because it's just a flat color and generally it has no emotion in it. It creates a sense of minimalism and like we said, about pastel colors, it softens up the colors. So if I take orange and I mix it with white, I get a pastel orange, which is a softer take on the vibrant orange that we see right here. And when we said it shows a sense of emptiness in movies when the characters are walking through a white hall in futuristic films, and there's nobody there. Everyone is just so creepy. The white walls, the white hair, the white outfits, they do kind scare us and make us feel a little bit creeped out because there are no emotions in the color white. If we look at President Snow from the Hunger Games, the color white is associated with this character because of how empty, ruthless and uncaring he is. Nowadays, the style that is trend is actually minimalistic styles. If your style is really crowded with, for example, all of these colors, it's going to be really hard to look at. Try to make your color choices minimal. For example, it will be orange, green, white, and a shade of gray. Just try to keep the numbers low so that you can be seen as a brand that is easy to look at. Now that we know the theories, let's look at some examples to better help us understand the emotions that colors portray. Alright, so this is a movie scene, and in this scene, we can see that the character is sad. What is around him a really dark blue. Now, without this dark blue, it will not be as sad. Like we said earlier, when you associate darker colors with your work or just movie scenes like this, it makes the people think that this is a sad scene. Immediately, we sympathize with this person in the movie. If you just looked at any other movie, the sad memories of the characters usually have a blue hue. Blue does make it feel like this person is lonely and they are sad and maybe hopeless, they might feel empty and notice how the color blue is really playing a key part in the scene. Let's go to another. All right. We have some different colors here. We have the color red that we said is fierce, it's bold, it's confident. A lot of villains in superhero movies or cartoons, they either have a red sword or their eyes are red. The color red is also related to the devil, because like we said, it's really powerful, it's really bold and confident and sometimes dangerous. The image that we see here has a really strong red, and it's coming from behind a character. That just means that the character is bad news. The next image, we have a lot of orange. We said that orange attracts attention and it's creative and all of that. But in this case, it shows the bravery of this character. As you can see he's the hero. With the expression that he has on his face and the sword that he's holding, it's giving a really positive energy. For example, he will save the town right after he slays all the enemies. Just like fire, fire also gives a orange hue when it's next to the wall, for example, that does create a energetic warm environment. Then we have the color yellow. Sometimes in movies, it is used as a color to show jealousy, to show scheming and use for humor as well. In this movie, she's wearing all yellow, and you can see that she is deep in thought. With the colors, we can tell that she's either scheming or she's jealous or she's planning on doing something big. Then we have the color green. We said that when we have darker greens, it gives a horror movie wipe, which is similar to what we see here. And it is scary. You can see the suspense. We said that the color green is calm, fresh, peaceful, maybe youthful. But in this scenario, we did say that if we mix green with darker colors to make this dark green that we see here, if you think of witches in movies, there's always a green color associated with those witches because it is a scary color like we just said, and we can easily achieve that by darkening the color. Then we have the color blue. We already talked about this, but it just means that it's a sad, lonely and hopeless situation. If the character is, let's say, enjoying a cake on his own without an expression, he's just enjoying his cake, he's not smiling, he's not crying, and there is a warm orange hue on it. You know that maybe he likes the cake, maybe he's thinking about his family. But if it has a cold contrasted hue on it, we know that this is sad. Maybe he is lonely, nobody attended his birthday. It creates a sense that maybe we should feel bad for this character. We said that the color purple is associated with elegance, with royalty, spirituality, and magic. That is the feel we're getting here. We have this character that she's all dressed up. She's in front of a crowd. The character is singing here, it's showing the impact that she has through her voice. So it is powerful. It's a powerful color, but it's the opposite of red. So red, you get alarmed. You scared of this character. You don't know what they're going to do next. But here, you can get the sense of power because her voice is so good, or maybe she's just such a kind character. And then finally, we have the color pink. The color pink shows innocence and like we said, calmness. You can see here that there are these two characters with a lot of pink around them. This creates a sense of innocence. If you have maybe listened to Melanie Martina. She's a singer. She uses the color pink a lot in her music videos and her outfits, too, because it matches with her vintage baby doll mood that she has. So it creates a sense of innocence and a sense of calmness and also a childhood like mood. So these are how the colors are used in movies. Let's have a look at another perspective, which is when it comes to brands and locos. So we're going to start from here. This color white is not exactly white. It's from black to white and anything in between. So it counts for black, gray and white. It creates a sense of balance, neutral, calm. You can see all of these brands. You do get that sense when you look at their logo. Then we have green, peaceful growth, health, like we said, it's related to the environment as well. So animal planet, whole foods, and those are the only ones related to nature. I'm not seeing anything else. I might be missing some of the logos. Then we have health, which we can see whole foods here, growth, we have maybe the monster drink, we have Spotify and all of that. Then we have the color blue, which like we said, it's cold and it creates a sense of independence. As in for us to depend on them, but they are independent. Dell, a lot of computer brands have this. We have Facebook, HP, Intel, Dell, American Express. All of these brands, when you look at them, even Pfizer, when we look at them, we trust these brands because they've just been there so long, they are a part of our daily life. Then we have purple, which's creative, imaginative, and wise. We have Yahoo, we have Taco Bell, Cadbury, we have Barbie and all of those brands, we do get the sense of imagination and creativity when we look at them. Then we have the color red. Like we said, it's bold, it's exciting. It's in the face, and everyone will just see it as they go. So if you look at the McDonald brand, there it is. It's in the yellow section, but it usually has a red background. That's to make us hungry and excited and also aware. If you look at the brands in the red section, we got Kmart, YouTube, Coca Cola, CNN, as, Cannon and all of them. You'll even have dairy queen. Then in the orange section, friendly, cheerful confidence, Nickelodeon, Hooters, Amazon, Firefox, VLC, Fanta, and all of the other logos that you can see here. And finally, we have the color yellow, which creates a sense of optimism, clarity, and warmth, and we have all of these great brands that we see here. Now there are some of the brands that use a combination of these colors. But as we can see, they match in maybe brightness or saturation. So we cannot have a dark green while the rest of these colors are bright. So to create harmony, you need to match at least hue, saturation or brightness. We have a bunch of brands here. Let's zoom out this is what I mean by explore. You got to explore through the brand, see the colors they use, and the message that they're trying to send and maybe you can get inspiration from the brand target, for example. You will look at their website, you will look at their social media page, their logo, and just the way that they are. So you can apply that to your brand. All right, so this is a horror movie example. You can see the greens, the blues, and the really deep shadows that are in this movie. This creates a sense of fear for the people who see it. So look at all the contrast in there, the low light that we see, the amount of fog in there, and also the greens and blues. This is a really cold environment that we see here. And this is a happy moment. This person is getting married. Notice the orange and the yellows on this image because it's a warm memory and a warm moment, they added warm colors. Let's have a look. You've probably seen this animation. Each of these characters have a certain color. We have green for disgust, purple for fear, this bright yellow for joy, this blue for sadness, and red for anger. By looking at popular films and animation, you can get a sense of the color theory that you need to know in order to make the correct decisions for your color palettes. So just have a look at these and then you would be able to understand what each color stands for. Then we have fantasy futuristic films where they use a lot of warm colors and very little cold. These are all warm and they also have a lot of vibrancy. If you've seen the X men movies and you saw the character Jean, you can see that her ginger hair is very vibrant, even her red hair. So we have a lot of vibrant colors in these futuristic action films and very little cold colors. The reason why they're even there is to just balance it out so it's not hard to look at. Color balance is also very important. So now we saw what each color stands for. We got some examples to refer to. Now that you know which emotions are portrayed by what color, you can use that information to make your own color palette for your brand or for any other design as we progress with this course. This is it for this lesson. I will see you guys in the next one. 19. Business Cards : All right. Welcome back. In this lesson, we're going to learn how to put logos onto mockups to create a brand design example for our client and our document. Right now, I'm in Adobe stock where I will be looking for maybe a box to choose from and download that image to use it for my mockup. So Adobe stock, if you guys have account, sign in, but there's also other places where you can get mockups for free, like pixels, splashed and other areas. I'm just going to go, If you guys see here, there's actually no option. We'll just search it here. Because I designed a logo and it's for a business, I would have to think, where would this logo be in the future? What would that business sell as a product? Is it a business card, maybe a mug, pencil, and a lot of times the client will actually tell you they'll be like, we are a cosmetic brand and we plan on producing lipsticks. You would know that you would have to put their logo on lipsticks to show it to them. For now, let's choose business card, mockup. See what we can get. These are what mockups are. They're essentially just objects that are blank, ready for you to put your logo and your text on. And because my logo has gold in it, I'm going to go for this dark gray business card. I think it will look great. We also have this option here. Scroll through and see which one works best for you. These are what business cards will look like, and we can go for a business card or for now, let's go let's see what can we put that logo on Actually, let's just start with a business card and we'll get into other things. I'm going to download, I think I'll go with this. Actually, this is better. Going to download this. Mein license it first. And there it is. It's downloaded. It's a JPEG. I will also look for something else maybe in this lesson or another lesson. Let me think box, mockup. Search that up. We have some boxes here, let's go for this color. The color black. You want to make sure your mockups make sense. I'm going to choose this random white box and then this black box because everything needs to be in harmony with one another. I'll license this too. And there it is. Now I can go back to my Photoshop. This is where just my logo. I'm going to create a new document, file new, and let's see, go to print this time. Maybe print isn't it. I guess I'll just go with print. You can see that we have some mockup templates like a tote bag, a mug, a couch. You guys can also search for more templates on Adobe suck. I just went straight for their website. Again, just like any other vector, we need a high PPI. I will go for a horizontal thing because our image is horizontal. Hit Create going to keep this open for now. I'm going to find my image. Click and drag it onto my Canvas. There is my image. Now, my canvas is a bit too large, so I'm just going to crop it so it matches perfectly with my image. At the checkmark, there it is. So I'm going to name this card, card actually. Now I can go to where I exported my logos, the SVG, drag it on. There is my logo. Right now you can see that it's not looking that good. It looks fake. It's not blended in. Presuming it's not even professional. Now I got to think what is going on my logo except for sorry, what is going on my business card except for my logo. Got to think about that. I'm going to put my logo here for now. Go to think of the text that I will be using. Let's put the name of the brand, call it I think the color white will do. Let's call it freebd. All right. For the color, I'm going to choose the same gold. Then I'm going to work with the options for our text. I'm going to select all my texts, Control A, go to these properties, and I'm going to first change the font, see what looks good on what goes well with my logo. Let's see what should we add. I have to actually make it larger because I can barely see the font. Alright, it looks a little too basic. Going to find a font that will look good with my kind of luxurious casual logo, and then I'll be right back. After a little bit of searching, I found the finalists and I just typed in the brand name. To see which one looks better, I also suggest you guys do the same. Type in your brand name, choose different fonts, and lay them out like this so you can just drag and see which one looks better. Alright, so I don't like the thickness of this. The sky's out. I think this will look better. Oh, let's try one without capitalized letters. Okay. I think I like this better without the captols. I'm going to delete the other two. I found my font. Notice that because our card is gray, our logo is not standing out as much and the only thing that's standing out is this gold line that it has. We need to make our stroke white. There are a couple ways to do that. First duplicate the layer, turn one of them off. Going to double click on this layer, not on the name on a side or something. I can open the layer style. Just go on color overlay and choose the color white. Let's see how that looks. I think this looks better. Now we can see the logo. Okay. That's only like this because we saved it as an SVG without a background. I turn this on, all I need to do is to first bring the white over the old logo. I'm just going to turn this off for now, make a layer mask and hit Control I, that's not it. Just go with the black paint brush, paint things out. Actually, I just realized we have our thing turned on here. I could just make the change here, delete all the logos. That's why we saved it, it came in handy. In our shape one, we're going to keep it that color. But in our bird layer, go to Pen Tool change the stroke to white. Now I can go ahead and export it as an SVG file export as. It's going to open this SVG, wait for the preview. And we also forgot that the line is still going on top. I'm just going to put it in a group and just put it in a group, merge the group. Now if we turn on the shape one, our gold leaf, we can see that there is no line anymore. Now that I'm done, we can see that there's no line going through the gold wing. Now I can export it as an SUG without worrying about the small issues that we had so far. There's my logo. Looks good. I hit Export. I'm going to replace the old logo that we had. Where is it? Here it is Bird logo SVG, safe. Replace it. Yes. But I'm still going to keep this open just in case we might need it again. Zoom out, go to the destination, find the SVG and just put it on top. Let's minimize it to the right amount. Let me put it here for now. All right. Now let's think of the other texts that will be on our business card except the brand name. There's going to be some other things like a slogan. Let's just put something random fly free Hold on. Humans don't fly. Be free as a bird. Just something random or our fake brand. Is is their slogan, and I'm going to go for the thin, another style. See how it looks with the other one. We'll just work on it later. There's my slogan, there's my brand name. Let's now add some other details that will be available on business cards. Business cards are for people to reach out to your business through the information provided on it. That would mean maybe an email. Let's write an email Freeberd at Freeberd or just try to make it look professional. There's no ad Gmail or at Yahoo info at freebord.com. There's a professional email. Let's control A, lower the side a bit. This a minor detail. Put it aside for now. Let's also add a phone number. Let's put plus a there won't be a need for plus it's four, four, five, 892 and 76 ping some random numbers. Random numbers, check, put it below the email. If it's an international brand, you can put a country number. I just kept it empty. There is our number and also let's add an address. Those are all information that you would get on business cards. Let's write Blue Avenue, Park Street. Park Street. Oops. It's hard to see. Park Street 3981, something random, Control A, adjust the size as you go on. All right. Now, because the slogan and the logo have one font, I cannot have all the other things have one font as well. These details need to have their own fonts and the brand should have another. I'm also going to select the address, the phone number, and the email. And I'm going to turn their text color to white. All right. Also, we're going to change their font. Going to choose another font, let's choose let's see. I think regular will do. Now, there are two different fonts with two different purposes. This is to show and represent the brand. This is to inform the customer of your whereabouts. Now we can start putting it onto our business card. I'm going to first turn off all the layers except the logo. I'm going to first place the logo and then move on to the other parts. I'm going to go on my Rotate view tool and just rotate our image to make things easier to see. My logo jumped the wrong way. Let's zoom in, hit Control T on our logo to transform it. Going to try to align everything. Now because we have a perspective going on, let me first make the square as small as the tip of the card. Now we have a perspective thing going on. I can use the other transform options that I have, such as skew to bring this in and make it right. Also can go on when I hit the check mark first, rotate it, hit Control T again, agains Q to see if I can make it match perfectly. I think this is too short. Let's move it here. Now it's in the right perspective. The same way as the business card is going. And we have two business cards, but I think that this should be the front side and this should be the backside. Or actually it's do the opposite. I'm going to just track my logo here, control team, and just rotate it according to the card. After redo what I did. But it's okay. Let me zoom it in or just go for the skew again. Make the side straight. Bring it down to make the size bigger actually. Actually, let's reset our hoops. Our transforming. We could start from scratch, go on our logo. I'm going to lock the card layer because I don't want to move it like we just did. Control bring our logo, use the guides around it. I'm going to rotate it according to our business card. Then try to meet the tops and bottoms as much as I can then go to right click, skew and just move the sides in the right position. All right. Hit Enter once you're finished. Now, this is the front of my card placed in the right perspective. Now I can rotate my image backwards, put zero in rotation angle and zoom in onto my screen. Now we can start with the brand name, bring a layer back. We do the same thing, control T, rotated. You got to think of how you want your business card to look. I'm going for a really simple business card because we're just starting out. We want to start simple. Rotate it until it's equal. Make it a bit smaller. It's a bit too big. Keep freebrd. I want to leave room for the slogan too. We don't want to make it too big, so there's nothing for the slogan. There's my name, my brand name, hit Inter. And then bring our slogan. I should going to adjust the text for this first and then I'm going to move on to the other text. Go to select my text, Control A, and first, I'm going to turn off the space between the letters. There it is. And let's see what else can we do to open more options, squeeze my letters in, do the same thing for the horizontal scale, close that off, and then I can put my Let's see. Should we do a centerpiece? Let's see how that looks. Maybe a centerpiece will do. I'm going to bring the name here. Where is our slogan. It's up here, it's huge and click and drag it down to just bring it below my name. Rotate, and then make it smaller than the brand name. This is how things work. We want to keep the main focus first on the logo, then on the brand name and then on the slogan. We don't want unnecessary things to steal the attention. I'm going to keep it that way. It's a little bit too big. Let me make it smaller. Okay. There we are. But the font is the same, but we're just using a different style for the slogan. To make things a little bit more different, I'm going to make my slogan all in caps. This is my logo, my brand name. I just made a new text layer. Going to lock my brand name. Control A, and just type in my slogan, be free as a bird. All right. Now there's a little bit of difference. Control A, make it a little smaller, still too big. Bring it here. And then in the properties, I'm going to turn off the space between the letters to, and I'm going to squeeze this down bring it right below our brand name at the checkmark. It's really faint because it's not as important as all the other things. Going to create a little space. I'm actually going to bring in some space between the letters. Control A, maybe ten. Or 20. All right. Hit the check mark and we're finished with the front of our card. Now we got to work on the back. First we have to think what the back looks like. Do we just want addresses or do we want a little or do we want a little paragraph introducing ourselves? Let's actually create that paragraph. Click and Drag to make a paragraph, lower the size. Control T. Again, we have some space here and also going to reduce the space between the sentences, change the alignments and start typing. Actually, yeah, it is 21 points, turn it to zero, so it's within our selection. We also have more things done. We did it last time. Yeah, there's a thing. We don't want the space here, turn it to zero, and there it is. Now we can start typing. I'm going to choose another font. We don't want everything to be identical, it'll be boring. Choose, let's see, Agency FB, is that good? Let's go for fills in Pro, close that, zoom in, change the color to white. White. Let's write. We are on a mission to bring freedom to the youth. Just something on the top of my head, I'm just writing what's in my mind. Feel free to contact us if you are willing and are interested in our goal. Control, control A. I'm going to just bring this to the middle because it's a short text, straight to the point. Doesn't need to be a paragraph. I'm going to change the style to book just to make it a little thick because we couldn't see what we were writing. Zoom out. I'm thinking, where should we put this? Let's first rotate it and make it it's a little laggy. Align the top of our guide with the edge of our business card. C to use my arrow keys to move it small with small movements. Let me zoom in, see if it's okay. We will need to use the skew. Right click, skew bring the edges. It's blending in with the background. We'll just do what we can. Hit the checkpoint, the checkmark. Now I can bring it to the middle or wherever I think is necessary, control T, going to use my arrow keys again. All right, let's just move it a little bit there and enter. And now I can add a element to separate the paragraph from my information that I'm about to give the contact information. It's a little line. The stroke should be kind of lacking. The stroke should be white. Maybe we could go with gold, actually. We don't have gold in here. Close that. It's a bit too thick for our line. Let me reduce seven good. Again I move that. I'm going to lock this layer, go to line one. I want the edges to be curve, the caps, make the caps circle and the align is fine. I didn't really work. It's fine. We'll just work with what we have. It's still too thick. Going to go for five pixels. All right. Now we can start adding in our address and start with the phone number. You can download the phone number symbol, the telephone symbol from the Internet and just drag and drop it onto your canvas and then adjust it to the right size. Control T going to kind of rotate it. And I'm thinking about how I should put the how I should leave the layout for the contact information. I feel like it'll be too crowded. I'm going to delete the phone number and the address. I'll just keep the email, giving the impression of a small organization. I don't want to make things too corporate like, Control team rotate make it smaller. I think that will do. All right. This is a good size. Click and drag it to the middle. I'll keep it in the middle. It just needs a little bit of rotation. And okay. Okay. Once I put it next to the line, I can see that I didn't rotate it correctly. Miss the spots. There we are. Now I will bring this below because it's something I want them to see after they've read everything and they've understood the proposal. Drag the line I'm both of them. Control I Control Z. I'm going to bring this in between the two. All right, so there's my card right now. We have done the positioning now we just need to make it blend in with the actual card. All right. Let's blend in our layers to the template layer, which is the cards. This is just a simple way to make your layers blend into the templates that you download from websites. It's as easy as going to the layer on the local layer, the blend mode from normal, go to overlay. Who is that simple? And once we zoom in, you can see that it's blended in on the fibers, the texture, not fibers, the texture on the card, whereas when it was normal, it was just on top of the card. Overlay. But remember that blending modes are different for each scenario. I overlay works here, it might not work for a brighter design as a brighter card. But it works well on the dark card. It all depends on the scenario. A lot of times you would have to use multiply, but if we go to multiply, you can see that it does not work on this design. Go back to overlay, Enter. Let's do the same thing with our um, thing, text because we want to make it look that our designs are on a real business card and this is just a photo from those business cards. We don't want to make it look like we just wrote something on Photoshop and paste added to the card to overlay our email to do this one by one. I don't really. Our cards are blended in. It was really simple. I didn't make this too complicated. I didn't use fancy fonts and all that. Just to show you guys how the techniques are and then in further lessons, we'll go over harder and more professional designs, moving these around. We can also, while we're at it, do some other adjustments to the overall image. I do want it to be a little bit darker. Going to make a gradient map adjustment. Go to basics, go to black from white, change it to luminosity. That just darken things. It looks better. I can even copy that layer to make it even darker. I think that looks better compared to what we had, it looks more professional. But our slogan is barely there. Let's try. Let me see what can I do to make it thicker. Maybe I can change the font. Trying not to do that. Uh, I think we will just have to change the fonts. See which one looks similar to our looks better, actually. Let's go to this. Instead of regular, let's see how thin looks thins too thin. Go to regular. I'm just going to bring this under my logo. My logo my brand name. Create a space between the logo and the brand name. Maybe I can make this smaller. A little too big. Want some space between the edge and the brand name. Hit the checkpoint, check mark, and there we have it. Just a bunch of simple techniques, little dragon drop, blending modes and all that. Now we have a business card mockup. Let's have a look at the before and after going to group everything so I can easily turn the visibility on and off. Zoom in, fit on screen. This was the before, just a regular card, and this is the after it has our own text on it. Looks cool, looks great. And I can just go ahead and export this as either a PNG or a JP. We talked about the difference. And let me just do that so you guys can see the final product. Let's name it Business Card. Although I saved it on the wrong location, and go back, go to Daktop Business cards. All right. Let's find it. Refresh. Yeah, there we are. And there's my final product. It looks great. We did all of this in Photoshop under under an hour. It didn't even take that long. But once you get better with Photoshop, it will take you even less time. I hope you guys enjoyed this lesson. I will see you guys in the next one. 20. Instagram Posts: When you have a brand or you have a page that advertises for either climate change or feminism or anything else, you will need some layouts that can better help represent your brand as you're trying to spread the message. You've probably seen them when Zara posts about something, each slide of the post is similar to the one in the previous one. And it also matches the brand, the logo in terms of color, text, fonts and all of that. So in this lesson, we're going to see how we can make post layouts. So it's a square. We're targeting Instagram as well. Like we said, Instagram is really popular platform for these layouts. If you're planning to have a page dedicated to a message or a store or anything else, you will need to know how to make your own layouts using the colors from your brand's color palette, the fonts from your brand's identity guide, and so much more. In this lesson, we're going to go over them. We will also get to know more about Photoshop's art boards, which you might have seen them as we used Photoshop and might have wondered what this is for. Well, now we will know what they're for. So before I get into it, I want to show you guys what I mean by Instagram post layouts. And then that way you will have a better idea about how the post layout is supposed to look like. Let's go to Chrome and I already opened this page on my Instagram. As you can see, the Lily News is elevating critical stories about women and gender. Right away, it tells us what the Lilly News is about because it has news in the name, we know that it's news. They have the oh, they made themselves really credible because they are publication from Washington Post and they also have their website listed. When you scroll down, you can see the font that the brand has, the colors, the highlight images are the same as you can see. And if you look at their post, they are all familiar. You see this post. It has a black and white font, a shade of blue. This one is just black and white. This one has the same shade of blue. Sometimes they have pink, as you can see. Again, the, the font does not change, maybe the style does. And yeah, we can see that their color palettes are this pink, blue and black and white. All of their posts are related. They also have some drawings, illustrations, and these are posts where there's multiple pages, pay attention to the font style and the colors and illustration. You can see they're all matching as if this is an actual comic book. And this is just one style. You guys can either illustrate your post or maybe just type it out, put an image on it, and it all depends on you. This is another series. Again, we have the yellow, the same font, and the yellow is occurring a lot. We've got the yellow again and that's it. This is just one example. This is a really serious example. If you go to Pintris, let me show you guys other styles, pintrs.com. Pintrs is where you can get a lot of inspiration. If you search Instagram post layout, oh, I wrote Instagram wrong. It's okay. All right. You can see that there are tons of styles that you guys can go for. You can choose geometrical shapes. You can choose abstract shapes. You can make puzzles. You can make separate fashion ones. And we saw the illustration style, and it all depends on your brand's mood, the brand's colors, and the brand's message. Just scroll through and see which one you like to use. Do you want it to be a puzzle or just separate pieces. Alright, so I looked through these and I have something in mind. Keep in mind that your post styles need to match your Instagram story styles. So you cannot choose something random for post and then something random for stories. They have to make sense. Let's try to use one of these as um a reference. Let's go to this. I see this guy made it with Cava. We are using Photoshop. All right. I have this in mind, but now I got to tell myself and ask myself, what is my layouts for? Do I have any text? And if you do, I recommend typing it. I typed mine here, New collection, be comfortable in what you wear, made from 100% cotton for a limited time only. Just something short. I'm just trying to show the clothing that are part of the new collection first and the text is not that important. So when I have that in mind, I need to go look for my images that are going to be the star of my layout series. So again, I'm going to use images from pixels in here, I'm going to write, let's see, what are we selling? Let's write code. We might be selling codes. You can see that there are images. A lot of times are images made by the same model. This matches my maybe brand mood. I'm going to download whatever I feel is right for my brand. Maybe this. Delete this. Let me see how many images I need. One, two, three, four, I need four images. That was my second and also make sure your images make sense so I cannot choose a black and white image in a u in a colorful layout. It's not going to look pretty. It's going to actually make things really serious, which is not my intention. I'm trying to create a clothing brand that is okay for everyone to wear and for everyone to enjoy. I downloaded all my images. Now I can come to Photoshop. Although before I do that, let's choose a color palette. Color palette Instagram. All right. Let's see. Let me go for some colors that can make my brand look friendly and for the youth. I'm targeting younger people compared to older people. Let's go with this, right click Save Image. I'm just doing this so I can just sample the colors. I don't need it to be in high quality. Now we can go to Photoshop. We're going to create a new document. Hit Create New Instagram posts are squared, so 1,000 by 1,000. Keep the resolution as high or as low as you want, and we're going to check artboards. By default, this is what you'll see. Just check artboards and hit Create. There's our first artboard. Now because we had four slides, we have four texts and I want to make them into four slides. I'm going to zoom out. Go to the MO tool, right click, go to the artboard tool. And we're going to go on the hoops I went out of it. All right, we're just going to go in this plus here and click one to make a artboard, although I placed it in the wrong location. Let's do that again, but going to kind of bring it here, and I'm just going to press just kind of drag it there to make a similar shape. And then since we have four, I'm going to click once here and then click once here. We have four things. Let me see. I'm going to delete artboard one just because I feel like it's not identical. I'm just going to make another one here. There's four slides. This way, as I'm editing, I can just work with these styles, and I don't need to go and open four different Photoshop documents. I can do them all here. And when we export these, Photoshop will export them separately. Don't worry, they are not all going to be the same image. All right. So once you open each of these artboards, there's going to be nothing because there is no layer. You can choose the background. Make it transparent, click to get a artboard background color. This is not a layer. So yeah, right. Now I can start beginning. I can name my artboards. Let's do page four or actually not page slide four. Slide three. When I'm exporting, I can just easily choose the right slides in order. Slide one. All right. I have my artboard. I have everything. I can now start laying out my stuff. Before I do that, I'm going to just bring in my color palette, then we can get started with our designing. There's my artboard. I brought it onto sorry there's my color palette. I brought it onto one of my artboards. Just going to quickly sample all the colors or the ones that I want, please. Let me see. If I open slide one, you can see my layer and whatever you put, if it's on this, it will go to slide two. Really easily, you can just drag images across your artboard. I'm going to maybe save the following swatches. I'll make a new group for my color palette. If this is going to be my permanent brand, I will be using one color palette throughout. Make a new group by clicking on this. What will be my brand name? Let's name it Mushi. That's my brand name. In Mushi we will create New Swatch. Oops, that's not my swatch, go to one of the colors. Create New Swatch. Let's name this brown or you can give it your own name and then go on Mushi again. Another click on your color first. Let's just name this something else Brown two. Name it whatever you want. Maybe you can name one header, one is background color. I'm going to do that for all of my layers, all of my colors, and I'm aware the colors I'm not exactly naming them right. Because this is not really my brand and I'm just doing this for this tutorial. Click your color first and then create this new swatch name some random colors that don't make sense. Now we can delete our color layer. We don't need it anymore because we have all of our colors in our Musche color palette. Slide one. If we go to our text, it was supposed to say new collection. It's going to be something really big and then we're going to put our text there. I will go to my images and see which one looks good on the new collection. I feel like maybe this one screams new collection because it has confidence and I am confident in my new collection. I'm going to scale it in and as you can see this only goes in slide one. Let me right click Distort to expand the image. Maybe just bring down the side, bring it a little lower. All right it the checkmark once you're finished. Let me name this model. All right. There's my first layer. I'm going to first position my images, so I'll go in slide two. Bring in my second image. Let's look at our text again, be comfortable in what you wear. This is comfort to me. Click and Drag onto slide two. All right. Let me make this smaller. Bring it here. In the corner adjust it however you like, hit Enter or the check mark after you finish, name this model two and third slide, click on it to get on the slide and then made from 100% cotton. This one because she's really liking the coat. It shows that it's a good coat. Let's kind of cut it over here. To bring it to this side. And for this tutorial, I'm going to go with a really simple style that you guys can, as always, experiment, spend more time and make the perfect layout for your business. And finally, for limited time only, we're going to get this image, and let's see where we should put this. Let's put it in the center. All right. Hit the checkmark. Now we can start editing and adding more elements onto our slides. Let me name this model. All right. So I was thinking that I can make a fun geometrical shapes along my slides. So I'm going to first decorate it and then I'll put the text wherever I feel is good. I'm going to make one more artboard for my designs. Just go to Artboard tool and I'm going to make a big artboard here. Now, this one, I'm going to name it shapes. This is where I will design my shapes and like we saw with the image, I can just click and drag it onto my slides. With the line tool on the shapes artboard, just go in and this is optional. I'm going to make little lines. I wanted them to be straight. Let me delete that. Hold down shift, click and drag to make straight lines. The fill color, let's see, I'll go with this color. Then we're going to adjust the height. Ten pixels, I guess that will do. Close my thing, go to Move Tool and I'm going to hold down Alt to copy in each layer. You can see that the purple lines are helping me quite a lot, which we really appreciate because without them, it will be really hard trying to figure out if my lines are straight or not. I'm just going to group all the shape layer, merge and that is. Now I will get a square. I will hold down shift again, and first I'll make a point and hold down shift to just make a square. It's going to fill it in. I'm going to remove the fill, maybe leave a white stroke. That's too much. I can't really see how big or small the stroke is compared to my shape. That's pretty big. Now we can put it at five pixels. It's a really small shape. I will now control T and just twist it at the right angle. Now I can make it a little bigger, trying to see it in comparison to my image. Let's bring our rectangle one here. Is is a good shape or not. Let's stick with a triangle. We delete my rectangle. Go to let's try a polygon. A polygon. Let's see if that works. I'm going to leave it at five sides as you get to change the numbers, the number of sides up here. It's going to do that again, remove the fill. Going to get the move tool or Control T to move it in the right position. Now with my line copy, I'm going to hit Control J and just make a copy of all the layers, space it equally. Like that. I just have some stripes. I'm going to merge the two shapes, asteurize my layer, bring the polygon on top of everything. Hold down control on my polygon one shape, so I have a selection and then on line one copy seven, Control J. If I turn this off, you can see we have a polygon shape made from those stripes. I'm going to leave my stripes B. Let me name the stripes because I will need a lot of stripes for my design. That I think about I don't want the polygon. I'll just make some stripes, strag one of these stripes on trying to grab one of these. Well, I'm grabbing both at the same time. Get one of the stripes, drag it onto this layer and you can see that whatever's not in the slide one, it gets cut out, which works perfectly for me. Let me place it somewhere here, maybe make it smaller. All right. It's inter. There's my shape for this slide. I'm trying to keep it really simple, like we said. Now for this slide, slide two, maybe we can do two lines coming from the top and then finishing at the bottom. Let me hold down Shift again to make a straight line like that, adjust the height ten pixels, change the fill to this blue. Close those, at V on your keyboard to access the move tool. Just copy the two layers, two lines until you have three lines. And what we can do is to merge all of these line layers on slide two. Let's call them line or just call them blue line. Blue line, we're going to duplicate the layer, bring one of them below the model image, remove the copy, blue line below, and this blue line will be limited to our model pick. You can see it here, and we didn't exactly. It's fine. I will turn off both of these layers, not slide two, and I will make more copies. Am I choosing the right place? No, I'm not. Let's move it in the right position. I make three lines, right click, merge shapes. Now I get to make my bottom blue line below copy two into another color will create a nice effect, go to the fill color, see which one looks better. Should we go with let's see. I guess these guys look better. You can see that we have a little fun effect. Although I will right click, merge, so I rotate clockwise. Let's try to create a intersect effect, remove the clipping, we have the two lines. Maybe bring this on top. Will this look better. Let's bring blue line a little here. Trying to figure out where would be good lacement Okay. Experimenting. Maybe I think this will look better. Maybe I think I might not think that. Change the fill to blue. I think this looks more eye catching. I'm done with my second shape. A words, my image there is third layer. Let's create little swirls, go on this. I'm not going to do it on my artboard because this should be in the custom shapes. It will not take us that long, legacy shapes and more. A legacy shapes default. I don't remember where it was. Banners and awarch film, vector Peck, light bulb music. I wouldn't know in what category a swirl would be. Do we have a swirl here? Let's see if we have better swirls out there. Symbols. You can use symbols. Web, not so much. Tiles. Let's just go back to shapes or not shapes, what's called ornaments. Get a swirl and add some swirls, maybe smaller ones around our slide three, choose a different color. Let's choose this color. Yeah, we got some swirly lines. Let's bring it would have to make it brighter then. Let's got some swirly lines. Hold down Alt click and drag to copy. Let's rotate the rest. By doing this, I'm also giving the effect that the cotton is so cool as in it's so high quality that it feels cool when you wear it as in cold and it feels winty and therefore, she is holding it like that. That's also to add a little bit of spice. Right click on rectangle tool. Let's add a rectangle coming in from the side. Fill it in with whatever color you like. Just to add a fun little effect, bring this here. Change the color so it's not repetitive. For our last slide, let's think of maybe let's add a frame. Go from one corner. This is a triangle, not a triangle. One thing with artboard is that it will make your photoshop a little laggy. Again, don't worry about it. It's just your Photoshop trying to process your artboards. Make it as big as the slide, remove the fill color, add a stroke color instead. Let's add this blue, I think goes well with the yellow that he's wearing and just add on to the stroke. Until you're happy with the size. I'm going to try to match this to the edge of the slide. Hit Enter once you're finished. I can also behind the rectangle two, take another rectangle for our limited time only text. I will make it go through the model and the person. Let's make it this gray. There's no fill, so it's looking pretty good. We have some random shapes. It's not that complicated and I will maybe lose one of these swirls. I don't think it looks that good, the spirals. See if I can find another Oh, okay, I just thought of something. Let's go on artboard one or the shapes artboard. I'm trying to get to it. Alright. Instead of this, let's make it circles. So go on shapes. Go on top of stripes and just hold down shift to make perfect circles. All right. Change the fill to this gray because that's the color we were using for that artboard, hold down Alt or option. Oops, I just copied the shapes slide, do it on the tool, adjust the pixel placements. Let's go for four and then merge all of the shapes together because they have the same color, it will not be a problem. Let's go for nine pixels in between. Use a ruler and see that I did not place them correctly. Let's make four. All right. Now I get to merge all of these together and I have this little circle effect that I will just click and drag it onto this artboard. All right. There we are. I can make it a little smaller. I think it's too much. Then go on circle. Let's see. Can we make anything into properties? I guess not. I think the size is good. I will turn this off and just leave this B. Let's place it a little to the side. Okay. I have some shapes that I can now fill with my text. And like we mentioned, everything needs to make sense, so you will need to use a font that your brand has used has used quite a lot, or it at least matches with that font that your brand uses a lot. Let's see what text will work well on our slides. I will experiment in the shape slides. We make a text. We write new collection in all caps and search through our many fonts to see which one works the best. There it is. Open properties or just change it up here and go to character, and we're going to look at different fonts. Okay, I guess I'll go with this. We have a look at this one. Choosing a font could be potentially the hardest thing once you're designing things. Because if you choose the wrong font, it's going to be really difficult to make everything match with one another. Therefore you to spend some time trying to look for your font. I'll filter through my classes, go to Serif. Now I can choose my font better. Let's see. I want to make sure that I have options for styles. Let me see how the bold looks. I'll just stick with this. As for the color, let's choose a gray. Let's choose black. I'm going to choose black. We have bold, we have italic, I don't want italic. Now I can click and drag my text not on my model. Let me do that, Control A, bring it from the left, and then also go back to properties and reduce the space in between the two words until I'm happy with it, 110 points, bring it. Now I need to make it smaller. New collection. Laggy. It's okay. I want it to be placed close to our shape it enter. I guess I will have to maybe move my model to the side. I think I'll keep this white area behind it. Kind of expand that. And let's see. Should we keep it in the middle? Maybe that's what's bothering me. Should we keep it like this? Actually that's worse than what it was. I will just try to find the location that I'm happy with. I'll just keep it here. Again, I'm not going to spend too much time on the design. This is just for you guys to know how to work with the different sliders and options. I'll just bring this here. Below our model layer, I'm going to make a new or let's just add a solid color adjustment, solid color, make it white. And bring it below our model. This slide is complete, a little higher and I'm happy with that. I might want to change the font colors, so I will go in gray scale. Choose maybe a gray. I like this gray. Spray looks better with her shirt. Now the second slide, we had, what was the text again, be comfortable in what you wear. Going to copy this. I also recommend copying text from your notepad or whatever app you're using because once you're in here, you might type something wrong because there's just so much because there's just so much distractions and just typing it beforehand can make it a lot easier for you guys. Just do that, be comfortable in what you wear, Control A, just make it a little smaller. I want to bring comfortable together. I don't want it to be a separate word. Then we can go to properties and again work with the space in between. Instead of bold, I will go for maybe italic. And I can make the sides of my font a little larger and add some space in between. We have the same font color. Let's just bring our font to the side. I don't like that the B is just hanging out like that. So we make it smaller. Control teacher bring the properties, lower the space. And the same thing we're going to do the same thing with it here, add a solid white color behind everything. Just in case, be comfortable in what you wear. Now I have an empty space that I need to fill in. I will just add half a circle to the side. Doesn't have to be perfect. I will make it this blue. It fades the color. It's too intense. 38. Bring it to the side. Is that looks cool. Bring the font, the text a little bit on the side, maybe a little lower. And actually, let's go with the square because we've used sharp shapes all this time and suddenly there is a circle that might not look that good. All right. Make it the color that we chose this blue, close that, reduce the fill 63%, and just let it be. All right. Our third slide, we had made from 100% cotton Control C, then bring that, make a large selection because it's not a single word. Copy it here and we are going to make this italic two, make this italic two and then just make it big enough so that it looks okay. I bring it here. Now, I'm thinking what I can add here. Maybe some squigly lines, remove the fill, add that gray color that we had here and just add little lines. The stroke is too much, make it a little smaller, click away, and that's our image and lock my image in place to grab the line and I'm going to bring this shape one below everything. That's why it's looking. That's how it's looking this way, we don't have this empty space. I will go to shape one and reduce the fill. Okay. Our last slide is for limited time only. I'm going to remove the explanation mark because it's kind of a serious look. I want to keep that seriousness, go to the text tool and if you click within a shape, the text will be done inside the shape, but it shows the big frame. So go on this rectangle and then click here. So now the text is within the rectangle. Click it and just move the text around if you want. I will grab the whole thing. Control A. Instead of italic, let's go for normal. So there's some variety. I will keep the color and I'll just bring it to the middle. I don't know if that's the middle. I bring a ruler to make sure. For limited time only control T and the rear, that's not exactly in the middle. I'm just trying to figure out I think this will do. Yeah. Just bring it lower. Control T so I can make a more precise selection, precise adjustment. And yeah, there we are really simple, less than 30 minutes fit on screen. I'm going to delete my shapes artboard, just clicking on the Shapes artboard and backspace on. Now I have some nice shapes that I can use to advertise my brand. I will say that I just don't like this, so I will remove the blue line, which wasn't even blue. Control T on my rectangle, right click, go to Distort, so I can just stretch it out. Yes, I like shape, change the color maybe to what color should we use. We go to mushi let's go for this color. We can change the fill even more if we want. There is our brand, there is collection, our new collection, and it was really simple really simple tutorial. By using artboards, we made things a lot easier for ourselves. Now that you know how to use artboards, it could be help handy for you when you're illustrating or when you're designing Logos. I'm just going to show you guys how you can export them. I'm going to first close these artboard groups, go to File Export. Let's go for Cook Exports PNG. The format doesn't matter. Now I need to select a folder because it's four different images and they need to go in one folder. Just going to make a folder on my dektop and name it Mushi all right. Folder, it's going to do its thing. Now if I go to Dextop, go to Mushi. Here it is slide one, slide two, and all that, let's open them up and look at them close up, and there are my slides. I made four at once. I didn't have to make four different documents. I saved a lot of time. And, just by using some shapes, some colors and images that we got from online, we were able to make a cool little campaign, simple campaign for this brands new collection. I hope you guys enjoyed this lesson. Now that we know how to use artboards, we can go ahead and make other things such as application pages, mockups, website mockups, maybe some Instagram stories, and the list just goes on. And yeah, I'll see you guys there. 21. Instagram Story: In this lesson, we're going to see how we can make social media layouts for your page or business. By social media layouts, we are talking about certain layouts for either Instagram, Facebook, and they're made according to their dimension and the field that's in that platform. For example, if you're going for an Instagram page, we will have to create a layout for the stories and the posts as well. So we're going to focus on Instagram because it's the most popular when it comes to social media layouts. Of course, there are other platforms that you can make it for like Facebook, LinkedIn, Twitter, and any other platform that you're using. But in this lesson, we're going to start with Instagram stories. So it's a tall poster like image that we can just post it on our story to maybe advertise for a new product, a certain movie or anything else that's related to your page. Let's create our poster, illustration. I'm going to make this 72 for the sake of the tutorial. Instead of inches, I'm going to go to let's see, centimeters. Which should we go for? I'll just go for pixels. I'll go to thousand 80 by 1920 to make a tall Canvas. If you create, it's a really tall and slim thing, which is the same ratio for Instagram stories. If you look at the ratio, go for nine by 16. You can see that it's the exact same thing. So it clear. We don't need to crop our image. We didn't do anything yet. Before you start, you want to make sure that you know what is going to be in that poster, what colors you're going to use, and what text you're going to put on that poster. For colors, I'm going to look through. I'm going to go to Google. And just search pastel color palette right there. Here I can look through and see which one suits my brand better. It all depends. Are you going for a corporate account or maybe a fun summer shop, and you just need to choose the right color palette. So it makes sense with your design. I'm going to choose this. I'm going to make maybe have a clothing brand, a copy image because I just want to sample the colors. I don't want the actual image. Use this tool to create a rectangle, Control V to paste. And then I'll just move it to the side so it's barely there. Lock it in place. Name this color. And now we can begin with creating our poster. I'm going to turn this off before I do that, I'm going to choose the background color. But to sample the so I have options as I go. Go to the color layer and sample change this to all layers. And then just sample all of the colors. Turn this off and we're going to start by determining our background color. Let's try this blue, see how it looks. And I don't know if I should choose this red or this blue, but you can see that it gives you different feels. You can just experiment as you go on because it's a separate layer, you can always come back and change it. I'm going to work with abstract shapes around my design, and then I'm going to put the main text main image in the center. So let's say I want to advertise for a new dress. I have to have a photo of my dress. Let's go to Adobe stock here. Or any other website that you want and just search dress. Let's see if you can find someone wearing a dress so we can use it in our image. I think this will be a nice image. Let's just look to see if we have more options. It's the same person here. Okay, we'll just go with her for now, License, download, whatever you have at reach. There's our image, and I think that's all we would need. So let's go back to Photoshop, go to Download, click and drag it onto, well, that's the wrong image. I'm going to refresh this There it is. This is our image of the lady, can expand it a little and then bring it at the bottom, but make her big enough so that she's the center of the poster because we're advertising for this dress, head enter once you're finished on this layer, I'm going to go to properties come down to, I would have to first rasturize the layer, right click on that, asturize layer, and then go to properties remove background. Let's see if Photoshop can figure out what is the background. It's loading. There it is. It very nicely removed the background for us and it also masked it out. It masked the area out. If it was wrong, I can go back with my brush and adjust it. Let's call this layer dress. We zoom in and see how it did. I did a pretty good job, but it missed a spot here, but that's okay. Just go in with the brush. Go for I guess we'll go with soft own, go with the color black, zoom in quite a bit and just remove those areas. I like that. I'm going to remove all the other areas. I think that's the hand. We have the hand. We have this area here. We have some in the hair. I'll remove those using the same brush and then I'll be right back. Order is actually an easier way to do this. I just realized that because I'm certain that I will not be needing the background of the image. I'm going to go on the layer mask right click, apply layer mask and now it's gone. Then I can go in with the quick selection tool with a plus and just select those areas. All right. Use the minus to remove. I picked up the dress as well. Let's remove that from our selection. All right. There's our first selection. There's some here. Go with the plus again, you're adding onto a selection. It picked it up nicely, but got some of the dress involved. Remove that. That was our second spot and we have some in the hair, which I will just have to use the brush. It's not that easy for Photoshop to take it off. Now we have this, we're going to go on the layer mask again, hit it, control I, and now they are gone. We mask out those extra areas. Then in the same layer, I'll go with my black brush and just remove those areas because they're not supposed to be there. I'm using the hard round because it's really small area. And I don't want to make her hair look like it has little hints of pink because clearly she is a brunette and her hair is not dyed. So it's not dyed. I can just use the brush to remove those areas and any pixel that has pink in it. Go up here. It doesn't have to be perfect because it's such a small detail that they will probably not realize it as much as you would. But try to do the best that you can. If it's not perfect, it's okay. Get some here. A little pink spots. Photoshop wasn't able to determine the spots in the hair. But it still did a pretty good job removing the background. So it's really quick way to remove the background. I just has a single button. Although this is for the updated version of Photoshop. If you're using a older version, you would have to use the classic ways such as the quick selection, the masking, the magic eraser tool, or any other tool that is available to you. It all depends on what version of Photoshop you are using. Delete these, we're getting closer. You know why there's little dots of pink on her hair and not in areas where the background would be there. There is some areas here. Just remove them using the hard round brush. You can switch to the soft round if you saw that the edges are way too hard and rough. Actually, that looks weird. I'm going to undo what I did and keep the pink. We have our subject nicely cut out and now we can start with our text. I want to say to my followers. I want to say to my followers that this is a new item, like alert. There is something new for you guys to shop shop for. Go to the text tool, click on the screen to create a new text layer, and then you have to change the font. Trying to see which one looks better for a clothing brand. That's not good. I think this is nice. It's a nice friendly text. I'm going to increase the size. Let's write new item. Then I'm going to let's see, change the color to white. Black is not really it doesn't look that nice. I'm going to make identical copies and try to align them on top of each other. Spaced equally. You can see the purple lines are helping us out a lot. Let's also grab all of these. CJ control T to just make a large copied amount. Let me turn off model, the model layer. Select all of my text, and let's see. A, we should I'm going to first delete the things. I forgot that I wanted to add a curve to my text first. Grab the text, go to this Warp text, go for arc or actually let's go for wave. I think wave will look better, bend it more and just work around to see which one looks better. I think we bend it too much. All right. Lower the bend to 41%, okay? I'm going to make this bold. I think the regular is not going well with our mission, I guess. I went with black at the checkmark, and now I can copy it below one another so they will go in one direction. But I will make this layer. Let's see. Should I make it thin. To make sure that everything is centered, horizontal wise, I'm going to hold down Control, press A, and then go here and choose the center, do the same thing for the previous text. Now they are in the center. But we're not going to work with the vertical because the center would be here and that's where we want our model to be. Control D to deselect, for the second font, going to delete this. Going to make it exactly like this, but I will make the rest of them outlined. What that means is that on your new item copy, right click, go to blending options, the top thing and then just bring this here. Go to stroke, go in here, change the color to white, put the position on the outside, and I'm just going to bring it here and pay attention to this and then determine your size. I'll go for I guess three will do. Make sure your opacity is at 100 and the blending mode is normal. Hit okay. You can see that this is slightly bigger than the first one. But now we're going to remove the inside, remove the fill and make it 0%. You can see we made an outline text which says the exact same thing as the main text. Now I will copy the outline text. I will lock my main text, which is the white one and then I'll also my background. I don't want to move my background. Go to my new item copy, hold down Alt and just click and drag to make copies. You can see the purple lines are guiding you and telling you if it's equally spaced or not. Listen to those lines. Let's also add some at the top and make it go out of the frame. Okay. We have some takes like that. I think I'm going to change the font. I'm not really a big fan of it. I'm going to shift all of the layers, go to character, and I'm going to see which one will work better. The preview is going to take a while because there's a lot of layers. Guess Berlin Sands is good. It looks tech, actually. Will this do? Let's look at the other ones. To avoid the lag, I'll just work with one text and then I'll come and add it to the rest. Go to new item, which is the white bold text that we have. I'm just going to go through and see which one looks better. Let's see, Broadway. That's not good. No, that's actually not it. Again, it all depends on what kind of brand you're advertising for because the font can leave quite a big impression and you want to make sure that you're choosing the right font for your business or page. Because mine is a fashion brand, I want to make sure that it's elegant but professional at the same time. Yeah, I'll just go with centaur. And then for the thing, I'll actually go for Mont there. I just saw one that I liked. Monde Career, I guess. Click on that and I'll keep it demi. Grab the rest of the copies, shift to grab all of them, go to the first text that we have to make them all look the same. Now I will grab my main texts as well. And I let go, grab every text layer, hold on Control T to make it a little smaller so it's placed in the center. I enter once you're finished. I'm going to zoom in to make sure that everything makes sense. They're nicely placed. Because this is my main text and I want this to just complement the main text, I'm going to grab everything except for the main text. And just lower the opacity. 40% will do. 40% will do. I'm happy with that. Now I can either merge all my layers, or I could just group them and then lock them in place so that later if I wanted to, I can merge them all into one layer. Now we want our model to be on top of the support text, so make sure she's on top. Now we are letting the people know that there is a new item and it's really exciting because we have five different text layers. And now I can even add a nice little stroke line across our model's body. I'm going to apply the mask layer, go to the mask layer, right click, apply layer mask. Now it's just one separate layer. Double click on our layer, not the name. Then let's come here, go to stroke. Go in the stroke tab. You choose a color from our color palette, maybe this orange. Then we're going to let me see. Why you change the positioning. I guess we have to do drop shadow. Go to drop shadow, choose the same color. Let me bring this here so I can see. I'm choosing drop shadow because I can choose the angle and that's what I want. I want it to only be on this side and not all over the image, change the blending mode to normal, and enter whoops. Double click to come back, go to drop shadow. I still has our settings. Change the angle and apply the distance, remove the, it's the opacity. Keep the size to zero, the spread to zero. The distant, you can see which one looks better. I guess this will do. Let's see. Leave as it is, leave the opacity. I guess this is good. Let me go to a different angle. See which direction I prefer. I'll go with one. Yeah, one is good, okay. Now, just to make sure that actually it's looking good. I'm happy with the way that the mask looks. I'm going to Control J on my dress layer. Then let's see, disable layer effects. Now it has no effect. If I turn this off, this is just a regular image. Turn this back on and because they're placed right on top of each other, I can go with a mask layer on the one that has an effect, go with my brush, hard round and just remove this part because I want it to only be on one side. I can just merge first apply layer mask and then merge the two to have our singular dress layer. Remove the copy. So there is the model, there is the text. Now we got to see what else we can add to our background to make it more interesting because right now it's looking really plain. Let's create abstract shapes. Remove the fill, the stroke as a fill. Let me see. We can change the colors later and go on your layer zero so everything is below the text and just create some random strokes. I don't like this, I'll come here and create an abstract wave on one side. And another color, I'll create a point so it's a new layer. Choose another color that will look good. I think maybe this orange, this yellow can be of help, curve it and then close it off at the bottom. So now it's looking more fun. It's looking more real. It's looking a lot more alive, I guess, and we need to add more information. Okay? There's this new dress. It's a new item, exciting, but where can I get this new item? Well, we have to add our website. There's a couple ways that we can do it. We can either add a circle or we can write the text at a straight vertical text. Guess we'll just do that, make a new text layer and make the size small. Let's name it flower shop.com, the name of our website. Hit Okay. Control T. Right click, flip nine degrees Oops that was the wrong way. Control Z. Going to go counterclockwise. My mistake to make it vertical, and then I'm going to use my arrow keys to create a little space between the edge, make it small. Okay. Now the reason why we're making the website address small is because this is going to be posted on the shop's Instagram. So everyone already has contact with the shop. Maybe your page has a Instagram shop, and this is just an additional resource that your customers or consumers can reach out to. But it's not as important as your advertisement. Then to make it even more exciting, you can go ahead and get a circle, the Ellipse tool, hold down shift to create a perfect circle, choose, I guess this color will be nice, drag it on to somewhere that's okay. Like here, I want to keep her hand. Then on the circle, I'll just move her here a little bit. On the circle, I can add additional information. I'm going to go with the text tool and I'm going to lower the sides a little too big. All right. And write a control tea. You can see that the space is huge. Let's write something limited time only. Now, the rest of our text is in there because we still have to reduce this space. This will just create more excitement, it's a limited time. Got to shop now, can change the alignment, but because it's a circle, should just stick with the center. And I will work with the tallness of the text. Maybe I'll create make it a bit more flat. Instead of Demi, I'm going to go to regular, then increase the size just a slight bit, close that at Checkpoint checkmark, and it's looking good. Another thing that we could do is go on this and give it a stroke, so it separates from the stuff in the background. I'm going to change the alignment to inside. There we are. Our poster is coming together, it's looking fun, it's looking summary. And let's see what else can we add on our poster to make it nice. We can add new item, site, our website, going to actually lower the opacity of this too distracting, again, it's an additional information. I'm going to add a text layer or before I do that, I'm going to lower the size of the background text, unlock the layer, Control T, and just make it a little smaller. I feel like it's way too huge and the space between the edges are too little, which is not a good thing. Also going to bring our model in the center. I'll make sure of that with one of my rulers. Try to make her in the center. Make sure the cut out edge meets the bottom of the poster, so it's not an awkward cut. Try to align her dress with the edge of the text. And if I bring another ruler, we can see that her hand aligns with the text as well. Although I think the text is not centered, actually. Bring a ruler or the center control Just a few points you can see that this white guy is not exactly in between the ruler, and now it's centered correctly. Good to view, clear guides. We don't need them anymore. Now, up here, I have space to advertise some more. Go to lock my model and my text layer. Up here, I'm going to write all in small letters, not in caps, new collection. Drag it here. Lower the size. Sorry, select text and then lower the size. So the focus is still on this and then on this. Bring it in the right position. New collection. We can change the color to this blue. Is it the same blue? I think it's the same blue. Actually, I don't like that. I'll go back to white, maybe lower the opacity. Maybe we can change the font. Go to here. I'll go with centaur. That's the name of the font, New collection, bring it here. Although I'm going to remove that because it's going to be text on text and that's not a fun thing to do. We're done with our poster. You guys if you're not putting it on your social media, you can put links to your maybe Instagram or Twitter or anywhere else. I actually want to add a frame. I think a frame will look good. Go to rectangle, start from one corner corner, and then drag to the other corner, remove the fill, add a white stroke, and just make sure that the edges are aligning perfectly. We have an even frame. I'm just going to add the stroke, we're going to change the alignment to inside. Now I have a little frame. I just need to move my email, my website name here. I'll even bring the opacity back up so it's visible at least. Now on our dress layer, this is optional, you can add a gradient map so it has a nice thing. Not this gradient map. Let's see. Going to try to, let me turn this off, sample this blue. Oops. Go on the backgrounds, this blue. I'm just testing to see how it looks. It might look terrible. Oops. Cancel. I went there by accident, go to here on this, choose that blue and then maybe white, I okay. Limit it to the dress by holding down Alt and then clicking in between, can change the overlay. Then we'll just stick with normal and just reduce the opacity. Like 20%. This just makes it part of the actually, I don't like it. So like I mentioned, we're just testing it out. If it didn't work, just delete the adjustment. Now we're done. We have a fun little poster that we can use it to advertise for our product. You guys enjoy this lesson in further lessons we're going to look at other types of poster and other types of social media layout. I will see you guys in the next lessons. 22. Food Poster : When it comes to food, food posters or anything related to food, whether it's a website dedicated to food or a Instagram post, logos and all that, things get a little bit different compared to if it was a fashion poster. And the reason is that with fashion, you just want to attract the customer's attention, and they will actually need to come in and explore the material, the side, and see if it fits and all. But with food, you are just trying to show that this is your regular burger, but there is this and that. Everyone knows what a burger is, or everyone knows what a what chicken wings are and what they taste like. So all you have to do is to convince them to come to your restaurant instead of someone else's. And apart from making the poster look good, you have to make the food look good, too. So you've got to make sure it's like glazing. There's the right colors. Maybe you've got some smoke coming from it to show that it's ready to eat, or you could use simple drawings like this to give it a fun look. And definitely, you want to make sure that the poster is fun. So if you've noticed here, we got some really cool fonts. They're mostly they're not cursive, but they're really fun and kind of silly, I guess, you can say. We got some doodles around. We have some arrows here. And as you can see, everything just looks so fun. And this makes you want to order food from this area because it does not bore you. You see the food, you're drawn in, and then you see that, um, it's from $12 to $20. You're like, Oh, cool. You see that it's organic, you get even more interested, and just you keep going till the end of the poster, and there's a high chance that you will be convinced to buy salad from this location. So in this lesson, we're going to see how we can make a food poster, one that is made for everywhere. So social media, maybe it's on the website or on the streets. So it's an all purpose poster. And first, you got to choose the food. What food are you trying to advertise here, and I chose burger for my food. So the first thing I need to do is to find an image. I can either take the image or just get one from stock platforms. I did want to mention something. When you search, let's write McDonald's posters. Let's find a burger that looks cool. Let's say this. When you see this, that the foods are floating. Another example. When you see floating foods, you might have wondered how they got the shot. It's just a little fun fact for those that don't know. The floating food effect is taken by putting each single piece on a toothpick or hanging it by a string and then taking each piece one by one. You have the first top bun hanging from the ceiling and it's in the center with a solid background. So a solid color that is not identical to the bun color. Then they take an image, and they do the same for all the other parts. The cheese, the lettuce, the patty, the sauce even. The sauce will be on a flat surface, and then they will mask out and cut out all those pieces and then place them on top of one another, maybe adding some shadow effects or maybe highlights and they'll just fix it up and make it look as if this shot was taken when they tossed a burger in mid air. This is for photographs, and when they want to animate it, you have probably seen when you can see the burger flying from here and it's slow motion. I can't really find one right now, but you have probably seen what I'm talking about. That is also done the same except this time they're taking videos of maybe them moving, rotating, the top but rotating, and then they'll take the same shot for all the other pieces. They will mask it out in after effects or Premiere Pro. And then they'll put the masked out pieces together to make that really cool throwing effect and then the slow motion here. It's just a fun fact. If you did want to create a image like that with your own homemade burger or your brand's burger, you now know how to do that. But if you don't have that, you can just search floating food on any stock platform, and you will get some nice images like this one right here. You can see that we have the pieces. Trying to zoom in a little right. There are some other pieces lying down flat, some that are flying up. This is what I meant when I said that they will take the shot individually and then they will put them together. If I want to make a burger, I will just grab whatever piece I want, put them on top of each other, and then just edit it to make it look real. So I will look for a burger image that looks good for me. Looks good for me, I will go with this, but I license that. And you guys can choose any food you want. If it's a hot food, then we have to get some smoke to show that it's ready to eat. But if it's cold, then you would need some maybe water droplets coming from the side. So if it's, like, a fresh cold juice, you would want some water droplets dripping from the side. So I'm just going to search smoke and see what I can get. Let's write food smoke. Not really looking for a color for once. And let's see. Just go back to smoke. Maybe we can find one that looks good for us. Looking for a subtle smoke effect. These are way too intense. I think this will do. We have some smoke. We can always mask out the layers we don't want and then change the opacity if needed. Go to license this. I believe that is all. We have the burger, we got the smoke, and the rest is just going to be some text. Let's go to Photoshop, create a new document, and as you remember, posters are vertical, and they are I'll go and art illustration. Choose whatever inches you want. I'm going to go to pixels. So that would be we would need a 1920 by 1080 pixels. Oops, sorry, the wrong way. 1080 by 1920. Make the resolution. I'm going to make it low because I don't want it to lag. We don't need an artboard because we're making one singular poster and we don't need to create shapes or anything either. I already have everything prepared, so I don't need an artboard. The rest is looking good. Create. Now we have a tall poster that we can begin editing. Before I start, I'm going to need a color palette. Let's go here. I like to search something related, so food color palette. This way, I will only get the fun colors that I'm looking for. Going to close that and just see I think I like this. Yeah, I like this. I'll just download this. And if you guys want, you can also search your food. So burger, color palette. The colors are brought from an actual burger, so that's why it makes sense. You guys can do salads or anything else that you're trying to make. I'm just going to stick with this color because it's closer to what I have in mind. I'm going to save it to my destination. Go back and Photoshop. And then I'm going to bring in my color palette first. Here's my color palette. I'm going to just put it in the corner and I'm going to sample it and put it in one of these groups. Going to delete this group. I don't need it anymore. Then make a new group by just going here, make sure you're on the swatches side, I'm going to name it Burger, okay? In your group, let's go ahead and sample all of the colors that I want. I think these three will look good. And then I will go on my first color, you can see here, press this plus. Let's name this yellow. Or you can name it something specific to your design like header, footer website, text, color, anything else. My third color, let's call it. Looks got it click on this. Let's call it orange. Make sure this is turned on. Now I have a Burger color palette. It's also in my library here because I'm connected to my Adobe account, these guys came into my library. I'm going to just delete this image because I already took out all the colors from it. I don't need them anymore. Unlike your background layer, choose a gradient. You can either do a solid color. I'm going to do a gradient. Just click one on the colors, bring it here. Make the left color this orange. And then I'm going to do the right color white. Then I'm just going to, let's see, make another color here. Make that like that too. I have a little bit of let's make this a little lighter. So instead of 100% saturation, let's do do like 70. So it's a faded look, okay. Now they're okay. If I want the orange to be at the bottom, I will start from the bottom or I will do the opposite if I want the white. I'm going to do a diagonal effect. Let me try this. Just looking to see which one will look better for my image. How about we do the top color yellow. I don't like the white too much. You just click once on this, you can just click for your image. You don't need to go inside. Now let's see this. I like this better. We can also do something else, change the mode here. That means you will start from the middle green orange is like bats. I don't want the orange to be there. I like this. It's faded and you can see that the colors are changing as it goes. Here's my background. Let's name it background. Make a new layer and or just drag and drop your burger image. Dragging and dropping. If it's not in your library, then you just have to bring it in from your file Explorer. I'm going to place it in the middle and Enter. It's placing it and there are a couple ways to remove the white background. If you go in your eraser tool, right click magic eraser tool, click once, it's going to rasturize the layer. If you click on, you can see that it easily removed the area, which is going to delete that area too. I might need to clean it up. Although those are the crumbs. Those are the crumbs. I have something here. Let me get a regular eraser tool, hard round, and just clean the edges. Like to use this for shapes where there isn't much detail, as in we don't have fine hairs or we don't have patterns everywhere. Just a bunch of shapes that I need to cut out perfectly. All right. You also have some areas that it missed. Again, go back in here. This is the sauce. We have a white spot here. So in the cheese. Make sure you get every little spot or else it's going to look awkward when you share this image. When you share this image, save yourself the time. Let me go in here and just clean that. It does get a little difficult with the smaller pixels, especially since the color of the jalapeno seed. Is that a jalapeno? The pepper seed is similar to the white area. That's the mayo. Let's clean this area. And that's why it's called the magic eraser tool. You can see how it magically detects the pixels. And again, this works great because we have a big color difference. So Photoshop is using the color aware tool. And because we're clicking on the white, it will do a little analysis and sees that the stuff that is surrounding the area that I'm trying to remove is so different in color. So therefore, it can easily remove those areas with a single tab. Just as you can see. All right. I believe we're done with the selection. You see how easily we just remove everything related to the white background that we previously had. But if there are parts where Photoshop does not detect, you can just zoom in, change your eraser tool, change from the magic eraser to the regular eraser tool. Just zoom in. I believe I cleaned it up already. Yeah. So, really easy. Saved us a lot of time compared to if we wanted to use the quick selection and then mask it out and all that. I got my burger. Let me name it Burger. Let me turn this off and bring in my it's too early for that. I'm going to place my burger where I want it to be, which is right in the center. You can use the purple guidelines. You can see it. It's telling you where the center is just follow that. Just follow that and now we are going to put in our text. I'm going to bring the notepad, and then that's where I'm going to write my text because like we said, writing it beforehand allows us to avoid any misspelling or typos. Type it beforehand on either Microsoft Word, Notepad or any other program that you want. I'm going to do the same and then I'll be right back. Okay, I wrote some stuff here. These are the texts that I want in my poster. Delicious burger, so fresh, 50% off and some contact information. Now that I also brought in a logo just from the Internet. I got this from free pick and we are going to just do the same thing as we did with the burger, go in with the magic eraser tool, rasterize it, click once, get rid of the small details by zooming in trying to remove those guys as much as I can. You can also get logo that doesn't have color like this one, just see which one works better. If we just need to clean up the edges two. Going to see which one looks better on my design. Let me just zoom out. Then you got to choose where the logo is going to go. I was thinking it could go in the corner like that, maybe we can fade it out a little by lowering the opacity. And making it a little smaller. Because I do want people to see the logo. So therefore, I'm going to use the one that has color and not the other one. Just as much as the burger is important for them to see, I want the people to know that this burger, this commercial is by my brand. I'm going to kind of rotate it or is that a good idea? Now, let's leave it like that. Just bring it in the corner. Alright. Now that I have everything, I need to start finding the text font, what font should I use? Which one? What font is cool and kind of funky? What will I use? I will go to Adobe's fonts. You guys can choose whatever you want. And I did want to share this website with you guys. It's called What the Font or Just MyFonts. And essentially, there it is. If you go in here, Just here, you will upload an image that contains text. Let's see. Let's go for this, our color palette and it's going to identify the text, then you just need to tell it guide and say which text you're looking for and just hit Next, it will find a text for you. Now sometimes it may not be accurate because a lot of times these designs that we see are designed by the graphic designers. They will take a normal text and they will manipulate it by adding maybe a line here, making this stroke thicker, it's going to be their own unique font, and that's why you can't find it sometimes. But then now that I have a font similar to this, I can put in my own text. Delicious burger. Change text. And, yeah, I can based on my text, I can choose one and just choose to get it. But I just want to show this to you guys. If you saw a poster and you really like the font, you can find a font here or something similar to that, right? But I'm going to get my font from here. So I'm going to go to Browse Font. If you have an Adobe subscription, you can also access fonts dot Adobe. And it makes it really cool. It has some brush pens, and I already wrote Delicious Burger here, write your text and see which one looks better. I will go to Marker. I already like this. I'm going to keep my eye on this and then I'm going to choose find maybe a second choice. I'm just going to stick with my first choice. These are families. If you go in here, we family. It gives you some other examples. This is only one font designed by this person. I'll just activate the font by just clicking this and it has been activated. Now it will show me some recommendation. I will actually get this because I need more than one font. All right. Now I will go back to Photoshop. And what was it called IDs Market. Let me see if it's here. Is Market, regular slant regular. There it is. Let's make it bigger so we can even see what we're typing. I have this on smooth and I'm going to write in my text. It's all in cabs. It's okay. Delicious. Burger. Going to hit Control A, I need to increase the space in between, Control T or just go here and increase the space between D things. We only have one style, unfortunately. Just going to bring this maybe make it a little curve. And I already forgot what our first font was Script, scriptorama. I'm going to see how that looks. Let's just create a new one. Delicious burger. Control A. Let's bring it here and see our other font. I think this one's better than the first one. Let me do that, compare the two. I suggest you guys do the same, have different fonts with the same text and see which one looks better for your design. I'm going to go with this, we're to delete the previous text. And now I am going to delete the space that I made. Oh, it's because it's here, turn to the left. Or let's do middle. All right. You did middle and I do want to curve it a little. I will go to let's first rotate it, and then we're going to add an arc. Control team, just rotate it until you are happy with it. Move it. You can use your arrow keys for a more precise positioning, Head inter. Now I will go to this, add a arch that's way too much. I'm going to give it a little bit of arch to add to that funky fun poster. Head. Let's bring it here. I'm also going to make the burger a little smaller because I'm going to have more text coming, so I need to balance that and make sure everything is in my image. Alright. Maybe a little higher. I'm going to bring my burger above this layer so if the sesames aren't there. Okay? We can actually use the clone tool to bring some sesames on top of the burger text. Just adjust your size and then hold down alt or option to choose a source point and then just choose not this. Let's go for, like, get smaller or actually use hard round. Make it bigger now. This way we're making our poster seem interactive, which is a fun touch that you guys can add. Let's get some from here and fill in the burger, make it look like the Burger. The text is also with the Burger. It's a small detail, but it's a nice one to add. Alright. Delicious burger, let's go ahead and add our other text. All right, we have a text that says so fresh. Let me make a new one, call it so fresh. This one's also capitalized. Let's look for another font because I don't want them to all look the same. Let's go back and search in our markers category. Something for so fresh. So let's write. So fresh. And when I write it the way I want it to, I can see if it allows me to have lowercase characters or not. And then based on that, I can make a better choice. I'll go with this. This has eight fonts. It's called the Uber hand. Then I can choose which one I want. Again, you can put in your text. So fresh. Let's see which one is better. I like this. I like this. Let's go with this, too. Just giving myself some options. Alright, it's called Uber hand. Let's create a new text layer. Write my text. So fresh, Control A, and search for Uber hand. Do we want it to be medium? Let's go with medium because this is bold. I will also get some thins or extra light for the contact information. Then I'll use the black and the bold for the 50% off. As you guys continue to plan for each font and each for what you will use them. I'm not liking the placement here. Let's first finish our delicious burger. I don't like that. It's just kind of there without any character. I will create a layer on top of my local layer. Let's call this splash. But instead of a splash, it's going to be a paint stroke. The same thing you will see in restaurants, they will use, like, the sauce to make a stroke. I'm going to try to see if I can do something like that. That's the wrong color. Let's see. Let's first make it in a way that we can see the thing. I'm on the eraser tool, go to Brush. And then, it says an eraser. Yeah, read what they are. Let me go to this classic cartoonist, the good one. Let's find out. Green color. No, I don't like that. Look at that way too big. If you can't find anything, you can go in custom shapes like I am right now and just look go to legacy shapes and more and all. Let's go to default shapes and see if there's anything that we can use to make the thing better. Vector peck. Should we go for a splash? I don't know. Splash seems weird. Symbols, Okay, not symbols. Web, and let's go to shapes. We do have some sort of splash. Let me see how that looks. Although a splash does not match with delicious. It's fine. We'll just leave it like that. Maybe we can get a paint stroke. From a external place. All right. Let's see. We can do something else. Let's go back to Photoshop. Firstly, I will change the color to white. Then we can give it a charcoal, I guess a charcoal effect by making a layer on top and then we are going to actually delete that hold down Control, press on at once till we see this, make a new layer, then with a paintbrush, go on a dry Kyle's dry media. There are other options. You can download something from online, but I'm just going to leave it as that. Let me see which one looks better. Chunky charcoal maybe.'s make it bigger. Then use the background color, just make little selections like that. This optional. Might not like this later. Control D. It kind of gives it a rustic look. We can make the opacity lower. Actually, let's just leave it like that. Okay, let's actually make something less extreme. So I will do that again, Hold down control, get my brush. Let's try a different brush this time. Just make little selections around our subject. Or should I say in the subject frame? Okay, just a little bit. I don't want to overdo it. Just make a few more clicks. All right. And what else can we do? Let's move along to our other texts. Let's name this texture. All right. Let's get the so fresh texture. And what we can do is to first change color. And maybe we can fit it with the burger area. So I'm going to hit Control tea, rotate it, kind make it look like it's a part of the burger. Going to give it a good rotation before I kind of arch it more. Go to T and then go here. Going to add the arch, but from the opposite direction, just so it looks like it's fitted nicely. Let me just move it a little here. I think I need to rotate it a bit to the left. That's better. Let's just move it using the arrow keys so I can be more precise. I need to make a little bit more of a turn. All right. Okay. Let's actually try another I'll leave it like that. Let me see other colors. No, that's not good. Let's just leave it at that. Now we have the logo. I will make it bring back the opacity, but just make it a little smaller. Over there. Go to assume that although I'm going to make my poster as if I'm a well known brand, everyone will just recognize it like they would with Burger King. Now we can add our contact information. Then finally, I'll come back to make it better. Make a new layer. What was our website called? So our contact information, paste it. Control A. Instead of medium, let's go to extra Light and then just lower the text size. Again, this is not as important as all the other stuff. It's just an extra detail that we want the customers who are interested to see. Hit that and then just bring it needs to be smaller, even. So control team make it smaller. Put it in the corner here. I will select it again. I want to minimize the space in between. Bring the website closer to my number. Leave it there, maybe reduce the opacity a little. All right. Now I can bring my burger and the so fresh thing. I'm going to bring it a little lower, so just hit Control and T, and I'll just bring it here. Then on top of my so fresh layer, I want to put something that said 50% off, get my circle right in shape you like. Hold down shift and just make a perfect circle. Now here I can use, let's try this green, remove the fill, and just put it here. In the ellipse, we will put 50% off. Control A, make the text a little smaller or even more. Let's get it out of the circle, add it here, 50% off, make it exciting. Reduce the size, Control reduced space as well. Just click and drag it onto this. Control T to make it larger, but leave the space as it was. Hit Enter or just move it a little bit. I'm also going to make a white stroke inside the circle. Control J on your Ellips one. Make the second one, remove the fill at a stroke, white stroke. Hit Enter the Control T, and make it smaller. Just just bring it in the center. We can make our stroke a little less intense. No. Uh let's go for, like, eight. Control T. I want it to be a little bit larger. All right. That will do. And I will just select all of the two circles and our text and kind of rotate the thing. He enter. Our text didn't rotate. Wonder why. I just do the text. We don't need to rotate the circle. I just realized rotate our text and make sure it's placed correctly, move your arrow keys on your keyboard to place them correctly. I'm also going to change the font of the 50% off. Control A, I don't like how it's similar to all the other ones. Let me see this. I think this is better. The agency gave a fashion brand wipe. Now I need to think about how else I can make it prettier. Let me have a little bit of thought and just look around to see what else I can do to make it better. I thought we can do a little half background effect. I'm just going to make a new layer on top of my background. I'm going to name it Background tube. Right. Then turn everything off the layers so I can see things better. Also this. And now using the green that we had in our palette. So make this the green and make this. I'll keep the yellow and just make this guy set of 70. All first choose our color and then bring the saturation to, I guess, 56. Okay, okay. With the same settings, we're going to just work until we're happy with the selection. I don't like the yellow doesn't look good. Let's go back here. I'm going to bring the yellow, make it brighter. Maybe that can help. Let's try another effect. I like this. Look, we can actually add a darker green. So instead of it being like this, the lightest color would be going to remove that, just click and drag it away and just make room for a third one, but on the darker side. We're going to turn the saturation to 100%. The brightness, we're going to lower it so maybe 30, 40, 50, and I'm comparing the new and current colors. Let's try that. It's giving a swamp effect. It's fine. Now I will compare the two. I will get my pentol and with the curvature one, I want a curve, turn off the stroke, and just proceed to make a half curve, adjust it if I need to. Just making a I can use a ruler, as well. If you're not seeing the ruler, hit Control R on your keyboard. I want to make sure this is kind of centered, and I don't want it to look too perfect. So going to work with the parts. H. Move this here. Then right click Make Selection. I guess we'll feather the radius. It doesn't matter. I forgot to close my shape, Control Z, and then in here, just close your shape. Now, right click, M selection, feather the radius on our background too, just hit the layer mask. The colors are not looking that good. What else can we do? Let's try maybe a solid color. How would that look? Not a fan of it. I'm going to think of a color range using the same cut thing, and then I'll be right back. I just made it really simple. I removed the gradient because it just didn't look good with our selection. I'm just going to move this here, bring back everything if we change the texture later on. You can see that it looks a lot more fun now and it looks more alive, I guess. And that's what we want to do it's food. So we want to make sure the food is alive. Okay. And I'll make this 50% thing the color of the first ellipse into this yellow color because we had green here. We cannot do green on green. And I'm going to make my green, the same one from the palette. All right now it looks even more fun. And we have to now turn the texture into this green. So just dabble click on the texture layer. Okay, took a while. Go to color overlay. Where is it? There it is, and change the color into the same green. The blend mode is on overlay, make it normal. There it is. Id. All right. Now our final step is to add the smoke that we brought from the beginning. Go to your library or just click and drag it onto your screen, and just do that. There we are. I'm going to have to first choose one. And I'm going to just look through. I think I'll choose this it as big as I need to. It okay. It's transforming it. Now we have to change the blend mode. So go to screen, and you can see that all those black parts are out. We cannot use the magic eraser tool because there's just so much detail in the smoke. I will now just make a selection of what I want or you can make a new layer. I'll just do this. Make a selection, hit the mask, and now we only have this guy. I'm going to make this bigger and rotate it. Actually, let's make a new layer. Why make it so hard for ourselves? Control J duly to the previous layer or keep it if you're not sure about your choice, and I'm going to rotate it make it big enough, hit Enter, lower the opacity. 45, and then I'm going to bring it first Control J, make two, bring the first one, bring layer one under our Burger layer, and the second one, we are going to kind of Control T, flip horizontal, make it a little smaller. Just kind of bring it here. All right. Now we can maybe use the masking, use masking layers, right click get the soft round brush with the color black and just remove it from the areas that it shouldn't be on or just do it to give it a minimized effect. All right. Let's do the same thing for the other one for layer one. Just minimize the effect to make it look more realistic. And I'm going to change the position and just bring it a little below. So it's from the meat. Now I'm thinking of what else we can do to make things better. I'm going to make this a little smaller. Feel like it's the same size as this here's the thing. You don't want all the text or a bunch of texts to be the same size because the is going because one is not going to prioritize one before the other if they're all the same size. Just make it smaller if this is more important, leave this big. If that's less important, make it small. Another thing that we can do. This is optional, but I recommend it. Try to make some doodles and just place it around the drink, drink Burger. G Let's just bring in the doodles. We'll download it. You guys can draw your own. Let's go here, search doodles. Oh, that's a lot of doodles. So if you think about a casual fast food that's for everyone, maybe it will have this, some smiley faces and all. So I'm just going to download this. We're going to cut out the parts that we want and leave out the ones we don't want. I want JPEC wait for it to download. You guys can again use the Pen Tool or the Shape tool to draw your own, or you can bring in download custom shapes and then import it in to your Photoshop. Okay. I am going to see if it's here in my library. Not yet. All right. It's downloading. The doodles just help make it more friendly and casual, which is the purpose of our restaurant. If this was a luxury brand, then we wouldn't be needing to do that. Currently, there it is. It's a luxury brand, we do not want doodles, but because I'm trying to mimic something like McDonald's or Burger King where it's for everyone, I targets children, adults, seniors and all that, I want to make it fun and quirky and relatable, which is a great marketing strategy. Click and drag it onto the screen. It's still downloading it. I will first make it. Let's first do it, rotate it so I can expand it and get the ones that I want and leave out the ones that I don't. Hit Inter. There it is our Adobe Stock doodles. Let's zoom in, get our Lasso tool, and look for which one we would like. I will get this lightning and you could put it all in one layer, but because I might want to move them around, I'm going to keep them in separate layers. Select them and then hit Control J on your keyboard to make a new layer. Let's name this lightning and then go back to the main image, make another selection. Then again, Control J. Let's name this message. Go back here. What else can we use to make our burger look fun? Maybe the smile. People smile when they eat burgers, Control J, smile, and you don't want to put too much. I think I'll start with three and actually, we can put a new symbol as well. You go again to cut out the sky, it's still there, hold down Alt to remove this area. You got to go on the original image, Control J. Now I'm going to delete this and we have cutouts of the image. If we change the blend mode again to which one is it that I'm looking at? This is the lightning, go to divide. Because we want them to be white, black will not look good. If you go divide, it removes the background, and it turns the color into white. Go to message and just do the same with all of them. Enter, smile, go to divide. We did that with the message, and then finally, it's layer two now. Layer two, and we did it to all of them. Now I'm going to position these. Let me name this new position new Control T, right click 90 degrees, that's the wrong way. Counter clockwise. There we are. Add. I'll add this new delicious burger. It's a nice touch. The smile, trying to bring it here, add this. Let's put it here. The lightning. Let's control T. Where should we put it? I think this is a nice area. I'll leave it here. Hit Enter. Then finally, we have this hearts message. Which k indicates that the person liked it so much that they commented about it. Let's put it here. Let's make it a little smaller. Because this is in this direction, we should make another direction for the heart but not symmetrical, go for a odd angle. Now I will grab all of them except the new lower the opacity, 84%. We can also get a pent or not pen tool. These are all optionals, create a spiral effect with the color white. Just go around to Burger, create a nice fun spiral effect. I will expand it to make it look like a spiral because that's the wrong way. I'm going to hit inter. I don't want anything else. I will go here to make the caps rounded. There it is and the corners to round the corners. The alignment doesn't matter. Then on the shape one, let's name it line. On the line layer, go in the mask layer. We're going to make it look like it's going through the burger. You can easily do that going with the black brush on the mask layer and just mask out the parts that let's go for hard round. Mask out the parts that are meeting the burgers and change it up. The first line is behind the burger, going to zoom in. Make sure it's behind the burger, go with the color white to bring it back. The second part is on the burger. The third part is, again, behind the burgers to go with the color black, erase it from the cheese that we have. Let's go here. Delete it from this area too. Here we got to zoom in and see if let me lower the opacity. You can see that it's on the burger here, but because this area is empty, you want to keep it on that area. You can delete it from the tomato and just leave the third thing to go through on top of the burger. Do we have a fourth line? Yeah, we can delete this to make it look like it's again, behind the burger. And yeah. This way, I can clean the fate, bring back the opacity, and you can see it's going in in between the burger. I will, however, minimize my stroke. Let's go for seven. To make it match the stroke of these little doodles. All right. I will stop here. I won't make it too complicated. It was a simple burger design. We want to move these two. Control G merge group. We don't need the text anymore. I'm going to bring this a little here, the 23. Patterns On Surfaces: In this lesson, we're going to work to place patterns on three different designs. The first one is the one that you can see right here. We got a fabric. There's folds and tucks, and then we have curtains with a light source passing through. And then we got a wall with, again, a light source. But what's important is this corner. So we're going to have to put the design in a way that it folds at this corner and continues onwards. So let's start with our first object. Unlock your background and we're going to grab the dress in any way that you like. You can grab the Quick Selection tool, Object Selection, Lasso tool, whatever you prefer. I'm going to use the Object Selection tool and just grab her dress alone. Once we're done, we can see that we brought in a little bit of her arms. I'll just grab the Quick Selection tool with the minus and go over her arms until it snaps to her now for this smaller area, I'm gonna zoom in. And then just hit Q on the keyboard to finish this off. I'll use the color white to just go around her collar. Que again once you're done, and we're going to make a layer mask. I'll just duplicate it delete the layer and call this my base layer. Now, this one is just a dress. So what we're going to do is fit in a black pattern. So let me just drag it in real quick. So this is the pattern that I'm trying to get onto the dress. First, let's rotate it and then hold down alter option to scale from the center. I'll call this my pattern, and we can hide it for now. Because the pattern has a black background, I'm going to have to change her clothing color into black. That way, the pattern will fit in better or will it. So first, we're going to have to save the distortion on the fabric, all the folds, all the highlights, and anything that's there that's giving it this texture. And the way we're going to do that is saving this into a new doc. Let's duplicate layer, and then this is going to pop up. Let's make a new document and just call address. It opened a new window for us. Now what we're going to do is get rid of the color. Let's go to adjustments, find Huan saturation. Human saturation, reduce the saturation all the way and then grab levels. What we're going to do is enhance those details. Even more. I really intense highlights and shadows. Then we're going to blur everything out. Let me apply this layer mask. Go to filter blur, gaussian blur to smooth out any imperfection that may have occurred. There we go. Now we just have the texture of that dress. We're going to save this as a PSD to go to saves. Call it rest displacement or anything else you want and then click Okay. Now we're going to go to our original file, and I'm going to introduce the pattern as an embedded file so go to File, Place Embedded and just grab that pattern. I'm going to scale it one more time, rotate it just like we did before. Then click Okay. Now we're going to clip the design. I'll call it that. Onto our dress mask with alter option, click in between, let go, and now it's onto her dress. With the design selected, go to Filter, Distort, and then choose displace. I will do maybe 12 by 12, stretch to fit, warp around. When you hit Okay, it's going to ask you to import that PSD, the displacement map that we first saved. Click Okay. Now as you saw it shifted the image on the areas where there was folds in that dress. Let me just show you before and after. This was before. This is after. The pattern is no longer flat on top of the subject stress. Now we're going to change the blend mode to multiply. And then blend it in further using the options down here. So using the underlying layer, hold down alter option, click on the triangle and just move it down until you can see the highlights from the original dress. So that's how it looks. If we want, we could add a black color underneath so that her dress is completely black. Right now it has a little bit of that yellow undertone. We can simply change that by duplicating the dress layer on top of the dress copy. We're going to turn that to multiply. Then above dress, we're going to put in a black solid color, clip that on and then change that to a different blend mode. I'll do color, as you can see that gets rid of that yellow undertone. You can also try a different color. It's really up to you, maybe red, pink, purple, anything at all. Then I'll go with a color like this. Then if you zoom in and saw any imperfections, you can always adjust the mask so that the design covers more areas. So, like, here we're missing a little bit from the dress. Just paint that on. There we have it. That's how you can do fabric patterns using displacement maps. I'll show you guys that before and after. This was before, this is after. It's pretty simple to do. And if you wanted to switch your design at any point, because we place it as an embedded file, we can dapple click on the thumbnail, and then here we get to put in a different design or maybe add something onto it. Let's say this is what we want to do Commander Control S and then close this. No original file, you can see we have that squiggly effect. But I'm just going to undo that for now. That's our first design. Let's take this a step further and try to get that same pattern on this. It's still a fabric, it's still solid color underneath, but we do have this light source coming in. Again, we're going to duplicate our layer just so we can see it before and after, then grab our favorite selection tool to grab the fabric. Let's go once we're finished and then hold down shift to add on to our selection because we have two curtains. Let's go once you're done and make a layer mask. I will just go in with a black brush as we brought in the metal piece, as well. We don't want that in our selection. Once we have our selection finalized, we can go ahead and bring in our design. Let's just copy it from over here, Commander Control C and paste it here. Now for this, because it's two different designs, going to add this to normal, I will try to duplicate it and then change the way the second one looks. Hold down Alter option, click and drag onto the other end. Right click on that second one, Command T first, and then right click on it to maybe flip it a bit horizontal and vertical, then hit okay. Okay, let's hide these for now and do what we did last time, which is to take let's call this curtains, hit duplicate. Fabric, turn this into a new document. And I'll call it curtain displacement map. Alright, now, over here, we're going to do the same adjustments. So first of all, hue and saturation and then levels. On the image itself, filter gaenblur then save the file. Let's delete these. All right. Now, over here, we're going to take our designs and clip them into their curtains. So first, let's turn the designs into one layer. Once I have this command, grab both Command or Control E. Call it design. Now we can right click and convert this to Smart Object, clip it onto the curtains with alter uption, bring the curtains back. So this is what we have so far. Now we're going to go to the curtains layer, distort displays, stretch to fit, warp around. 12 and 12 should be fine. Click Okay and get your curtain displacement map. So now, as you saw, once again, it shifted and twisted it based on the map itself. Now we're going to take the design, turn it to multiply, and then this is where the light source becomes important. Using the design layer, we're going to go to FX blending options. Bring this here. And then using the underlying layer, which would be in our case, the curtains itself, we're going to click Alter option and drag it this way. So notice how it's fading from the light source, and that's exactly what we want. Something to this effect is perfect. Let's hit okay. So we were able to fit this onto a curtain, and using blending options, we made it more realistic. You could always go back on this to play around with the sliders, but I think it looks pretty good right now. Okay, our last and final pattern or surface is this wall. We have wall that has dents in it. There's a broken piece paint, and there's a figures shadow reflected on here. But what's important is this corner. And we're going to be using something called a vanishing point, which is when you get to tell Photoshop to display that design only on these two corners. Instead of duplicating it, distorting it using perspective, vanishing point is a lot more simpler. And the first thing I'm going to do, which will be temporary is increasing the brightness so I can tell exactly where that corner is. So let's go to brightness and contrast and just increase the brightness. So I can see that's the line. It ends here and there is the rest. We'll delete this later so don't worry about it now. So what we're going to do is import our file, the design that we wish to put on. I'm going to file place embedded. This is the design I want to put on here instead, scale it up until it covers all of the wall, then click the checkmark. I will call this design, hit Command or Control C on design to copy it. Now we're going to make a new layer on top of design and call it Vanishing Point. After you've copied your design, you can go ahead and hide it. Then go to that new layer, filter vanishing point. So it brings your background layer with you, so that's why we had to hide the design so we can see exactly where those corners are. So this is a whole dedicated window for this vanishing point effect. On the right, we got some tools. This is the tool that you're going to be using most often. We got an Eyedropper tool, our hand tool, Zoom tool ruler. We also have the grid sides, which we can see once we draw the plane. Grab your Create plane tool, start from one corner. To the center, drag up, try to match it with the actual corner, and then close it off over there. So you should see these blue grid lines, and this is where you get to decide how big or how small they are. Now, we do have this whole side of the wall. So what we're going to do is hold down command or control on the middle part right here and just drag. Let go, and then we can use the corners to match it to our actual wall. Now, this one is still there. You just can't see it. Once we're happy with our selection, we can actually bring this a little down. It cancel, come back to the main workspace, turn this into a rasterized layer. So right click rasterize layer, and then hit Commander control on the thumbnail of the design, then copy that, hide it Commander Control D, then go back to your vanishing point layer. Over here, we're going to after we've selected both of them, Commander Control V, then simply drag the artwork onto that surface. So it's as easy as that, and you can see it followed that exact grid. Once you're done with this, lick o, and there is our design. So we can get rid of the original I'll just put it below in case we need it, but I can get rid of Brightness and contrast and first of all, change the blend mode into multiply. And then because we're dealing with those highlights, we want to use blending options again. So from the underlying layer, alter option, click and drag. Like that, then click Okay. Now, the image is a little hard to see, so I think I will add a little bit of exposure. And there we go. To have it blend in better into the wall, and this is our focus point, I will blur this out a little bit. So let's get some gaussian blur just to the point where it looks natural. And there we go. We have this pattern onto the wall. Now, if you want to get rid of the imperfections here, I'm going to keep it because I like the rustic look. But if for any reason you wanted to, just hide the vanishing point layer, duplicate your layer zero and then use any of the selection tools to either replace it with generative fill or the healing brush that we looked at earlier. I'll bring this back and we have the Gaussian blare on there, so it looks a lot better. There we go. That's how we can add patterns on three different surfaces. In the next couple of chapters, we are going to look at objects and more specifically how to add your designs onto objects in the form of mockups. It could be a logo on a mug, logo on a t shirt, and we'll look at how to do those things best. I'll see you guys in the next lesson. 24. Logo Workflow: We're going to talk about the logo design workflow, what steps you should be taking, how you should get to the logo. How can you help yourself get to that final logo and some tips for you guys to follow. I have listed ten steps. These are not official. These are just my steps, the steps that I take when I try to design a logo. So the first thing you need to do, number one, decide, what is the logo for? What's the name of the brand? Do you have any information about what it's supposed to be for? Is it a salon or is it a restaurant chain? Is it a small business? You got to know what the logo is for. Which audience does the brand target? Is it for children? Is it for seniors, college students? You got to figure all of these out. And you got to just have all of these in mind before you, number two, write them down. You would be like, for example, McDonald's, fast food chain meant for everyone, any age, any gender. It's not targeted for the middle class, but there's no class specification. So it's a casual brand, as in it's not like Louis Wuton where they target people in higher classes because everything is expensive. It's a fun and delicious brand, for example, and the person, the client wants a single letter of the first word. They want an M. Once you've written down everything you know about the brand, if it's yours, make sure that you have all of these figured out. Normally if you are starting your own brand, these are just some things that you have to know, so you would have to write them down anyways. Number three, now that you know you want a big M for your brand, you want it to be casual, you want it to be fun, you want it to be minimal. You need to get inspired. We already talked about some platforms that you can go on and look for inspiration, but we will look at them again. Then number four, once you got inspired, you have something in your head, you got to sketch. Take a notebook or A for paper, whatever you like, and give yourself a short amount of time. Give yourself 1 hour at most, or maybe 30 minutes and just sketch as much logos as you can. You don't spend time on one of them trying and making them perfect. Just put out anything that you think at the moment. Maybe it's an M like this, maybe it's just a sharp M like that. Anything that comes to mind, write them down. And we're just going to have a look at what logo sketching looks like. I went to Chrome. You can see that this person is drawing multiple logos for one brand or maybe this guy. They are all eagles, but you can see that he's sketching, although he's finalizing them. Sketching would look something like this. You can see the letter is R. There's so many others Fs and Rs. Maybe he's trying to make a logo for a brand that has F and R in the name. You can see they're not perfect, they're just sketches. He did something simple. He did something complicated here and the page is just full of sketches. That's what I mean. Don't stop, don't wait to make one perfect. Don't think too hard on each one too. This way, you can give out as much options for yourself as possible. There's also something like this. And the reason why we're giving 1 hour is because when we focus too hard on something, we lose our creativity. But when we're just putting it out there and just drawing random things, that's where we can be creative. That's why I'm telling you guys to not spend 30 minutes on one logo and then proceed to make others. Just do whatever you can and the best notebooks to have for logo design are ones with guides. These notebooks are great. A four papers are acceptable, but it will be a little hard because when you try to use a ruler, you might make a line that is not straight. As in if you're starting from here, the line might be a little slanted. It's just a helpful thing to have a notebook like this. It just makes things easier for you and later in Photoshop, you can even use those points to make your sketch even better. So yeah, designing when you're sketching logos, you just need a pencil and a paper. Just put it all out there, draw as much as you can, and don't stop until the time has gone off. And the websites that I told you guys that you can get inspiration from are the ones that I get inspirations from is one, Pinterest. It's a great place. Just search M, for example, our brand has mint M Logo Design. Enter and you can just get so many information and inspiration. You can see there's so much for you to look at and get inspiration from. One was Pintres, two is B hands. Again, just search logo. We just go into categories. There we have some Ms. Third is drilep that's an N driple search Logo. There are many as for you guys to choose from. Fourth is Instagram. You just search in the search area. I'm just not going to go there since everyone knows how to use Instagram. Fourth is just Google Chrome, search logo, Go Images, and you get options from every website that shows up in this search bar in the search results. You got inspiration, you sketched your logos out, and then after the 1 hour, let's go back to our notepad. Come for a second look. Once you're done with your 1 hour, just close the book, put it away, maybe spend an hour or two doing other things to get your mind off that logo sketch, and then come back for a second look. Now the reason why we do this is because when you have your mindset on something, you are also blocking out creativity. I'm referring to when you when you spend so much time on something that you start to get frustrated, that frustration blocks your creativity. So you want to give yourself a break and then come back for a second look. Then with the second look, you will get new ideas. You will be like, Oh, this logo looks great. Let me do this as well. I just thought of this logo as well. That's why we come for a second look to come and look at our work with a fresh set of eyes. This is really important. Don't skip this. And think about deadlines, you might be like, what if I have a deadline and I have only 2 hours to finish it? Well, we all know that you cannot rush art. If you have a five day deadline, don't put out the design for the last day because it will not look good and it will be really frustrating. Start your process from day one or maybe day two and give yourself as much time as possible because as you progress with the design, you will get new ideas to make the logo better. Maybe someone will give you a feedback that you can use to further enhance your design. After a second look, you need to choose one or maybe a couple and then enhance it. You have this, let's go back here. Let's say you chose this and then you're like, I can make this part a bigger I can make this part maybe a line. Anything you guys think. And then you can enhance it on this finalized or chosen logo, maybe there's three. You can then again spend maybe an hour or so trying to enhance it. What could be better? What could help deliver the message better. If it's an ice cream shop, maybe you can put ice cream vector somewhere. It all depends on your brand, and then just enhance the corners and spend time making it better. If you go back to logo sketching, this is the enhanced finalised logo. Let's say you chose this one. This is where you get to fill it in, make sure that the lines are straight. You can use a ruler if you want. You can even erase the whole thing and then do it again. And you can see this person is using a ruler. This is a finalized logo and he is just enhancing it with different pens, a ruler, a new page because we're later going to scan that page or take an image off to bring it onto Photoshop or Illustrator, whatever you guys are using. But in this course, it's all about Photoshop. So yeah, spend some time, finalize it, make it clean, make it look good. It's not that important if the lines aren't exactly straight because we will be using geometrical shapes to make the perfect logo. But just try to make things easier for yourself in Photoshop. Here's another example of a finalized logo sketch, and you can see this is a photo taken from that sketch. The next thing is design. After you took a photo or scanned it and brought it onto Photoshop, that's when you will start creating your design. And depending on the logo, let's go back here. If it's something like this, you'll be using the Pen Tool. You can't really use circles enough because it's just such a random custom shape. But like we saw here, if the sketch is here, you're going to use circles and straight lines and grids to make a perfect geometrical logo. You will use circles. You got bigger circles here, and then you will just use pathfinders or any tool that you like to pick out your shape. And yeah, you can see here. These are, again, finalized. You can see that the circle is not perfect, and that is because we will just go to Photoshop, hold down shift to make a perfect circle so we don't have to spend this much time here. All right. After you've designed it, now you got to think of the colors. Did the customer give you a color palette? Are you supposed to find a color palette? If so, again, go to one of these websites and just search for, let's say, you got to choose a color that goes well with the brand. Is it a brand meant for kids? If it is, you want to use bright and vibrant colors. All right. So when it's related to children, you want to use something really bright and vibrant. If it's a luxury brand, search luxury colors, and you get some really cool colors, like maybe gold, black, a dark blue and all that. So depending on your brand, you got to choose a color palette that will go well. Now a lot of times the chosen color palette might not look good. So maybe you can get two or three palettes to test on your logo and see which one looks better and then choose the final logo. Choose a final color palette. Alright, and the feedback. You've designed it, you colored it. It's all perfect. You've exported it. But before giving it to your customer or client or just posting it on your page, make sure you get feedback from people who have not seen your logo before. That means you're looking for people who will not be biased. Just take your logo, send it to a bunch of friends and family and be like, What do you think? Another thing you can do is not tell them that you designed it. Just like what do you think of this logo? Then they'll be like, Oh, I don't like the red. The red is not that good or I don't like the shape of the parrot. There's a parrot in the logo, and just use their feedback to further enhance your logo, make it better. Try not to be too biased on your design. This can happen when you're first starting out. You will think that your design is perfect, everyone else just doesn't understand. But the thing is that logos are designed to represent the brand to normal people. So logos are not just for graphic designers to see. They are for people who will pass by the brand, people who will look at it on social media, so you want to make sure that your logo, even if you spent days on it, is acceptable to normal people. And if the feedback of maybe three of the people that you send it to were bad, then you know that you need to make some adjustments to your logo. And yeah, just work with those people, send them the logos and try new people every time. Don't get the same people because they might be biased. So you're testing out your logo and getting feedback from different people. So if the brand is for everyone, try to get feedback from maybe your mother or not your mother, maybe your teacher, another one from your friend, another one from a younger teenager, just people of different age groups so that you can get a good result a good feedback result from people who would be in the everyone category. Because let's say if we are trying to make a logo for McDonald's, the logo needs to look good to adults, to seniors, and to children. Feedback is really important. You can also, if you have any graphic designer, teachers, or friends, you can also show it to them. They will give you professional feedback. So they will give you feedback that normal people will not realize. If your curve is not exactly smooth, the graphic designers will point it out, but normal people won't because they're not looking at the details as much as graphic designers would. So test your logo, get feedback from both professionals and just normal people. If you don't have that many people to ask for feedback, just go to Facebook and, um, Okay. In Facebook, there are tons of groups for you guys to get feedback from. If you search Graphic Design, this is a group that I'm in, Graphic Designers, you would just join these groups. And you can see that there are a lot of people who will give you feedback. These are either professional graphic designers or just beginner ones. If we scroll down, you can see that this person, yeah, it's the same person. He has shared his design and his mockups and people are just giving the feedback. You can see this guy is giving a professional feedback, then this person who sent it posted it will take in or not take in this person's feedback and will enhance his design. And this is great if you don't know any graphic designers in your circle or if you don't have any friends who are willing to spend time to give you a feedback. This way, you are making sure that the feedback is not biased because these people do not know you. So yeah, graphic design, the same thing can go for photography. If you edited an image and you want to make sure it's good search for another group that I'm in, Photoshop and Light room. People here share their images. You can see share the post, and people are giving their feedback. Sometimes it's just comments, other times it will be feedback and Like you can see, this person doesn't appreciate the addition. The skin is too smooth, makes it unreal, and they're just giving you feedback for you guys to improve your images. Again, these people are not biased. They do not know you, and they're giving their feedback as either professional photographers or just regular people who come in here for inspiration. Can also go for photography critique. To share your edited image in here. You can see, it's a great place to get inspired, get feedback, and grow and further enhance your skills. It's a win win situation. You can also give feedback onto other people's works. All right. Let's come down here. Finally, after you got the feedback and you made the perfect logo, it has the color, has the smooth edges, and it's the final product. You can go ahead and export it. Like we mentioned, we want to export it in different formats because it will come in handy. You want to export it as JPEG, the first format, so you can share it easily with people and it doesn't take that much file space. It's a really small file size. Two, you want to export it as PNG. If you want to quickly add it onto a block post or a poster design, you want it to be really tiny in the corner. You would do it as PNG, PNG does not have a background, so it's transparent, but JPEG has a background. Finally, you want to export it as SVG, scalable vector graphic to use it onto bigger surfaces like mockups or giant posters where your logo would be really big. That way you can ensure that the details in your logo do not fade away once you're trying to scale it up or down. And then once you have your exports, you have to put them on product. This will give an idea of how your design will look on different objects. If we go here, let's go for logo mockups. You will see that people put their designs onto different surfaces. We got business cards, we got a wall, we got a brick wall, glass, paper, wood metal. Again, depending on what your brand is, if it's an office, you would want to put it on a wall, an office wall or maybe something like this. If it's a stationary brand, a search stationary, there it is. Oops stationary. Again, you want to put it on stationary. Let's open this, you got business cards, you got a document, you have a letter, and try to put it on as much mockups as you can, but the ones that make sense with the brand. If it's McDonald's, a business card wouldn't make sense because no one uses a business card for McDonald's. Instead, you would put mockups onto fast food packaging, maybe some plastic cups, a plate on a wall. Maybe on someone's T shirt, things that make sense with the brand. All right. This was just a workflow. We went through the beginning and we ended it at the end, some ten steps to follow. Now, logo design, you cannot rush it. Remember this. Do not put it for the last day because you will end up with something that you're not happy with. And always give yourself time to come in with fresh sets of eyes to look at them, look at your designs from a new perspective. When you're no longer frustrated and tired of designing, you can come back to that design and then you'll feel different than you did before. That way you can help get more creativity out of your mind as in out of your mind and onto your work. So I hope this was helpful for you guys. And the further lessons, we'll actually use Photoshop to design our logos and then put them onto mockups. And that way you will get a better idea of the process and the thoughts that go through the thoughts that go to that process. Hope you guys enjoyed this. I will see you guys in the next lesson. 25. Line Logo: In the following lessons, we're going to learn about designing a brand's identity. That means we're going to be making the things that identify a brand using Photoshop. That includes the logo, the application layout, website layout, posters, social media layouts, and all of those things. We will go over some simple design so you can learn more about the techniques rather than the time consuming design. We're going to start with the most important thing, which is the logo because the logo will be in all of those things that we mentioned. And we're just going to start by creating our logo. I'm going to right now I'm in the Photoshop library. Go to hit on Create New if you go on the presets, art and Illustration, there is already a preset for logos and how you can know that is that the ratio is one to one, so it's a square, and it's also 300 pixels per inch. Now here's a thing about vectors and illustrations. You want to make sure you have the highest resolution. Here you can see that it's 300. Usually with normal Photoshop documents, it would be 72. But if you do use 72 as your u pixels per inch amount. Your vector or logo is going to be really low quality when you add it onto a poster, if you want to print it, if you want to use it on a mockup. You want to make sure it has the highest resolution so that no matter if you want to scale it up, minimize it, and if you want to do some other adjustment, the shapes and the colors do not change and you do not get a pixelated logo. So this is thousand by thousand and it's at 300 pixels per inch. My color mode, I'm going to leave it at RGB and my background is white. I'm going to hit Create, and here I am at my canvas. Another thing for logos is that once you have the idea, once you know the name of the brand, it's going to take you a lot of brainstorming to know what your brand is going to look like, what your logo is going to look like. You would have to take a paper and pencil, look for inspiration online, go on Pintres, B hands dribble, and all those other platforms and try to find inspiration for the logo that you're trying to create, making sure that it's related to the name and it's also related to the industry of the brand. I spent some time and I drew something on a piece of paper, and then I took an image with my phone. You can scan it if you want, and I brought it onto my computer. In my file explorer, this is it. I'm going to just click and drag it onto my Canvas. There is my logo. I'm going to scale it in so it's only the logo and it's the right size. G to bring it to the middle and hit Inter once I'm done. The brand that I have, I'm just going to describe it. This is a fake brand, but it's going to help you guys throughout the experience. The brand that I have is about mentors and students. This birds, birds are actually really good at showing people the path. They're really good at navigation. The name of the brand is raison. What that means in another language is that it's a pathfinder. I use a bird to show the pathfinder. Because birds are great at finding paths and navigation. As you can see, my logo vector vector has relation to my brand's name and its meaning. You guys can make something exactly like the name. For example, if it's pancake house, you could just make some pancakes, turn it into a vector, and that would be your logo. Or you could do some logo type, which is a logo made from the type, the text of the name of the brand. But for now, we're going to start with the vector logos. All right. I got my sketch layer. Let's name it. Sketch, lower the opacity so we can draw on top of it. It's the same as putting a tracing paper on top of another paper to trace it. There's a bunch of ways that you guys can fill in vectors. You can either use shapes, many shapes, put them together, and then just take out the ones that you want. There's another way which is the Pen tool, and that's what I'm going to be using today. Only the Pen tool because we're just dealing with some lines. There's no fill, and it's just some easy lines that we can trace without a problem. Another thing is to have a color palette dedicated to your brand. Color palettes, as we mentioned, are just a bunch of colors focusing on one mood and they all have relation to one another. If you look at this palette and this palette, they are the same hue, but the saturation and the brightness changes, you can see it here too. Therefore, I cannot take a color from here and then mix it with this because they will not have any harmony. You guys can just go online and search for a color palette or you can find one in Photoshop swatches. You can see there's a lot of options to choose from. I'm going to use my colors. My colors are up here. I like to create a few squares on my canvas. Each one having one of the colors from the palette, and then I can just leave it there to use later on. I'm going to take this yellow as the fill. Hold down shift, click and drag to create a square filled with the color from my palette. We'll actually make it this yellow. All right, this was one, and then I want to make an exact copy of the shape, but then fill it with another color. I will hold down all on my keyboard, click and drag to either side, and then I can just fill it in with let me go to gray scale and choose a black color. And I think this is good. All right. Let's see if we can add, do I need more colors? I will definitely use white. I don't need to bring white here because white is just everywhere. I would say these are the two colors that I'll work with, including white. You just added here so we can just make things easier for ourselves. For ourselves. All right, so these are my color palettes. I have three colors, and by now, you guys should know that we don't want to overcomplicate color palettes, especially nowadays where minimalism is the key. People are looking for minimalistic designs, color palettes and layouts. You don't want to put 50 different colors in your logo. I'll just look really bad. And right now we just have three normal colors, nothing too complicated. And now we can get started on our logo. I'm just going to I forgot to add them all in one shape. I'll just group them for now. Then I'll name it colors. I'm also going to lock it because I don't want them moving around while I'm trying to sketch my logo. Alright, I'm going to go to my Pen tool. On shape and I'm going to remove the fill because these are just lines. Then go to my stroke and use the gray. It's the same gray here. I'll just click on that. As for the thickness, I will decide as I go. I'm using the regular Pen tool because we have sharp edges and curves. I can later come back with the curvature Pen tool and just fix things. I'm going to make my first point, then click and drag to make a curve. Going to do the same here. I want to curve. I'm going to reduce the handle because the curve is too much. Then I can just click and drag over my sketch. Now remember, you guys don't have to necessarily copy the exact same sketch because Photoshop has some smart adjustments that it will provide you. Meaning that if you think if you sketch this and you thought this was a good curve, Photoshop can be like, no, this is a better curve, so you don't have to copy the exact sketch as you go. Now that I drew something, I want to minimize my stroke. I feel like it's way too thick. I think 7.41 is good. Now I can go ahead and start with his head. I can even make more adjustments as I go. His head was too flat for me. I'm at the peak because remember, you have to cut the handle if you want sharp edges. Hold them out, click on the point, and now we have some sharp edges. Then I can continue. I think I did it wrong, I'll put it here. Then I can continue with the rest of the body. Again, I forgot to minimize the handle. If you saw the curve was too much, just hold down Control and then click on the handle, adjust it as you like so that everything is not too curvy and you can adjust it to your preference. We would have to fix this later or I could just hold down Control, see if I can fix it over here. Okay, I'll just come back to it later. Again, a sharp turn, hold down Alt, cut the handle, and then continue with the wing. We're at the wing right now. Just some simple strokes. It's always a good idea to start with simple logos and then work your way to more complicated ones because it will get frustrating once you can't get the exact design and the layers get too much and it will just get confused. You'll just be confused and it's just going to be really frustrating. Make sure you're starting from a simple logo like this one. It's just some strokes and then work your way up to more complicated logos. All right, in my initial sketch, I added a second wing here, but now I'm thinking I don't want that. I'm just going to stop here, hit Enter, turn off my sketch layer so I can see if it's smooth. It's not. I have some fixing to do. On my shape one, let's name it bird. G to go with my curvature tool. This is how I like to fix things. I'll just click once on his stomach or any area that needs fixing and just try to make things as smooth as I can. Got some lines here. All right. I'll also hold down Control to move this a little. So I have to click on this layer, this point. Just do kind of I think that will do. Delete the extra point that I made. Let me see. Should I delete this too? Yeah, I'm going to delete that so it's kind of a curve. Is that better? Yeah, I like this. Just fixing the thing. His head is flat again. Let's fix that and I think we're done. Let me just so we have the stomach here. Head enter again, see if everything is smooth and yes, there it is. It's a really simple logo, didn't take us that long to stroke it. Now I have my logo. We can go ahead and add an eyeball for it. It could give it that friendlier look, but if it doesn't have an eye, it just gives a more professional minimalistic look. I think I prefer it without the eye. What I can do to make it a little bit special is to add maybe a golden stroke along his wing. Let's try that. I'm going to go on my Pen tool. And I'm going to choose the gold. Actually, I'm going to fill it in with the gold. Oops, not that layer. I have to make my new shape first, shape one. Now I can fill it in with the gold to turn off my stroke. Okay, now I will try to, that's not right. Try to trace around my wing and then work my way down to his stomach. I'm going to turn off the opacity so I can see what I'm doing. Again, cut this off or actually, I'm going to stretch it a bit and also work with the curve. Then I'm going to cut it by holding down Alt and then just going in to make a curved. I'll actually close the shape and then I'll come in with the curvature hand tool. I prefer this way for making curved lines. I'm going to start from a small amount and then make the area bigger as it gets closer to the tip of the wing. But who knows it might not even look good and we will have to delete it. The thing about designing stuff is that the original idea might completely change as you're designing. Now I can turn on. I'm going to bring it below my bird layer, then bring back the opacity, see how it looks, and it looks good. I would actually have to bring the tip in the middle. It's not exactly in the middle. Hold down control and just bring it slightly in the middle and then you can see that we went out of line here. Let's try to fix that. Because we have the stroke on top, it's okay if it's not aligning perfectly with the black stroke because that part is covered and no one can tell what's going on. Let me bring this it fades in the bottom. Let's zoom out. I would also rather this part was not there, or actually, I would just remove this. Let's see how that looks, go to Bird I'm going to create a mask layer because I want this part to be here, but not the one in the middle. Go with the color black and just slightly painted over the I removed some parts. I think we filled in the color, we did turn off the fill and I'm going to zoom in and bring back the part that I accidentally removed. Zoom in here. Let me lower my size to be more precise. Erase some parts that are not necessary. Just a little bit of erasing here and there we are. I think this looks better. If I turn off the background, we can see that it's just a stroke and the gold line. I'm thinking maybe we should try to remove this as well. I'm just experimenting with my logo to make sure that the result is what I want. Does this look better or this can't tell? I think this way it looks more abstract, so I'm going to keep it this way. Turn my layer back on background layer. I'm trying to see what else I can add to make it better. How about we remove the stroke? I think this will look better. I'm just removing it roughly so I can see what it will look like. This is my logo. We easily designed something and to export a logo, you would first have to you can save this project if you need, if you want to come back to it. Just go to File. Save it will open this panel. You have two options. Save it on your computer or to Cloud documents. I suggest Cloud documents just in case you lose it somehow, or if you change your computer, you were on your friend's computer, you can easily just sign into your Adobe and get the document. Go to hit Save to Cloud Documents. Let's name it Bird Logo and save it. You can see the cloud icon. I can come back to it just in case someone told me that they want the beak to be different, they want this to be like that. I can come back to this. Now to export a logo, you actually have to export it in different formats. I will explain why soon. But first, I'm going to delete my colors layer. Or just turn it off actually. Also my background layer. Now there are different formats. You're probably familiar with them. We have JPEG, we have PNG, we have SVG and then we have PDF and a bunch of other things, but these four are the most important. Which one would you use and for what situation would you use them? So with JPEG, it's a small file size. So if you just want to show your client or whoever you're making this for how the logo looks like, you would have to send it in a small file site so they can easily download it and maybe share it with someone else. To make a JPEG export, it's really simple. We'll get into that soon. But JPEG, it will have a background layer. So it would be white or whatever color you choose. You can unlock that and just add whatever color you think will go well. And I actually like the screen. We'll try it for next time. Make it white again. JPEG, it will have a background color, and it will have a small file size. Now, PNG has a larger file size compared to JPEG and it also saves the image or our logo with a transparent background. I I turn off my background layer, you can see that it's transparent and PNG will make it look just like this. Now, PNG is great for maybe quickly putting a logo on maybe a poster or something just for small adjustments, it's a little bit larger than JP in terms of file size, but it's a really handy format. If you go on File Export, you can see Quick Export as PNG. I just something quickly if you want to see maybe how it looks like on a certain background, you would do a quick export as PNG to just get the job done quickly. And we have PDF. PDF is good for when you're trying to show your trying to make a brand identity guide, which is where you give a PDF document to your clients stating the design, how you came to find that design, maybe the steps you took to make that design, the color palettes that you use. And the different values for them. Also, you would put the design on mockups to show the client how it will look like on physical objects. Just a representation of your work. Here's the representation of my logo, let's say, in a PDF document. But normally you wouldn't export a single logo as a PDF. Then the final format is SG, which stands for scalable vector graphic and you probably picked it up. This is our vector graphic and we want to be able to scale it as big or as small as we want it without us losing any detail. If you want to use D logo as a professional thing, you want to continue making designs with it, you would use SVG as a format. Personally, I like to export both in PNG and in SUG because I have more options later on. I can use either one and it just gives me a lot of choices to choose from once I'm designing something else with the logo. Let's export our logo. Go to File and remember when you're exporting, it exports anything visible in the group. If my color is visible, it's going to come in there too, but if it's not visible, it's not going to be there. I'm going to delete my colors layer because I don't really need it anymore. Group and contents. Dlete my sketch layer, don't need it. We already designed our logo. Now go to File, come down to Export. This is where you do a PNG, but let's actually make a PNG real quick. And then just save it wherever you want, bird logo dot PNG, that will do. It's safe. You have exported your first file. Now let's export as SVG. Go to export Export As, and you're going to get this panel where you get to choose the image size, the format, and anything else. You can also export PNGs, but here you have more options over the size and the canvas size. Maybe you want to put some copyright info. And all of that, let's scroll down to SVG. We also have the gift option, but this is not really suitable. Go to SVG. It's going to take a little time. Look at your preview, make sure that it's exactly as you designed it. I'm going to keep the width and the height same scale okay and everything looks okay for me. When I hit Export, I'm going to choose a location. Now it's bird logo dot SVG. It's safe. There we are. Now let's have a look at our logos. Let's see. Here's our first bird logo. And it doesn't have a white background. It's just the thing that I'm using. The photo preview that I'm using has a white background, but our image doesn't to show it to you, if I drag this onto my canvas, you can see that there is no background. And as for the SUG, we cannot really preview it with a normal photo preview. We would have to open it in an Explorer, but again, click and drag, I can easily do that. Again, no background. Let's cancel that. That is how you can easily design a logo. With lines. Later we'll learn how to use shapes and try to make a more geometrical logo with maybe circles, squares, and all of that. It will be a little bit more complicated. But in the future, you will definitely meet clients where they want a more complicated logo or maybe they want something simple. Another type of logo that we will go for is logo type, which is just a logo made from a text. If it says apple, we're going to design a logo from those letters and we'll get into that later. So this was it for this lesson. I will see you guys in the next one. 26. Brand Identity Pt. 1: In this lesson, we're going to go over how we can design a brand's identity from start to finish because a brand's identity as some people might think is not just a logo. It's not just a PNG logo, it's way more than that. Apart from a logo, you need to provide mockups, to color palettes, maybe post designs, maybe some illustrations. It all depends on your client's needs. And sometimes they won't ask you, but it's still best that you provide them with such designs because that gives the client a better idea of how their logo and their brand identity will look on their product. This is a two part lesson because first, we're going to start with the logo and then the second part, we're going to work with the other parts that we need for designing a brand's identity. Let's start with the logo. Now, normally, you won't be able to just get a client by a snap of your fingers. It's not that easy. You got to have a portfolio for the clients to see and for the clients to like your work before they ask for a design. For this lesson, I'm going to use two different websites that will give me briefs. If you don't know what briefs are, it's basically a detailed request. For a logo design or anything else. So it will be like, Hi, my name is Jerry. I'm starting a candy shop. It's called this. I want the candy shop, it's meant for everyone. I want it to be casual and friendly, and I want the main color of my brand to be, let's say, purple. This is what a brief is. Sometimes they will even give you reference images. So they'll be like, I want my logo to look something like this, and they'll give you a image. So now that we know what briefs are, we need to get ourselves some briefs to practice our logo designing skills. So the first website is called Good Briefs. I have them here, good Brief dot IO. This is a random generator, and you get to choose what kind of work you're trying to design. Right now it's on Logo, but there are other things. It all depends on what you're trying to design. And if you know how to do all of these, then you would just go on random. But we're going to stick with logo right now. And you can choose the industry. Is it food, retail, or again, you can put it at random, if you want to test yourself. You can leave it at random if you know if you don't mind, that is, I'm just going to leave it at random and then you will hit Generate and it will give you. The company name New Tublo Company description. We are a company that makes and distributes documentaries. They stand out because they are high quality and available in your local shops. Our target audience is people with a mid class income. We want to convey a sense of importance while at the same time being kind. Job description, you must create a logo using the information given in this brief. They would prefer an abstract logo mark that uses the color orange. The logo will be used on the company website. Take into account the company's values and preferences and make sure it will work for the planned use cases, we have a six day deadline. This is a great way to challenge yourself. Also when you're first starting out, you have nothing in your portfolio. Using these briefs, you can fill up your portfolio each time with a different brief. If you don't like this, you don't connect to it, you can always just hit generate again or change the industry and you will just get random things. This is one website, another one is faklients.com. Again, you get to choose what is it that you're looking for. This one even has writing. I'll just stick with graphic logo design. Create and then here. Hi, I'm Greg creative oftjod.co. I'm looking for someone that can design a professional logo for my business. I think a combination mark will fit best with the business. This one also has a link. If you go here to see what a combination mark is, oops, it brings us to Skillshare. You just look it up online. It's fine. Combination mark logo. This is what they mean. They want both a text and vectors. That's what it means combination mark. It's not just one text, it's both of them. We need to create that, what's it called? Tajo. I guess the.co wouldn't be in it. If you want longer briefs, you will choose that. And these are longer. Let's have a look at longer briefs. Yeah, it's a lot more information. And you can see the works by other users, people who attempted to make a design for this thing. If you hit done, I think that's where they will win to sign it. But overall, it's a good website to practice and a good website to fill up your portfolio with. I'm going to go back, go back, see if it's still here, it's not. I have to create a new one. Is here of the finest San Antonio coffeehouse. A letter mark will fit. Let's see what a letter mark is. It keeps taking me to Skillshare. Search it up here. It's always a good idea to look these up so you get familiar with the different names for logos. You can see some popular brands. Now letter marks, as you can see the letters, but they are designed into somewhat vectors. You can see the HPs a circle. The H&M is cursive and CNN is connected. And yeah. Whenever you get one of these prompts and you see the words like this, make sure you look them up. So you have that in your head what a letter mark looks like, what a combination mark looks like. And once you know the next time a real client will ask you for a letter mark logo, you will know what to do. All right now that I know this, I'm going to make a really random logo and one that is easy, so it won't take a lot of time for the lesson, and then I will sketch it out and look for inspiration, sketch it out, and then look for a color palette, finalize my sketch, take an image of my sketch or scan it. We're going to bring it into Photoshop so we can start designing it. I'll be right back. I got this when I scroll through the briefs it's flying snake and they make surfboards and their target audience is men, a sense of victory, being down to earth, and they wanted a pictorial mark. If you're not familiar with them, just like what Twitter has, what McDonald's has just a picture, and that's it. Sometimes it could be related to the name. Sometimes it could be a letter, anything else. While we're at it, this is actually a great thing to show a review over the stuff we learned. These are the different things. We also had combination Mark, which was a combination of picture and a word mark. I got this and I went ahead and designed something. I sketched it out. I chose my watercolor, and now I'm going to create a new Photoshop document. Go to Photoshop, create new and this time because we're doing more than a logo design, we will check artboards, you can see, I'll go to hundred by thousand. My resolution is low because I don't want it to lag. But if you guys are planning to export this later, make sure it's high, create. Now, this is artboard one. Let's name this logo. Then afterwards, we'll make more artboards for the mockups and all that. For my color, going to make we're just going to put it in the burger thing. Going to bring in my color and in the brief, they actually mentioned the color. For me, it was red for you guys, it could be something else. That's if you chose to use this website for a brief, stragg in the color. I really like this red. I'm going to sample it and add it onto my burger color palette, color group. I'm going to delete it and do not need it anymore. Right. And now I'm going to bring in my sketch. Just click and drag it onto your screen. I'm going to make it larger, expand it. My brand name was flying Snake. Let's keep that in mind. Let me get a pencil tool and start writing the stuff we know. Let me make it a little smaller. We had snake riding with a mouse hard. We had snake, we had flying. It's hard to write. Flying. We also want it to be targeted with a sense. We wanted the logo to have a sense of victory that usually means an epic logo. But at the same time, down to Earth. I'm just going to do it like that. We wanted to be down to Earth. So we don't want it to be as epic as maybe a football teams logo, but we wanted it to have a little bit of fun. That's fun. I have a little bit of that sense. I also it's related to surfboards. I'm just going to write surf. And I believe you didn't miss anything. Yeah. These are the stuff that the marks that I picked out from this brief and I need to apply it as much as I can. You don't have to do all of them onto my logo. Let me just delete this layer one. My logo, as you can see, it's a snake. It's a snake. It's in the letter F and D also S. If you guys can see it's an F and an S. Fs, flying snake and I gave it an epic twirling. We'll add that when we're designing, it's epic. But to keep it down to earth, it's minimal. That doesn't fit. Also, it's also an infinity to give it a victory sense. I thought that made sense, but it just has an infinity look to it. So let's just write infinity or just draw the symbol. Wow, draw the symbol better. These are what I kept in my logo. Delete that now that I know that my logo is related to the brief, and this is the stage where if I wanted to change anything, I will sketch or actually, you should sketch maybe your finalized version, but then make other versions next to it. If you weren't sure about your final decision, then you can compare them once they have been designed. I'm going to lock's name it sketch. Lock my sketch layer. I don't want it to move around and also I want to lower the opacity before I do that. Right. I'm going to because I want this to be geometrical, I need to first put guides for myself. For me, that would be circles. We have two circles, but I couldn't draw them perfectly, who knows? Maybe I don't like the circles later on. Let's just do them. Hold down shift to make a perfect circle. I only have the stroke on when you bring it the right place, copy it in the other place too. I want this to be equal. I will just copy the same thing. Now we have another area that needs a circle. Let's just copy these, hold down out, click and drag to make a copy. I want the tail to curve in. That's what I'm trying to do here and also another one for his head. I want him to go upward because he's trying to fly, I guess. I'll put him here. Where else can we put circles? We have bigger circles now. We need bigger circles. Just get the ellipse tool and just hold down shift again, make a point first and then hold down shift to make a new circle. I'm going to bring it on the inside now. Do the same thing. Hold down alts, click and drag, try to get the inner circle in the middle. All right. Let's see. Where else can we put a circle? We need one here. I'll just copy the big one here. Now, this may get a little confusing as you're trying to design. So don't worry about that. It's just a normal process of designing. You need to kind of guide yourself into designing that perfect logo, and using geometrical shapes is a great idea. Alright, there is my guides. It looks really complicated. Just hit Control G, we'll group them for now. And before I lock it, I'm going to also reduce the guides really small but you barely want to see them. Then lock it in place so you don't move them around. Now I need to. You can either use a Pen tool or use circles again. For some parts, I will use circles. For some other parts, I won't like the circle inside, I need to use a circle, but the curves, I might use a Pentool. I'm going to get the red stroke because that is our color. Then in the alignment, I'm going to put it on the outside because the inside is going to be white. I'm just going to leave it without fill, hold down shift, click and drag to make a perfect circle. You can see it goes on the outside. Bring it. Use the circle guides that you see the faint one to kind of help yourself. I'm going to just copy this onto the other part of the tail. All right. There is a first one. Now I need to I will I guess I'll just use shapes. Why bother ourselves that much? Those are the tails. Click Shift, perfect circle and just bring it onto the right place. This guy is not exactly in the center, I did the guides wrong. Now we can do the same thing up there because we have two identical shapes. That makes sense. Now I can use the Pen tool to just connect the lines here. Going to make the alignment on the inside this time. The pentol will spot your circles. You can see it snaps into place and that will help you to make the perfect curves. I zoom out and I'm going to see if the thing is equal, it's not. I'm going to expand it. I think now it's equal. I enter. I'm just going to use a Pen tool and some shapes. By now, we know how to use them to trace my image and then I'll be back so we can fill it in and subtract shapes from our main shapes. Okay. I'll be right back. I used the circles for guidance and then I use the Pen tool. I used both normal Pen tool and the curvature one to help me with making the curves. Because I wanted to do a puzzle effect where this part is going on top and then it goes below this part. I also made extra copies of the top part and the bottom one. And what I mean by that is that this is a top and that's the bottom. Little selections like that. And I'm actually seeing that I need to fix this place. Again, if you want to fix this place, go to the curvature tool, make a singular tab and just fix it up until it's good enough. Okay. Then hit Okay. Remember, the more time you spend, the better it will look and these little things that you're seeing are not actually there. It's just a glitch. All right. Now, to add that shadow to make it look like a maze because right now it's just a flat vector. I also got to work on the mouth. I wasn't sure how a snake mouth looks like, later I need to get a reference photo of an actual snake and then just use that to make it better. I named this top one, bottom one referring to this area and then top two bottom two. On the bottom one, I'm going to make a layer and then limit it to bottom one. I made sure to trace the exact edge. Going with a soft round tool. I went on my color and then I went here, I clicked once sea of the brightness being 82, I'll go for 72, so it's a little darker. Okay. I named this layer shadow or should I say shadow one there's going to be another one. Zoom and engine just lightly brush the edges. If you drew too much, go with the eraser tool, soft round, make it a little larger with the soft round brush eraser, just go along the edges to make it look more natural. The reason why we have top one placed on top is that if we didn't, this is going to happen. That's why I have top one. Going to do the same on bottom two, on top, go for a new layer and then limit it to the bottom two layer, shadow two, same color, same brush settings and just lightly make an adjustment. As you guys can see, I made my bottom two a little short. Actually, no, it's not that short. I don't know why, it's the top two. Not top two. What is this? Top one. I will bring top two and everything two, bring it on top of one, and now it's better. Shadow two, just get the razor tool and just soften the edges, and then I'm going to continue working on the other side. There we are. We have a three D effect. I will say when it comes to logos and complicated shapes like that, Illustrator is a lot easier to use. There's so many more tools designed for such purposes. Photoshop, as you can see, it's still doable, but it does take longer. But we're just trying to see how we can make a logo using Photoshop, so it's no big deal. All right. I made my logo. Now I need to work on the mouth, like we mentioned, I'm going to go to the Internet and then search Snake snake watch snake face, side view. I want to get one that is similar. I guess this will do because I didn't want mine to have an open mouth. Though this guy is really angry. Just copy the image. The pixels don't matter because we're just trying to use it as reference. Just make a selection Control V. There's our snakehead. First, I'm going to hit Control T to actually lower the opacity first, to place it in the right area so that I can start making the face happen. I'm going to use the neck as a reference to, so I'm going to place the neck here, and then I know that his head needs to start from here and not where I started. Mine looks like a mine looks like a puppet, so I need to fix that. Go to what was that layer, Shape one copy. And I'm just going to use a curvature tool to create a point, making sure that I'm not disturbing the other points. I'm going to bring the jaw points here, and then I'm going to bring the head point here. You can see I disturbed the original thing. I need to bring that back. Then here I will just follow the image and use it as a reference. But I still don't know if it will look this cool after we get rid of the image. But it's okay. That's a teeth. Those are his gums, I guess. As his gums, bring down the jaw. I'm just copying, I guess we should copy this area because we're not going for a three D effect. I don't like this part because it's a flat image, it's going to look weird. Let's just stick with what we know and make it flat. I hit enter, if I get rid of the image, it's still not looking good. Looks like he got something stuck in his mouth. So we will kind of close his mouth a little like it's way too wide. I will bring the bottom one here, then bring in all the other ones. I think his jaw needs to be smaller. I think as long as he has his tongue, then everyone will just assume that's a snake. All right. Maybe we should make it smaller. Okay, I'm going to work with his head, use images from the Internet and just going to play around with it, and then I'll be back. This is what I ended up with. I thought I should make his head smaller. Just leave it at that. I also gave him a little eye and his tongue, of course, to make him look kind of angry and fears looking to be victorious kind of mood. And I think I'm done with my logo. It's really simple. I thought I shouldn't make it too difficult because the brief said that it wanted the logo to be down to Earth. So to me, that means not to put too many elements in. And yeah, I think I'll stop here with my logo and close my logo, artboard. And now now that I have my logo, let me first let me open it back up. Going to delete my guides layer and my sketch layer. Don't need those anymore. I'm going to start making new artboards for the other things that we mentioned. But before I do that, I'm just going to save my logos in different formats so Export As, I will do one in PNG and then one in SVG. Says PNG, my artboard background is actually white. Instead of white, go to transparent. We don't want a background. Go to export, Export As, PNG, can choose the width and. Export. Our first file. I'm going to name this flying snake, the name of the brand. Then I will just group everything. I'm going to merge everything because if you want to do an SVG, it's better not to have any cutout shapes or masks or anything. Export As. We can always just undo and bring everything back. Export As. Oh, unfortunately, we can't do SVG in art boards. That's fine. We'll just use the PNG. And I'll just undo my group so I can access the stuff in it, flying snake. Now let's go to the Artboard tool. I selected everything, Control D. Go back, go on an artboard and now that we have a logo, we have to do a bunch of mockups and also we have to do maybe some posters, if needed a label. I will actually do one in black and white before I start. I'll just hit one to make a artboard and we're going to move in little by little. This is logo colored. We will do one in black and white, Logo, B, and W. Before I forget, I actually wanted to add a text to my logo, just below it. Just go to the text tool. And I'm not remembering what text I wanted. While I was looking for inspiration, I found some fonts that I want to use for my brand. I just have to remember their names. I'll find them, and then I'll be right back. I found my font. It was called belly and there's other stuff. Belly display, I think that's the font I wanted. All right. Let me type in with the color black. I don't want it to be red on red. Lying snake. I'm just giving a text just in case the client wanted one. But you guys don't have to do this. I'll just merge my logo layer, make a copy, merge a second one. This is what I'm going to work with. Just make it a little smaller. So there's room for the text. Bring it here. Flying snake, if they have any slogans, we can add that there. We had another belly use that. I guess I will write since 1998. It's really recent. 1995. It's just write since 1995. Then bring this guy right below our layer, our main text. All right. And if you guys want, I'm not going to do this, you can stylize the text so it's looking unique, which I recommend you guys do because it's going to stand out from the other text. And what I mean by stylize is that, for example, you can make the head of the S into a snake face. You can maybe bring this Y thing and merge it with the dot here. And just so much more, just stylize it to make it your own. All right. I'm going to give this a white background. Bring it here, make it white, so everything is clear. Bring this here. Yeah, we were centered. Let's say this is my logo. I will also make a black and white style. I will make a fill color white. Then I will just copy this, hold down Alt, bring it onto the second artboard, and I will just go to a black and white gradient. Make sure it's black to white, is it okay? Merge it with our logo. It's gray. The reason why I cannot make it black is that then all of our details will be removed. That means I will have to make a cut here and this is what I mean. I'll go with my pen tool, make a point here and then here. The stroke, I'll make it white and then put it on the inside. It's from this way. Close that. Then if I bring this and follow along the original line, I hope I did that. Let me see. Yeah, I can see that now we have a cut and I can adjust the size to whatever I need. Maybe five. Let's have a look. This is what I have to do I want to make it if I want to make it fully black and white. Okay. Alright, I would need to do something like this, move it to the right place. Go to make the lesson too long, but if you want, you can just do that with a Pen tool. Keep it gray, and I'm just going to bring in the text, hold down Alt, drag it onto this artboard. Then on the text tool, we are going to swatch first let's swatch this. Then on the text tool, just do that. Actually, let's go to grayscale. That's right here and choose a color that's a little bit more on the darker side, I guess that will do and then get the slogan or the date and just put it there. We're done with our logos. I'm going to make sure they are aligned perfectly. The text two, and you can see that this is not because this is something that we're going to give our clients, we want to make sure that it's perfect. To ensure that we are giving high quality items to our clients. All right. Now that I'm done with the logos, I will now have to start by making more artboards for our mockups and all of those other things go to Artboard tool. Make sure you are on one, go to Logo black and white. Just click here to make a um actually, let me delete that. Make a add a plus and then add make something. We'll crop it later. Make it twice the size. There is one of our artboards. That's for a poster. Then on this artboard, logo colored, let's make one below it or just different mockups that we plan on using. This was a poster and let's say we wanted to add a banner. I will go to Logo colored and add one and just expand it as large as the whole thing. It's a lot of artboards, maybe a little confusing, but we will get into each 11 by one. I'm going to name them poster, artboard three, mockup. Art for two, also mockup. The mockup two, art four, Danner. For this lesson, we're going to stop here. In the next lesson, we're going to continue with all the other elements that is asked of us for our case, which is a surfboard, company, we need to make mockups on items related to surfboarding. So a surfboard, maybe some towels, and yeah, I'll just do those two. For the poster, we'll have to kind of advertise the surfboard that has our logo on it and put some text around it, cool deals like 50% off. And for the banner, we want to make one for the company to use on their social media platforms. If you've seen LinkedIn or Facebook, they have banners, and usually the banner has the company or the person's name in the middle, and there's, like, other decorative things around them. So we will be making one of those, as well. This is it for this lesson. I will see you guys in the Part two of this work. 27. Brand Identity Pt. 2: M Okay. Welcome back to the part two of the brand identity lesson where we were going to design a identity identity for the flying snake brand. In the last lesson we left off right here, we made extra artboards, we named them, and we had finished with our logo. Now, I also added these white lines to my logo, thought it would look cool, there it is. And now I will have to continue with the other parts. But before I do that, we have to make one more artboard. Go on banner. I'm going to make it. Let's actually make it on the side. Go on banner and just make a really thin rectangle on the side, and this is going to be our color palette, which we will bring it in right now. Let's name this color. Then I downloaded a color palette. I'm going to just it's going in the color artboard. It's fine. I'm just going to sample all of the colors. Then I'll delete it. Let me see how many there were. There are six, so I need to make six rectangles in my color artboard. I'll bring a ruler to find a middle line, and then I will proceed with making my rectangles that contain the colors. It's our first blue. And then I'll just copy this onto the other side, color it with the red. Then I'll copy the red. I'm trying to make similar sizes. But now I saw that I need to make it a little bigger, so I'll just bring this here and make the rectangles equal. Is that's about equal. Make this blue, make the other guy another color. Then we have to do the same thing here, I'm going to delete this copy this here and just make enough raced angles until you have all of your colors. I'm going to make this side blue. Then this side, where's our last color. Okay. I threw that out. Let's bring it back in. And finally, our last color is this gray. All right. Let me move it in the right position and get rid of our ruler now. And then I'll just move everything until they are equally placed. All right. You definitely want your color palette, the palette that you chose for the brand. You want to make sure it's in that project in the artboards. Now we can start with the, before I do that, every brand needs maybe a its own illustration. If you go to Burger King, if they have some sort of event, their illustrations will look the same. McDonald's has that clown, and it's always a good idea to give the option of an illustration style to your brand. Instead of mockup two, I will make some, where is it? Mockup two. I will call this Illustration Illustration and the other mockup, Mm. Surely, I'll remove the poster because poster is something else. I'll make this, the mockup. I can get a photo of a surfboard, and then we have the towels and all together. I'll name mockup Illustration. All right. Now I will choose a doodle background because like we said, we want to make it fun, approachable. The design the brief did say that it's meant for men, but that doesn't mean that it has to be bland. Let's go to the Internet. And just get all of the images that we need. I'll go to Free PIC. This is another website that's great for finding free vectors and all that. They do have paid options, but there are tons of free resources. I'll search surfboard, Moca it is a surfboard company. I'm just looking for something that I can use. I'm imagining my logo and this. This wouldn't look that good. It would be too small. Let's have a look. I don't like the options that we have. Let me go to Adobe Stock. Surfboard. Mockup. I guess that would be a good option. Let's explore. Okay, that's all we get. Yeah, we'll just get this. It's fine. Okay. And what else is related to this brand? I don't think towels are cause the stores wouldn't sell towels. T shirts are also a good option. T shirt markup. Alright, I want a person wearing a T shirt. Alright. We'll just use her. There we are. We have a T shirt and we have a surfboard. Now let's look for beach doodles. You guys can go ahead and draw your own. I'm just using these to save time. G to license this. I get a JPEG. All right. To get some inspiration for my character, I'm going to look up surfboard mascot. To get some inspiration. I'm not sure if I want my mascot to be an actual surfboard. But if we think about it, maybe a Seagull will be related Seagull mascot because it is the beach mascot vector. Hmm. Just looking through. Let's go back to Adobe stock. And again, just to save time, I'll just borrow someone's Segel design, Segel Illustration. Maybe we can trace this guy. It looks fun. It looks cute. I'll just use that, although we might have to change his eye shape because we have an angry snake. Our cute seagull is not quite fitting in with that angry snake. And let's go back to Photoshop. I will first grab a background color for Illustration artboard. Let's call this one. And the other one we name it too, so it's not confusing. A Illustration one, we're going to go on the artboard tool and make the background, I guess this blue for the second illustration, actually, let's make this a mockup. We will only use one illustration. This is all up to you. You could use two illustrations, have one mockup, whatever you like. Make this background, it will be an image. We don't need a background for this. We do need one for banner. There it is. Make banner. What color should banner be? We want it to be fun. So maybe this. Let's go for this. Okay. And then the mockup is just images. And also for our logo black and white, we are going to use another color. Let me check this. Okay, that's looking good. And for the red one, we are going to chooe another color. The reason why I'm doing this is because I don't want it to be boring like it is right now. So that's the wrong color. Let me see how this looks. You're not quite seeing the effect H. Let's try this on this guy. That's not looking good. We'll just keep it white. There's no harm in using a plain color. And let's bring in our mockups that we just downloaded. I believe it's in our downloads. We have this lady with her shirt. You need to bring it onto the right layer. Bring it on in mockup two. There it is. Just bring it again, mockup two. Okay. Now I will kind of expand this so it's filling in the entire frame. Bring her to the side, and then we have one more mockup that we need to use, which is the surfboards. I'll bring it here, and then we will have to control T and just make it big enough so it fits the frame. And we chose the large one so all the surfboards can fit in. I'll use my arrow keyse kind of move it kick the last surfboard out. Then we have our doodle, click and drag our doodle. I will bring this onto the banner. And finally, we had our mascot. Bring that onto Illustration one. All right. I'm going to do a couple of things before I come back. I'm going to trace this seagull that we chose, kind make it less cute. So it matches with our snake logo. I'm also going to change the color of this into this because this is our new color palette now. A I'll use this for this logo. Yeah, I'll do all of that and then I'll be right back. I went ahead and did a few things. First of all, I thought that this would look too childish for an epic brand like this. Instead of this, I'm going to delete it. I downloaded this. It's hand drawn. I got it from Adobe stock just to save some time. I will use this as the brands Illustration. They can use this, this. And yet, they could use this for posters and whatnot. Then let's move on to something else. I remove the black and white logo because that's just something I can do when I'm exporting the logos into different formats. For the sign design, I thought I could do a written sign, like a charcoal stroke, which we'll get into. I just brought this image here as a reference while I'm trying to draw a surfboard. The rest is still the same. I didn't do much except I did add a Summer vectors, I got this from Adobe Stock two. Summer vectors, so I can put it behind my logo, so it's not just a plain white background. Let's start with this. This is the easiest one. We already did the logo. I will just bring this, let's call this background shapes. Bring background shapes below shape three. Let's name that logo. Alright. I'm going to turn these off for a second so I can first do design my background and then come back for the logo. All right, with just a simple magic eraser tool, I'm going to remove it from being a smart object, and I'll just click one to get rid of the areas, and now I'm going to choose what I want in the background and what I don't just going to erase the things that I do not need like the sun hat because it doesn't match the description. There's no ice cream. I don't maybe some surfboards will keep that there. I'm not so sure about the ship here. I'm going to remove that. And let's have a look. I guess the rest of them are related to surfboard, surfboarding, not this because they are in the water, not this either, and I'll just keep the rest because they do have some relation to surfboarding, and they are down to earth. I'm going to go back in with my magic eraser tool. I'm just going to remove the little things. We could do that with a blending mode, but I thought you could just easily remove these things. Just showing you guys another way that you can get rid of parts that you do not want. I'm going to keep the top, get rid of the star color. Got the umbrella, the slippers, dolphins are related. This drinks have to zoom in, get the umbrella again, and finally this anchor. All right. Now that I have them, they're really uniform. Your position is not that pretty and I need to change your position. Without creating new copies and all, you can just easily go to the Lasso tool, select whichever you want. I'll go with this first. Hold down control. Look at the cursor. Hold on control, it becomes a scissor. See the scissor, click and drag it to wherever you want. Now you have it selected. If you let go, it's gone. Again, I'm going to select it, control, move it around if I want to control T, if I want to make it big or small, can see the selection follows. I'm trying to figure out which direction I should keep it. I'll get rid of the floor here. Since this is the background, it's all going to be faded, don't worry too much about it being perfect. Once you're done, hit Enter, hit Control D to deselect. Now let's move on to another one. Again, hold down Control until you see the scissor or command MAC. Click and Drag, Control if you want to resize it. You might not want to and try to make things random. If this is that big, try to make this less make it a bit smaller so they're not all the same. Control D to deselect so that you're not seeing demarching ants around the figure. I'm just going to do this with every shape and then place them where I want, then I'll be back so we can work with the opacity and the logo placement. I did want to mention something because we are on the same layer, everything that we're doing. You do not want to, let's say we selected this. You don't want it to overlap with another shape because they are on the same layer. If I were to try to grab the car, let me try to do a better selection. I try to grab the car, I'm also grabbing half of the sun. Try not to make shapes overlap. It Control Z to get that back. Place them in empty areas and then move them around. If you guys didn't want certain elements of the things, the vectors, you can just go in with the eraser tool. For example, I'm going to remove these curly lines right here because I don't want them. It does not affect other things. Going to also remove the sky or actually I'll use them as a separate vector. I'll just try to grab them control and just bring them up here. The same thing for the birds here, just be really creative with the stuff. You get in these little vectors. I will bring this guy out because I'm trying to grab the birds. I'll grab the birds, bring them maybe here, control T to the place them right, and then I'll just grab the surfboard, put it back or resize it if needed. I'll try to make it a little bigger because it's almost the same size as the dolphin there. Right. Now I finish my placement. We can now go ahead and make our background image. I'm not sure. This is my color palette, I was just thinking of what color I should add. I will try to use this baby blue color, get my Bucket tool, hold down Alt to sample. On layer one, just make a singular click. You can see we left out some areas. We can easily just get rid of them by changing the blend mode to multiply. And once I've done that, I will reduce the opacity, so it's a background design rather than um the main thing because the main part of this whole artboard is our logo. Now I can put my logo and my slogan and all. I can make it a little less visible. I can see I got some extra lines here and on my logo, I'll just delete those using the eraser tool and also I have some coming out from the side here and do the same thing here. And we got one here. Make sure to pay attention to the details. You don't want to find out that you didn't clean up your logo after you've given it to your client because that will just make you look unprofessional. Now I am finished with my logo colored artboard. I am just going to close that and then lock it so I don't put things in there accidentally. Next thing that we can do, which is another easy thing. We're going to start from the easy parts and then move on to the harder part. Before I lock this, I'm going to make a copy of my logo because I'm going to put it on her shirt. Hold down, I'll click and drag it onto this artboard. Now I can go back and lock it. Right. Now, on this, I'm not going to put the name and all. It's just the T shirt. It's just a fun little T shirt. So I'm going to resize it first and then kind of rotate it if needed. Then I'm going to turn it off for a second. Let me just name it Logo. Turn it off for a second. I'm just going to change the color of her shirt. I don't like that it's white. Trying to see what color will go well with the thing, maybe the color black and red. It looks kind of epic, which is what the brief asked. So I'm going to go in with my quick selection tool and just select the shirt as best as I can. Go in here, hold down Alt to remove from a selection. We got her hair can hold down all, slowly move along the places that you do not want in your selection. Go to do the same with her head. Just do that. We'll just leave this B. Once I colored it, I'll come back for it. All right. I got some of her skin here. Let's remove that. Let's zoom out. Now I'm going to make a layer mask. Once again, I forgot to make a copy first, just delete the layer mask on this, you have the original and the masked layer. On top of the background layer, go with a solid color. Before I do that, I'm going to make my zoom out so I can see my color palette. Zoom go up a bit. Go to solid color and grab this gray that we have, which was one of the colors. Then we're going to bring this duly de layer mask and then hold down Control, press on the mask layer. You can see the marching ants again on the color fill, hit that um layer mask and then just bring this above the mask. We're just keeping this for later use. Now the color fill, I'm going to just change the overlay to multiply. I don't know if you guys can see, but we still got the lines compared to if it was normal, it would be flat. But we can see that we still have the faults and all that. If needed, you guys can go ahead and lower the fill if you feel like it's way too intense, and we need to add some parts of the selection. As you can see, it's not exactly clean. But before I do that, I'm going to make another copy of our masked layer, bring that above the black layer and just change the blend mode to multiply. See now it's a better effect. It's not just a flat color. We can now see what is going on. Bring that back. It looks a lot more natural. Right? And another layer. Control J, bring that on top of the black, and just change that to overlay. This is too bright. It's kind of becoming a lighter gray. We are going to lower the opacity very slight. We're just going to keep a slight amount. Do the same thing for the black, the multiply layer. And something is not right. I'm not sure what that is. Oh, I think it's a fill here. Let's bring back these two and then work with the opacity more, maybe 72%. Now, what I have to do is to change the Hold on, I will limit all of these to this color layer because I'm going to clean up the white edges, hold down Alt and do the same thing for both of the layers. Now, if I go with my brush, it's not the right brush. If I go with my white brush and I do this, you can see all of these layers, including the color fill will be applied. Control Z, I'm just going to clean up the edges going on the mask layer and using the white and black brush. Depending on your area, it could be soft round or hard round, talking about your brush type, and then I'll be back so we can continue. All I cleaned up the edges and I zoomed it in because it did say that the shirt was meant the whole brand was meant for men, so I had to cut out her face and made it like this. So it's just a shirt, maybe some arms and all. Now that I cleaned it up, I also changed the ln mode the color fill is darker color, but this again depends on your color and the shirt. That you have. Experiment between darker color, multiply, and all of that to see which one works better for your shirt. Then we have I'll name this. The highlight layer is overlay and the shadow layer is linear burn. Sometimes it could be multiply, but again, you just have to experiment. I'm going to bring in the logo. Going to resize it again because we zoomed in on the shirt. Just put it here and I'm going to rotate it a little. Hit Enter and change the blend mode to overlay to colored Dodge, actually. You just have to experiment with a different blending modes because it depends on the background color. You can see that it has the lines and the color does get a little darker as it gets closer to the creases, which is what would happen if there was a plastic not plastic, a shiny print on a t shirt. When there's folds, there will be shadows cast it on the left side. We did that and what we can do is to lower the opacity. The safe number is 80%. And there it is. We made our logo. We can move it around if necessary. One more thing because the shirt is tucked into the pants, we need to squeeze the logo too. Hit Control T on your logo layer, right click, go to Warp and bring in the corners a very slight bit, that's too much. Just so it can look a bit squeezed at the bottom because the shirt was tucked in. Let's also work with let's leave that. Bring in the handles here. And a little bit here. All right. Now it makes more sense to also bring it a little lower. And now we have the right mockup. If needed, you guys can put something else here. I was actually thinking of bringing the name, making it white and making it go in our logo because there's a space here. So I'll just go on this although we locked the layer we unlock it. Go on the text and not seeing it, where's the text? Oh, that's the wrong layer. This was the color layer, this layer. I'm talking about the logo colored layer. Just click one on the text, hold down, click and drag it onto this artboard. Going to remove the copy. We're going to change the color to white because we can't really see what's going on. Let's first try it with this. I'll make it a little brighter. It's not exactly white, it's bluish. Now I will position this where I want, maybe resize it so this is a merge mockup. If this brand decides to get some merge, it will look like this. It enter once you're finished. We're going to change the layer blending mode. I'm just seeing what works best for our thing. I'm not really seeing much. I think I have to make a map so that it fits on the shirt. It's fine. We'll just keep it to normal right now. I'm just going to make a layer mask, get my black brush and just remove the text. I'll get the hard move the text from the area. Bring back the opacity 200. It was on 15. I'm going to lower the layer opacity so I can see where I need to color and where I do not need. Just go along the lines really gently. Although actually, I just remember I can bring the flying snake below the logo layer, but because it's color Dutch, it's not going to work that well. It's the wrong layer. Get the A out. Okay. I will, however, bring the flying part above the text. I feel like the snake can stay below, but the flying can stay above. So it's going in between the layers. What we can do is to just go to the text tool and give it a little bit of a wave because it is a shirt with textures. Just go to wave T that's too much. We just want to give it a little bit. Of wave, and I'm not going to touch the horizontal distortion or the vertical one. Okay. Now we have to work we have to work with the mask layer because we did change the position. I've got some parts of the N here that I need to remove and the bottom of the K. People can tell that that's a snake. The only thing it's missing is the A and seeing the context clues, it's not that hard to guess. And if I zoom in, you can see that we have the texture of the log of the shirt onto the logo. What we need to do is to make a map a texture map over our text layer, so it looks like it's on the actual shirt. I'm just going to make a copy of our new shirt color, so I'll just grab everything and make a copy by holding down Control J, then merging everything. I just have my black shirt. I need to merge it with the bottom two. Actually, this is enough. I will have to actually make a new document because we're going to save that as a displace map. I'm just going to first export this where is it? Cook Export as PNG. Then we're going to bring it back as a new document. I just saved it on my computer, go to File New, actually file open because we just saved something. I'm just going to look for my map. Here it is open. Now I will hit safe as. Just go on your computer, call this displace Map and save it as a Photoshop file, dot PSD. It's safe. It's going to ask for a few things. Let it load here once it's finished, close that off. Now I'm going to delete this. We don't need it anymore. Go to your text layer. I'm going to see if I can first, let's disable the layer mask layer mask, we're going to work with that later. On the text layer, first, we need to convert Smart Object, the flying snake layer, so it's no longer a text layer, but a smart object. Go to filter, distort and then displace. It's going to open up this window. I'm going to start with 20 stretch to fit, repeat edge pixels, and all that, leave the settings as it is. It will ask you to get your displacement map. There is the one we made. It open, it's going to do its thing. Now you can see the text is flowing along with the texture of the shirt. If I move it around, you can see that if you see the bump here, you can see the Ys bent. But I do want it to be more intense. I'm going to hit Control Z. Control Z again until there's no smart filter. Go again to distort displace. Let's go for 30. Or both. This is just something that you have to experiment. You might need to do this a couple of times until you reach the amount that you need. I think this will do. I'll just move it around because I wanted the A to be on detail. Going to leave this B. What we have to do right now, going to first make it white, the text layer. I'll just doable click. I should have done this with when I was doing the text, typing it, that is going to go to color overlay, just choose white. Okay. There's something that's bothering me. I don't know why it's so faint. Not sure what is happening here. But it's fine. We'll just work with what we got. Then again, we're going to go to the right click, go to Blending Options. And it's going to open the same panel, but we have to go to a different slide. Go to blending options and try to bring this a little here so we can see. Now in the underlying layer, once we move this around, you can see that it starts to fade away. So we want to do that very tiny bits because you can see that it does have a rustic look to it and we need to make this shirt detext look the same. Hold down alt and break apart the two sliders and then slowly move it around until it starts to look that way. I'm not sure why my text is grayish. Going to do this again, turn off that layer, make a new text layer myself. Call it flying snake. It has to be white like this. As we saw, mine wasn't exactly white. Control A and then just work with the the text size and anything else that you want, make sure it's white, and enter, and then we are going to convert this to a Smart Object, like we just did. We're just going to repeat everything, but now we know things. We know the numbers and I'll go to filter, distort, displace 30 30. And then choose the map. It's going to do some processing. Then it's going to make it weird, which is what we want. Then we're going to double click on our flying snake layer or your text layer until we see the layer style pop up, or you can right click and go to blending options. Then we're going to do the same thing. Just move this a little bit to the right. Not seeing much of a different, there it is. Just a little bit, it down alt, break it apart, and kind make it blend into the shirt. I think we overdid it. Bring it back a little and just work with these two until you've got the texture and the right color. There we are. It's perfectly right because once you put something on a shirt like this, one with texture, see we got the same texture on the snake, we have the same one here. It's not going to be a flat white text. Now that I added the text, I can just go ahead and make a layer mask using the hard round brush, I'm just going to remove the A because I do not need it anymore. Alright, so let's say this is their merge, something simple. And yeah, I'm going to leave the merge B. You guys can add maybe some lines with the Pen tool if you want, but I'm just going to leave it like that. All right, mockup two is finished. Let's lock it in place. We might have to come back for it, but for now, I am certain that I don't want it to be moving around. Now let's move to let's work with the surfboards. We have to make a surfboard mockup for our Well, because they sell surfboards, we obviously have to make a maca. On my base layer, let's call this original, going to make a copy. I remember this time, and then just select the surfboards one by one, hold down to option to remove any areas from your selection. Let Photoshop load, and we are going to mask or actually going to, I'll do it one by one. Make a mask for this and then we're going to make another copy. Make another mask for this because I don't want them to be the exact same color. I want to show that this store has different varieties as any store would have. Again, hold down this, press the mask layer. Let's call this left. Let's call that right. Now I'm going to think of what I exactly want. Before I start, I'm going to just place I guess a black background so I can see if my edges are clean as you can see, it's not. Go with the go on the right layer and just do leads or remove anything that does not belong there. Zooming in to get the most precise cuts. Get something here. And the more precise it is, the better the colors will stand. And because this is a white surfboard, we're going to have a easier time compared to if it was a colored surfboard. This part is a little difficult. I will have to bring in the color. I don't know why it looks like it's been bitten. Just try not going close to the edge because we can just feather it out. Then we have the same thing on this side. We got a little bit, that's the wrong color. Go with the color black. We got a little bit of the wall in our selection. I'm just going to remove that area. It's okay if the edges are, I guess, bitten. We are going to feather out the mask layer and make it smoother. I'm struggling with the edge here. It's hard to do it with a mouse. But it's fine. We'll just leave it B. Let's look at the top and we have something here. Remove that, bring some of the areas that we removed back. Now on your layer mask, go to properties and we're going to feather it with one pixel. You can even work with a larger one, but if you go too high, you can see that it becomes faded. I'm just going to keep maybe three. We can always come back and change it. Let's do the same thing here because they are in the exact same image, so we don't want them to look strange. You each layer five, we don't need it anymore. And now I'm going to think of some designs. For my right one, I was thinking I could just do some regular stripes. I'll go in with a pentolO actually, I'll go with some rectangles. It's a lot easier. Going to decide what colors I want. I was thinking we can do a dark blue bottom and then I'll start with the left one actually. I'll change my fill color to this dark blue that's in our palette and just make a rectangle big enough for the area that I want. There it is. I think I have to rotate it. I'm going to reduce the opacity. I have to rotate it. Pay attention to the direction of your object. Make sure it's in the right position. Just hit Enter, bring back the opacity. That's my first rectangle and I was thinking we can add maybe another one on top. We'll rotate it later. Make the fill color. Let me try this. We can even experiment with one of the Red. Now I can't see it. One of the reds. Let's see how that will look. Hit Okay. I'm trying to see how it will look. I don't like it actually. I'll stick with this really simple. Then zoom in and lower the opacity, then rotate, paying attention to the space in between to make sure it's equal. And then just hit that. Now we're going to limit this to our mask layer. Just hold down Alt and click in between. Now we have two different lines. And we just need to simply change the blend mode to, um, actually let me have a look, multiply. It depends on what color and what image, what object you have, not image. We have some cleaning up that we need to do, and that is because we feathered out the side too much. Bring it back. Let me just start with zero. It's fine. We will have to clean it later. I'm not going to spend time to clean it because I'm just trying to demonstrate something here. And now that I'm looking at this epic shirt and I'm looking at this really normal mockup. I think I have to step it up and make it more epic so it matches with the brand. I thought I should do a black and white version. I think that will look cool. I'll just use a Pen tool, zoom in on top of my left layer and click anywhere to make a random rectangle. Then I'll choose the gray that's in our palette, which is this, then limit shape three to this. And it doesn't need a little bit of rotation, so I'll just rotate it, and there we are. Another thing that I can do is to thinking of adding a a wavy look can hold down shift or just actually go to another layer, come back to shape three, change this to combine shapes. With my curvature tool, I will try to make a wave like shape. Okay. Now it's cooler, I feel like I will also maybe add our logo. I think we need to add our logo because all surfboards have a logo like that. We can also go on top of shape three and just start from the top, then go in the center, curve it, then use or is red, Use a red shape, a red color. I think we had another red. Now that's the red we have, and enter, then bring it below our shape three, not above. Control T to rotate it in the right position. Use your arrow keys for a more precise placement, and then we can change the blend mode to multiply. I do want to make it a little thinner, it's too big. Let's make it seven. I'm not so sure about that. Let's make two lines or maybe three. It's not the right layer. I'll have to zoom in and see things better. Just a regular black and white thing will do. I'll just delete these. Instead, I will go along the lines. You guys, it's a lot easier if you guys spend some time to brainstorm for the mockup placement because it is important. If you are struggling with what shape you should add and what designs you should put in the mockups, you should definitely go over some of the websites that I mentioned to find inspiration so that you're making things perfect for your client. Change the blend mode to multiply. Because the surfboards are really white, it's looking fake, but we can't really help it because that's what we were given. So don't worry too much about it looking like that. We could add some highlights and some shadows ourselves using maybe some some of the Pen Tool or the Dutch and Burn tools. We'll just have to see later. We have another surfboard that I need to design, and I'm just thinking of a design that I should keep. I will make one that is black all the way around and it just maybe has the red logo on top. On top of the right one, just make a few selections with the Pen tool to make yourself a good stroke shape, choose red. Actually, we said we wanted the black. We wanted the black. I'm going to just shape this in the right area. I'm going to shape this and then I'll just place new logo on top using just holding down all to copy it and then bringing it here. Before I continue with this, we can add some of the shadows and the highlights that I mentioned. Just go in with the Pen tool, for example, and just maybe let's see where the sun is coming from this area. I can just make a curve related to the shape of the surfboard. Just make it a little precise. All right. I think that's good. Make the stroke white and delete that and enter, and then just change it to or better yet, you could just paint it in because it's a lot easier to paint with the brush. Just use the soft round brush, make it a little big, limit it to left. Sold down. Let's call this highlight. Choose the color white, and just go around the edges of your shape. Because we're using soft round, you can see that it fades there, lower the opacity a little bit. Now we have more of a realistic shine to it. We can even change the blend mode. And two, I guess, I will go with lighter color. You can change the fill as well. It all depends on how it looks on your shape. Alright. I will do the same thing with the second one, make a design, then add a highlight effect. I will also add the logos. I'll add one here, and the other one, I'll put it like here. Then I'll be back so we can continue. Alright, I made the designs. They're not too complicated. I'm just showing what the loco will look like on their surfboard. Right, so we're done with the mockup layer. I'm going to close that. And now we have let's start with the banner. It's easy. I downloaded this image last time. Let's call it icons, Control T, and then we're going to just make it big enough so we can see what's going on in this image. Similar to the logo colored, we are going to first remove the background. The white background. Then we're going to remove anything that we do not need. Just like we did here, then use the lasso tool, make a selection, a closed. Let's just demonstrated here. I'm going to make a selection of the shape that I want, close it until I see the marching ants, hold down Control or 28. Brand Identity Pt. 3: Okay. This is the third part of the brand identity series. This will hopefully be the last part. We'll just have to see how long it takes. And in this lesson, we will go over the sign design and the Illustration one. All right. So for the sign design, we're going to start with this. I'm actually going to name this to club sign because it is there may be a group of surfers who use their stuff and maybe this brand will choose to have a club. I'm going to make a sign a separate logo for their club. Okay. I want to draw two surfboards and there's a circle and then we'll write I name the club surf snakes, just a proposal. They can just reject it, but we're just trying to have some creativity. All right. Because I don't know how to draw surfboards, I'm going to take this image as reference. I'm going to select it using the Quick Selection tool and then deselect any areas that shouldn't be in the selection. Like so. It's going to process a little. Then we can clean that later and then I'll make a new layer. Go to your brushes. This is optional, but I'm trying to match the mood of the brand. Go to get a rough brush, so not exactly charcoal. Maybe this pastel, that's too big. Maybe this and I will use the gray that we have in our color palette, and I'll make it big enough so I can go over this with a single stroke. Try another brush. I don't like it. It's a wet brush. Trying to find one that will look cool. It says oil. I need to find one in Oh, that's an eraser. I need to find one in the dry brush area. Trying to give it a charcoal look, go over it once. I think that's better. Now if I control D and close this, I have a surfboard. Just like that. I'm going to hit Control T. You just move it like that on an X before I do that. Control Z. I'll remove turn off my background layer for a second. I will control J. Layer seven. Let's call this surfboard one. This is also surfboard one. I'm just going to double click on the second surfboard one and I'm going to make it white. If I turn this off, although our opacity was low, bring back the opacity. Now we have a white surfboard. And we still have the details that we added with the brush, so don't worry about that. All right. I'll take let's call this white surfboard one, white, surfboard one black. When you bring the black one over the white one, then I'll hit Control and I'll make this smaller, use my arrow keys to kind of make a good selection. Maybe we should do the opposite. We should have the white to go over the black. I'm just experimenting. See what looks cooler. I think this looks better than the other way around, so I'll just keep this. Now I have a really fun rustic illustration of a surfboard. I'm now going to get both of them and just merge them together. I have one singular surfboard. I'll remove the white. This is surfboard one, Control J to make my second surfboard. There we are. Control T to rotate. Each one. I'm trying to make an X with both of them. I'll form an X for the club's logo, hit V on your keyboard to get the move tool. Go to bring a ruler to make sure that the bottoms are somewhat matching. Bring it in like that. Now I will proceed to make a circle. I'll try it on top. If I didn't like it, I'll just bring it to the bottom. I'll hold down Shift to make a perfect circle like this. Fill it in with, should we go with this let me turn this off and see what looks best. And I'm just experimenting as I go. I will kind of reposition my surfboards on things to be equal. This needs to be rotated surfboard one. Then use your arrow keys to so that it's identical, I'll just delete surfboard one, make another copy, call this surfboard one. Then going hit Control T, right click, flip horizontal. Now I'm certain that they are in the exact same position. Now on my new layer, I'll call this fill. I will use the brush again, the same brush, go with the color white. And I was thinking of adding a few shapes like this. I might delete that limit it to that to ellipse one, and actually, I don't like it. What I will do is just add a white stroke on the inside of the circle. Control J on Ellipse one. Call this ellipse stroke. Change instead of the fill being the same, turn off the fill, get the color white, and I'm just going to get one of the corners Hold down shift to keep the size. Then we're going to make the stroke less, I guess, about eight. Then I can reposition this in the center. I think I'll make it a little smaller. It's still a bit too big. Go on ellipse stroke. Let's try five. I think five is better. And let's see. What else can we add to make this better? Let have a look. Okay, I'm going to try without the Circle. I'll write in my surf snakes text. I downloaded a font called River Oops. Liver. River actually was called Lake. Yeah, Lakeside. And then using the same gray color, I'm going to write, serf sinks. Control A. I'll make one go below. Control T to get the character, lower that. First, we're going to make it big, adjust the size, bring it on the center. Then we're going to add space in between the two words. Make it a little bigger, head nur once you're finished. Now we do have an issue. Okay, I thought of something else. Let me just delete everything except one of the surfboards. I'll turn this off. And I'll just make a singular surfboard. So this will be a sign for them to put on their store for the members of the surfboard club. Try and position it right, bring it on the center. I enter once you're finished. We'll bring the text on this surfboard layer. Thinking of what color I should add, leave it B. What I can do is to first maybe make it a little bigger. I want it to overlap and come out of the shape control A. Instead of it being in the center, let's try on the side. I like that the s are close. Make it larger than the shape. But I will have to add some space between the two words. No, I went on the wrong place. Control A, Control T, add more to the spacing. It's too much. Let's make it like ten. No, that's not it. It's a wrong slider 350. I'm talking about the space between the letters. Let's make that ten. Just a little bit of space. Bring it, position it in the right spot. Want to make sure it's in the center. Control bring it in the center. And right. I don't know where those rulers came from. I just asked for a singular one. Oh, we brought it in now I remember. We are going to convert to Smart Object, the text layer, going to go on the FX and go for stroke. Until it brings a window. There it is. And this way, we can add a nice stroke to our image. Try to see what stroke will work best. Actually, we can make the inside of the surfboard blue. See how that looks. I will have to get the surfboard one and just select the inside if possible. Kind of did do the trick. Trying to add on to the selection. We have the same brush. I'll make a new layer so if I didn't like it, I can just change it up. Just paint and make my brush bigger. Just make a few cuts inside or just painted in. See how that looks. If it doesn't look good. We'll just stick with the charcoal thing. I think this looks better. Let's try the try it with the gray and add onto it. I'm just going to figure out a nice surfboard design, and I'll be back so we can add the text. This is what I made. I just flipped the other way and added a stroke, and I'll just merge all of my layers, so it's one singular surfboard layer. Right. Now, what I thought of doing is to bring the text in between the surfboards cutting through and also our background will be white, so that will help. I will just change a few things in my text layer, oh, I forgot that we removed it from the text layer. We'll just make a new one with the same font I'm going to write, surf snakes, Control A, and just make it the same color. There we are. Going to make it a little smaller, it's too big, maybe around 300. I'm also going to give it a arc. I'll go and dewarp text, go to arch, and I'm just going to reduce the bend a little around maybe 20% or actually, let's keep it around 12%. Yeah, I'll make it 12%. I just made it a little smaller. I'll bring it in the center at the check mark. Now I added a mask layer to my surfboard layer. I will get a Pen tool, although there's no need for a mask layer. Just get the Pen tool with the color white as the fill color because our background is white. I'm just going to first determine where I want the incision to be and then I'll just use to turn off this so I can see my text better. Then I'll bring back my surfboard and just start from one side. I'll put a line here. This is just for me to have guidance when I'm trying to make my shape, trying to make it as even as possible so that when I come in with a pen tool, I can make a shape that is curved on the right side and is also equal on both sides as well. I'll make one here, kind of curve it in. I guess I want it to be curved like this. Then I will go below here. We didn't need the third line. And just make a nice little curve that's big enough. You can just scale it in later. That's big enough for the text to fit. Clear guides, and now I have a fine little shape going through my surfboard. I will, however, let me have a look at the custom shapes. Maybe we have something that we can work with. Go to custom shapes, wait for it to load. Looking for the little signs it is, not these signs. Trying to see if I can find the decorative signs that it used to have. This will do. I'll grab this and just make a shape. Delete this. I'll make it red for now so I can see. Then I'll get the Pen tool because this is a shape, we can just move the lines and make it suitable for our purpose. I'm just trying to zoom in here, get a nice curve. I'm going to add two more points here, so it's equal. Now it's equal. We can make this white. But and actually we can just make a stroke. Dale click Double click on banner. Until the layer styles pop up. There it is. Go to stroke and add the gray stroke. Work with the size. We don't want it to be glean. Let's have a look Center center looks better. Fill type. We can put actually we'll just leave it like that. Okay. Resizing my text. I am seeing something, the stuff aren't connecting, the text has an issue, or maybe it's because we curved it. Regardless, we have to fix it. I'll use the hard round brush and a new layer to just go with the color. I'll just make a mask layer, go with the color black, remove the extra bits, that's causing this issue. Going to carefully look around to make sure that I don't have the same issue. If I do, I'll just delete it or mask it out. And I saw something else. It's right here. Let's remove that and I think that's all. Zoom out a bit. We'll just make a new layer and add more to this area using the same text color. That's looking better. Do the same thing for this area. Right. Now we can have a look and see what else we can do to make our design better. I will actually remove the banner and the here's the banner. Going to merge the two because this is my permanent text. The merge layers. Let's call this text. Turn that to a smart object. Then go to stroke. You can create a nice outline around the text. Stroke, turn it to white and we're going to go on the outside. You can see it's like that. We can make it bigger if needed. And yeah, it's good. It's okay. So it's readable. And what else can we do? Surf snakes, we can add a few things. To make it better. I just got some vexors from the Internet as always, and I will try to add some in the background, change the blend mode to multiply so I can get rid of that color. Then I will fill it in using the gray color that we have by dabble clicking on our layer and then going to color overlay. Then ops, I can't really see. Then we have to get rid of the background first. If you're trying to change the color, just makes things a little easier for yourself and just turn pasteurize it, then delete that. And I'm only going to select the ones that I want, which is this. I don't want the rest. I'll just make a new layer Control J, and then delete the previous one. All right. I'm just going to lower the fill to get a somewhat darker color with the background white. It's not going to look as bad. Lower the opacity until you get that similar color. Control move it in the right direction. Be here, and enter, bring it below your surfboard. Now we've got some palm trees. I also add another one for the sun. There it is. Going to choose a sun one that looks cool. Is I'll go with this cool. Where is my layer? It Control J. That's the only one I want. We only want one sun. Again, delete the layer, the background. Oh, I'm on the text layer. Go to. Just trying to delete it or we can just turn it to multiply. But do delete the gray ones because multiply doesn't work if there's a gray chunks. Let's call this sun. Call that trees. Make our sun layer big and also put that in the background. Bring it below the surfboard. Lower the opacity. I'll make this 100 to 87, so they are the same. Just type in 87 and enter. Now we're kind of getting somewhere. I will add a stroke around my surfboard, so just go to stroke. So there's a difference between the palm tree, the sun, and surfboard. I'll move it here, let's have a look. Let's make it less. Maybe five pixels. There's a space now. Another thing that we can do is to do what we did earlier, add extra text because it is bland. I will make a layer like this. Hold down, all to break the handle. Let's make this white. And now on this, I'm going to type in. Let's get another font. Should we go for bell MT. Call this California waves, something random but related. I will have to hit Inter for this, then bring this guy above shape six, name this white shape. Turn the California waves smaller. Sad Control T to make it really small, so it fits Maybe we can make it we can turn into two words as in two sentences. Control A, bring it to the center, place it where you want, adjust it. I'm trying to make it fit into the actual surfboard, match the arch and bend it equally, hit Enter. Although that's not looking good. Let's just keep it. As it was, go here, control a center, make it smaller and just bring it here at the check mark, California waves. I will make the shape, not bent because we have that bent effect here. We want to make it look unique throughout. So just delete this so it gets a strict rectangle. Move this here. All right. California waves. I will make it all capitalized, so it's more epic California waves. A, or you can write some other place of your choice. I'm just adding California. I can see that the shape is not equal, so I'll make one with the rectangle tool and the fill should be white. Know where the text was. We'll just adjust it later. There it is. Bring it lower. Going to go back on my rectangle to make it thinner. Now it's equal. All right. California waves. What else can we add? We can add the date, 1995 onto our surfboard. We can add it here, get your text and I will go for the belly display, the thick one, make the color white so we can see it. Just write 1995. Control A, control T. At first I'm going to make it a little smaller. Because it's not as important as the name and the other things. 1995, let's make it a little smaller, bring it in the center. I will have to make it even minimize the space in between the numbers. 1995. I will make it a little faint. Around 88%. I will also bring in the logo. Hold on altar option and just copy it onto the club sign artboard, Control T, make it small, to place it here. That's the only space that it's empty, so I'm just going to fill it up with the logo. Hit Enter, we're going to add a color overlay of white because the red is disturbing the style that we had all this time. Hit Enter, there is our snake, bring it below. There is our sign. It's really simple. You guys can add extra elements if you want, but I'm just going to stop here. Let's close that and the final thing of this whole Lesson series is the illustration. I will simply turn this into multiply. I can only get the strokes and I'll bring it somewhat to the side, maybe a little space between the wings. I'm adding Siegel's because it is related to the beach. They are surfers, we need to add something relevant to the brand. And we can add a text here. I did want to make the background. I think I'll stick with white. Then we didn't need to remove the change the blend mode. Let's see. Maybe we should add kind of looking to see what I can add. If everything is black and white, then maybe we can keep it that way. But we do have other colors, and you might be wondering why we're not using all of the colors. That is because with the colors, they're not meant for everything. You got maybe this blue will be used for social media post, maybe the red will be used for the application. And together, the website application, poster designs and everything related to the brand, they will have the colors. So you don't want to use every single color in the palette for the things that you're trying to design. You don't want to use all the colors in your posters, in your post designs, in mockups like this, and you want to limit it to a few colors. So for me, it's white, this gray, and this red. And if I make it too crowded and colorful, then it's not going to look professional. It's going to look like a coloring book. So you don't want to do that. It could be tempting, but just try to avoid that so that you look more professional to your client. Right. Let's finish illustration. I'll just call this post. It's not really an illustration. In post, I'm going to write a text above my layer, and I was trying to see what I can add. What I can write and change the color to this. Okay, I can just do it here. Surf. Let's just add something silly. Live, laugh. Surf. Control Let's make it a little bigger, bring it to one side and add some space between the words. Maybe I can make it a little bigger. Then we're going to move this to this side. I will actually remove this guy. He's making things a little hard for us. I'll use my brush and the black brush to just remove it. Control move these guys below. The F is interacting with a G. Let's fix that and add more space. All right. Now I can make the edge go above here, just like how it is with the thing and what else can we do to make this better? I will also remove First, I'll move the illustration a little bit to the left. Then I'll delete the line here. Then I'll simply add a square frame hold down shift to make a perfect square. You can see the purple lines are guiding you. Just follow their guidance. Let it go once you're finished, remove the fill and just add a stroke. Adjust the stroke number if needed. We'll make mine like eight. Now we have a fun little stroke. I'm thinking of what else we can do to make this better. I will bring everything up, hold down, not D rectangles. The text and our illustration, Control T, bring them up a little bit and move it to the side. It Inter and I'll just add our brands website in this area. G to move my illustration a little bit to the right and then add the final text at the bottom, not with this font with just belly. Call this Woops. That's number two at our website name. Control A, make it smaller. It's not that important. Bring it to the center, close that, go to the move tool, and put it in the center by just clicking on this. And if you guys want, you can lower the opacity. I'll do that. And there we have some cool little illustrations. I will make this a little less visible, maybe around 91%. All right. I will make my surf, one of these blues. Because the word surf is the most important thing here, and I'm just going to change the color to blue to see how it looks. I just want to do that, so it looks better. It looks bland right now. Going to lower the top two text because they're not as important as surfing. It is a surfboard brand, so might as well make it look like it. Bring the surf up, and there we are. Can change the font of the first two, add some variety. I'll go with Billy. It's like laugh surf. Let's see. What can we do? Control A, I'll reduce the size here. I'm going to add some space between these two. I guess I'll just go back to what we had. Scrolling through the text to see what options I have. I guess I'll just stick with this. I'd control Z to bring back what I had. Doing some extra stuff. You don't have to do this. I'll just delete. Hold on. I'll make a copy first. Then in the second copy, I'll remove the live laugh. And the first one, the first layer, I will remove the surf so that I don't have to go back and do the same thing. This way, I can just move my surf wherever I want. We'll make it big. I'll bring in one of the suns that we downloaded for our previous artboard, because it has a sketch effect, I want to choose one that has a similar look, maybe this guy over here. Control Jake, get rid of all the other designs, I will turn the blend mode to pin light, and just make it big, so it looks like it's an actual sun. You can still see the outline, but once you place it on top of the white background, it's not going to be as visible. Lower the opacity until it matches with everything else. We have a nice little design on second thoughts, I'll just make this. Then lower the opacity 91 And we are done. This is the end and this is what designing a brand's identity is. You're just showing them what their brand will look like with your designs, of course. Apart from this, you are going to export the logo in SEG, PNG, and JPEG. You are also going to give them the color palette in a separate file as either PNG or JPEG. It's not that important in another what do you give it to them in a separate file and once you show this to them, they might be like, Okay, I like the banner, can you make one with just sun. Using this as a reference, you will create more banners for them. Maybe they're like, I liked the sign, can you make two more? Maybe change the name and all that. This is just a representation of your design. They will ask for more T is not the end. And to export this, you will have to just go to File, Export Export as PNG, and it will ask you to select the folder because there are multiple artboards. I'm going to make a new folder called flying snake at that and then sell like that folder. All of these will be exported as different PNG files. And okay, I think it's done. Let's have a look at all of this stuff. Where is it? Flying snake? As you can see, they're all in separate folders. Let's have a look at each one. This was our banner. This was our sign. This was the color palette. This was a logo. This was the shirt mockup, and this was a surfboard. Well at this extra post. And now with this information, our client can better understand and better imagine their idea of the brand's identity. This is it for this lesson. It was a little long, but now you know the most important part of working for clients and designing brand identities. Use this information to one, use the websites that I mentioned for getting some fake briefs, like the flying snake that we got and make multiple multiple designs such as this, then upload these onto your portfolio. Like we mentioned, you can make a portfolio on Bhands, driple Instagram, or even your own website if you can do that. So fill your portfolio with related stuff. You can go in some websites, it's three posts at a time. So you can upload the logo in the middle, then put the shirt on the side and then put maybe this on the other side. This way, your portfolio is organized and it looks professional. This is it for this lesson. I hope you guys enjoyed this, and I'll see you guys in the next one. 29. Brand Guidelines: In this lesson, we're going to go over a couple of things that are related to our brand identity series, but it is a little different. That's why I kept it as a separate lesson. In this lesson, we're going to see first how to make a color palette from an image that we have and how we can create guidelines for our client when we make them logos or we design them anything. We will learn what guidelines are. But first, I'm going to start with how we can make a color palette from an image because you would then have to put that color palette inside that guideline. So there are a couple ways to do this. You can do whichever you like. I'm going to start with a harder way, not harder, it's more time consuming. Bring in any image that you want the colors from. Instead of going in and just getting the colors one by one, and this is an easy example, other times it's a a realistic photo. We're also going to see how we can take colors from that. But now I'm just using the Eyedropper. If I were to just select each 11 by one, that would take me forever. I need to make the colors stand out more so I don't spend so much time maybe zooming in, trying to get that little white color in the middle. So we will have to bring make the colors the main feature. Unlock your layer, then go to filter. Then go to crystallize, you can see, if we want to make the cell size is quite large, so it's a lot easier for us to choose the colors, okay? Now, all I have to do is just select the colors that I want. This way, it's a lot easier. I don't have to zoom in because all of them are quite large. This was a time consuming way because I have to select each one, maybe make a group out of it, name it, and all of that. There is a easier way that we can do, which is to again, go to your layer, unlock it, go to File. Come down to Export, save for web legacy. Hit that once and you get this panel and you see we have a color table now. And we can say how many colors we want to take from this image. If you go up here, right now, it's an eight and we have eight colors, but I have so many more options. I can put 256 colors if I want to maybe paint something using these same colors. I can choose eight, maybe even two. It will make it really flat and you only get two of the main colors you can write, maybe you want nine. Then once you have chosen your colors, you will go in this little setting bar and then come down to save color table. Once you hit that, you will get this save option. Just go to any location that you want, name your table. The same name will be brought into your swatches, so maybe you can name it something related. I'll name it pattern, and it will be saved as Adobe color table file, save it wherever you want, hit okay or save. Then just hit Cancel because we don't need this anymore. All right. Now I want to maybe start drawing with the colors. I'll just make a random file. And then in here, I will go to the setting in the swatches. If you're not seeing swatches, go to Window swatches. Then go in the settings here, come down to import watches that on, and then first, it's going to be on ACO. Just change that to color table, ACTs ACT, and now you can see your tables. We named ours pattern, so just hit load, and there it is pattern. It contains all of the colors that we took from that image, and I can use each one to just start drawing things. And yeah, the color is all good. This was with patterns. There are just flat shapes. You see, we don't have any dimensions. It's not three D, and it's a lot easier to do. Let's try this on an actual image. I will just get the image that we're choosing right now, it's grayscale. We barely have any colors in there and this results in a well, greyscale color palette. After this, we'll look at a colorful image so you can compare. Unlock your layer. Now, the pixelate option, it's a little bit, you go to crystallize. It's a little bit harder because you barely get any colors. I'm trying to zoom out here. See, there's just so much to deal with because there are different shades and and this will take us forever to choose. This is not the right option to use for such a complicated image like this. So just do the same thing that we did for saving color tables. Just go to File, Export, save us legacy, save for web. It's going to do a little bit of loading and going to zoom out. W three dimension images like the one we see here, it's not that easy to extract only nine colors from it because there's just so many shades and so many details that we need a higher number. You can see that it's grayish and desaturated. For images like this, you want to choose a high number. Let's try 128. Now it's starting to look more normal. If we go to 256, it's going to look the best. But the reason why we cannot choose a small number, we go on four, we get really little amount of colors because our image, let's go back here, our image doesn't have that many color. You have to make sure that the image has the capacity for you to even make a color palette from it. An image like this is not a good choice. Therefore, we cannot take a color palette from it, but let's try something a little bit more colorful. Let me go on my desktop. I'll just take one of these. This is already a color palette, but we'll just crop out this part and we're left with a really colorful landscape. Now, this is a great image for creating a color palette because there's just so many colors. They're vibrant, they're perfect for using to maybe draw something. I'm going to delete our pattern group. All right. Now once we try to do the same thing, it's a lot more different. With nine colors, we get some actual pigmented colors like this blue, this red, this light blue. We mostly have blues, but it's good. If you make it even two, two is a little bit too low. But as you can see, we get a lot more color range, and as you go higher, it's a lot more. We get a lot more color range from our image compared to the previous one. Let's say I choose 64, and I know 64 is a lot, but we can always just remove the ones we don't want. I'll make this name this landscape, save it to my desktop. All right cancel. Now I will bring it in import swatches, change this to ACT, landscape, loaded in. Now in Landscape two, I can always go and choose the colors that I do not want. I will maybe go on this and delete it. And I can go on this, delete it, or I can make a new group, call this Landscape two point oh, okay. And now if I only want it like this color, I will go Landscape 2.0, make a new swatch, and then maybe I just want three colors from this. Make a new one, maybe this pink. And just like that, I have the Oops. I didn't save it in here. Just like that, I have chosen my colors, the ones that I want from this image. This guy is always here if you wanted to have more options relating to these colors, you can always come back here and use it or you can just delete Landscape two and keep the 2.0. All right. So now that we know how we can create color palettes, we can go ahead and see what a brand guideline is and what it is used for. I had this in my files. It was a guideline that I made a couple months ago, and it's going to help you guys understand how guidelines work, why we need them, and how we can create our own. After that, we'll learn how we can make PDF files in Photoshop. I'll just open it up here, we zoom out a bit. 25%. Like any other presentation, you will need to introduce the brand. What is the name of the brand? Name of the brand, maybe some styling if needed. You can change the background color or anything you like. Brand design, write your name. In the second page, it will be your logo concept. How did you come to make this logo? What steps did you take? You can give a little bit of explanation or you can put the process as visual. First it's a sketch, then you brought it in Photoshop, then you colored it, and then you made some styling effects. So right now it's in gray scale because I just want to show the concept. I don't want them to see the final product yet. Write logo concept, explain it however you like, and keep the logo in grayscale. You're keeping the finalized one as a afterwards. Then we have the color palettes. The first thing you have to do is to first bring in the four main colors, not the shades, just the colors, and you want to give information about all of the colors. These are the names of the colors. You can see they're there. I also have the HX code for their reference and the values for RGB and CMYK. These are necessary. If you are wondering what the values are and how you can get these information, you can easily go. Let's go to Photoshop. I will choose this color. Go to color hit once. As you can see, we got the GX code, the RGB values, and the CNY K. All you have to do is to get the color, find these values. A lot of times when you write the GX code online, they will tell you the name of the color. But if it's a color that is your own, you can always name it yourself. This is where you find the values. Let's go back. So yeah, you put the four main colors, exclude white and black unless it's a gray, maybe a special gray, but mainly try to focus on the vibrant colors. Then we have color tints, which is just the different shades of those colors. You can see it's the same colors, but it goes from a full saturation to zero saturation. We're not talking about brightness or hue, it's just saturation. Let's see how that works. If I go back on this color, saturation is 82. If I go to 100%, you can see it comes all the way here. I'm trying to demonstrate let me get my brush, my hard round so this is 100%. Then we go to maybe 90. You can see it's a shade lighter. Then we can go in again, go to 80 and you can see a difference here. I'll skip to 30. And try to go in order and then finally ten B zero will just be white. We start from 100% saturation to maybe ten or five depending on the color. And normally we exclude white because it's just the obvious. Zero saturation means white. So we don't really put that in there. Although again, it depends on the color. If I choose this color again, go in the color and then make the saturation zero. You can see that it's not exactly white, it's grayish. So when you see that your color is not white, you can add the grayish color that we see here. But if it was this color and the saturation was zero, you can see that it's white. If you look at the Hx code is just a lot of Fs. This determines white and black is just all zeros. So yeah, unless it's all white or black, you don't need to put it in there, but if it's something close like this, then you can put it out there. All right. Let's go back. You put the color tints, starting from 100% saturation, ending with zero saturation. It's come down and then finally, it's the logo itself. This is the final design. If you did have a journey for finding the logo, for example, this was your third attempt, or the third version. You can put the third version, second, first, and it all depends on your process. These brand design guidelines are actually really easy to customize. You guys just need to see what works best for you and what represents your style best. This is the logo and we also have the website link. And then mockups, as we said, are really important. You want to put mockups on things that are related to the brand. This brand had a corporate feel to it. They assist startups, it's related to entrepreneurship and people like that usually have business cards. Maybe they have cards like this too. Anything related to this brand that you think might work for them, you got to make a mockup for it. If they are a restaurant or a coffee shop, you want to put maybe plastic cups, maybe some food signs, the menu, and stuff like that, and you don't have to limit it to one page. You can make five pages. Although five is a lot, maybe stick around three pages at most. Then finally, it's just the logo again, and I just kept the date there. Again, you guys can make it longer, put the stuff that you want, maybe some fun facts about the technique you used, and maybe you can add anything you like and see what best represents your brand. This brand design guideline was just for logo design. If you were asked to make maybe a poster, you were asked to design their website, you should definitely add those in there. This is short because it's just a logo. But generally, you want to include anything that they asked you to design. This was the logo guideline. We learned how to make the color palettes and to add it in here. Before I continue on how we can make PDF files, I want to show you guys a PDF portfolio that you can give two different recruiters to let them see your work. This portfolio design was by this person, I don't know how her name is pronounced, but I found her on B hands, and this is how she represents herself through her portfolio. So she has the portfolio. She has a little cute font and the color. She has a star there, and she dates the works. It's from 2018 until 2020, and she gives credit and she has I guess that's her motto. The next page, she has a nice content page. So it's first a resume, personal info, two is branding, three is layout, for events, artworks and photography. And she welcomes people. Notice how the color palettes are all in harmony. The font is also the same, so she did not change the style throughout, and it's not something random. She's also naming the pages. This is two, this is three. And here she is telling about herself. She has personal information. Definitely include a photo of yourself. It just makes the whole thing more attractive and you want to give a little description. She wrote it in two different languages. Her contact information, education, the languages that she knows, skills, technical skills, and her experience. These are all things that you need to include, for example, if you didn't know any languages, you can just leave that out. That just means that you only know, let's say, English. Then you will just leave out the things that you have something to talk about. Maybe you don't know any languages, but you have a lot of experience. Then here's body of works and just really cute design. It keeps the person entertained as they're scrolling through the portfolio. You don't want to bore out the person halfway through, you want them to be entertained and want them to read more. These are her brand identity mockups. This was the brand. You can see she kept it on business cards, on these, I guess, the invitation cards. This shows that she designed the social media and some documents here. This is another example. It's the same example here on a box. This is another one. She's giving the name of a tube, paper bag, box, tag. Box, paper bag, and this was a tag. It's come down. This is the layout. Layouts referred to either on magazines, social media, and even website sometimes. This was for a catalog. She designed it for this brand. You see maybe she took the images too. I'm not sure. Yeah, you can see she kept a lot of mockups and they're also perfectly placed on her portfolio. The color did change, but the style is still the same. We have the main color, which is this orange everywhere on the page. So make sure you put the images and you tell a little bit about it just in case someone wanted to know more. All right? We have some brochures here. We have product layouts. And these are the layouts, I believe. You have the events. So she designed posters for events. Here they are. You have some for back to school for Valentine's Day, and it's a grand opening event. Newest products. Then she has artworks. This refers to illustrations. Make sure you name your artworks and say what you use. This was Photoshop, it's called the Pixel Artwork. This is Apple soda. She used Illustrator. We have some Facebook page, sorry, cover fan page Facebook. She designed these and anything that you design, don't be shy. Just make sure that you're proud of them and you think they're good enough to come onto your portfolio because this is the way that people will know about how you do things and how good you are at what you do. So finally, she kept the end. Let them know when it's the end of the portfolio. You don't want it to be like, Oh, is that it? You wanted to know that, it's the end. Then she gives her name again and that's it. That was how a portfolio works. Make sure it's your aesthetic and it follows through with certain principles. For her, it was the font and this color and also the stars. If you notice, the stars are present on a lot of pages. All right. So now we have to see how we can create such a PDF. I will go to Photoshop and I will prepare some random pages. Just make sure that they are 1080 by 1920. Let me show you what I mean. When you're creating a new document, make sure sorry, it's 1920 by 1080. I said it the opposite. It's a horizontal thing. Keep the resolution 72. We don't need that much detail. So if you wanted to put your artworks that have a lot of resolution, just drag them and put them here. I will create maybe two pages, three pages of some random images, and then I'll be back so we can see how we can make that into a PDF presentation. I just went ahead through some stuff on the canvas. I made a first slide, and then I named another slide. As you can see here, the repeated pattern for me is the green line and the font that I have while I'm trying to show the different artworks. Okay. In order to make a PDF, first, you need to export these, go to File Export and just name it presentation one, page one, and then the second one. Oh, actually, we need to save them as PDF first. Go to Save As on my computer. Instead of Photoshop, go to Photoshop PDF. I'll name this page one, then save it onto wherever you want. I'll ask you to do something. You can change the presets if you want a high quality print or you want to change the standard. It all depends on the printer and the purpose that you're trying to export this for, Save PDF. Yes, it's going to save it down here. Let's do the same thing for our second page on my computer. It's already Photoshop PDF page two. Then I will hit this Save PDF. All right. Now that I have this and the thing about PDF files is that if I remove page one, and I'll try to open it here, I dabble click. First I'll get it in my browser, but I can open it as try out different way, go to open. And if I go to page one, I can open it. As you can see, it's dot PDF, but I still have access to my layers. But it's just a saves less data compared to PSD. This was just a fun thing to keep in mind. In order to save the files as a PDF presentation where there will be two pages, three pages, and all that, you need to first close your pages. I will just create a random document so I can close this because if it's opened, then that page is going to be the first thing no matter what you do. You want to close it and then go to file, automate PDF presentation. If that once, it's going to ask you to add source files, browse and bring in your two pages. Hold down control to select them. Page one, page two, although it doesn't matter for me that much, which one comes first, you can sort by name, choose the background. Make sure it's a multi page document. You can choose the font size and usually I leave the settings unless I want it to be a presentation. But usually, I go with multi page document, then hit safe. It's going to ask you where it should export. Let's call this art. As you can see, it's a PDF, it's safe. You're going to get the same Adobe PDF settings for the preset and you can compress it if you want, change the output when it comes to color, add some security, write a summary, whatever you want, then hit Save PDF and you can make your own presets if you want. Save PDF and let's see. There it is. If I dabble click on this, I now have my page one, then comes page two. But if I had one of these opened, let me open page two. It's opening my documents. I do the same thing, go to PDF presentation, choose my, my two PDFs and it's one too. Then once I hit save and we'll name this art too, Save PDF. Now, in R two, fail to load PDF document. I will either not work out because you have it open or it will bring this as a first page. If you care about the order of your pages, make sure that those are closed on Photoshop and you don't have them open. All right let's close that. Now we learned how we can make our color palette, how we can extract colors from a image or a flat vector art like this. We also learned how we can make a PDF presentation using Photoshop. We also learned what brand guidelines are and what we need to give our clients when they ask us to design them something. Like we said, it's different if it's only logo design, they only ask you for a logo design, maybe they don't even want a color palette. Because they had it before. If they asked you for a website design, it's all different. The number of pages depends on how many works you did for that brand. By now, we know how to design a brand identity from start to finish. Now that you guys know how to do that, you can go ahead and start filling up your portfolio with the briefs that you can get online and fill up your portfolio with different works to impress potential clients or to impress the recruiter at the company that you want to work for. So this is it for this lesson. I hope you guys enjoy this and that you will continue making works for your portfolio, so you can get more opportunities in this graphic design field. I'll see you guys in the next lesson. 30. Drawing with Shapes and Pens: In this lesson, we're going to learn how we can use reference image and use the different tools such as the shape tool, the pen tool, the brush tool, and some other tools to trace an image and then color it in. So the first thing we would do is to create our new document, and we can do that by going to File New. Then this window will open. And this is where you can either choose from the presets. Let's go to art and Illustration. You can have square, a bigger square and the PPI is really important. That's just showing how many pixels per inch is there, what that means is that how much detail is in each inch. If you want to print an image, maybe print a logo in a large scale, you would want a high PPI because when you print those out, you want every single detail to be there and you don't want any pixelation or you want it all to be high quality all the way around. But because we're not really going to print our image, I'm just going to choose this thousand by thousand. It's a square, and I'm going to go to Resolution and minimize it to 72 because I'm not going to publish or print it. But again, if you guys want to print it, make sure that it has a high PPI, which I recommend 300 is good. You would usually need this for places where you are drawing things like we are now. We can also name it. We'll just leave it untitled one, the color mode. If you want to print it, make sure it's on CMYK, but we're just going to keep it at RGB. I'm not going to touch the other thing. Let's hit Create, and there we are. We now have a white canvas to work on. Again, let's unlock our background. Also going to delete this previous project. Don't really need it. I have my Canvas. If you guys know how to draw, you will just start drawing. But because I'm not really I can't quite draw myself, I'm going to use an image and then trace it to create my drawing. So, you could just take a photo from online. Maybe it's a landscape image, maybe it's a simple drawing, whatever it is. I have mine right here. I'm going to try to trace Mickey mouse. This is another way that you can import. I'm going to click on the file I want. I'm going to drag it onto my screen. There we are. And as you can see, that's a new layer. That's just how we want it. So I'm just going to adjust the size. I don't really want this Disney thing here. I'm going to make Mickey mouse quite large. Okay, I think that's pretty good. Hit Enter or this check mark once I'm done, and there we are. Now we have a separate layer of Mickey mouse. Okay, so when you want to use an image that you're going to trace over, you would need to bring down the opacity so that it's only there to guide you. That's what we're going to do. We're going to select our reference image. I'm going to lower the opacity. You can see that it's fading. We want to keep it. I would say 23 would be good. Just enough so that you can see the details, but it's not too intense that it stops you from seeing the stuff that you're doing. Okay, so we're going to look at this image. You've noticed that we have a lot of circles. We have one here, the ears, the face, and the circles make up most parts of the face. We're going to start with that. Going to go to my shape tool, right click and find the tool right here, circle tool. And once I've clicked it, if I were to just make a circle, it wouldn't be as even as this circle right here. So what I need to do is to create a even circle. Again, whatever shape you create comes onto a new layer. I'm just going to delete that. In order to make a even circle, we're going to hold Shift and then click drag. You can see that it's an even circle. I'm going to get it around the same size as the ear right here. Before I adjust it further, I'm going to change the appearance. The ear is actually black. Let's change the color of the fill. I'm also going to just remove the stroke. All right. Going to close the properties now and then using my move tool, I'm going to move it to where I think it's good. Now, if we zoom in, hold Alt and then zooming in with a scroll wheel, it's quite small compared to the actual reference photo. We have to move it, maybe enlarge it a little bit so that it matches the Mickey mouse's ear. So with the layer selected, I'm going to hold Control and then press T on my keyboard. Control and that is just a shortcut for transforming your layer. I'm just going to cancel that again, Control Here we are. We're now in the Transform panel. So if I just move this up a little bit, then we come to the right, we now have a circle that is perfectly fitted for Mickey mouse right here. Let's zoom out and there's looking pretty good. Now we want the exact same circle, the exact same size and color on the other side. We need to duplicate the image. If you guys remember from previous lessons, if you held Control J, you would duplicate the layer and you can see now we have a copy. And I can just move the second one around. But another easier way, let me delete this is to go on the layer, hold Alt. You guys can see that our mouse is two remove it. Hold alters two cursors. I'm going to click on this and now I have duplicated the thing. Notice those pink lines that is guiding me and telling me exactly where to go. Now I have them evenly spaced, placed right on where they need to be. You can see that I'm not leaving any of the outside behind. Everything is clear. Let's move out. In order to be organized, I would recommend naming your layers so it's not confusing. To name a layer, you would go on the layer that you want. Double click on the name, and now you can give it a name. I'm going to name this left ear and the one on top, right ear. Right here. Now I just know what each of these shapes are for, it's less confusing. Now we have another circle that is bigger than these ones. I would need to create a new one or I could copy this and just adjust the size. Let's just do that. I want to hold down Alt and then click and drag this right here. Then I'm going to while being on this one, the layer, hit Control T to start transforming our circle. So let me just come down. I think we have to move it a bit to the right, sorry the left. I would say that's pretty good. Now we have three circles and we got the outlined shape correctly. Now I just want to make sure that these two ears are placed equally, and I would need a ruler for that. If you guys don't have this line here, you can hit Control R, can see it's gone now, hit Control R, you will get the ruler. If you want to drag one ruler, you just click and drag and now you have a ruler and we can see that the tops are equal. Let me just get rid of that, drag it back on to where it was. I'm going to name this layer phase base. Okay, I'm just going to turn this off for now by clicking the eyeball thing here so I can see what else I need to work on. Now, the face is on top of the ear. I'm going to click drag this layer on top of both of the ears. Whatever I do on top of this, let me show an example. I'm going to create a new layer. Get a green brush. Whatever I do here is going to go on top of these ears. But if my layer was below the ears, they would be below the ears. What you do with that, that's why we need to keep the face on top of both ears because you can see we have this white face area that we wanted to be in front. I'm also going to turn off the ears for now just so I can see this frame better. Now that we're done with the tops, the base, basically, we would now want to work with the pen tool. So we have this shape right here. It's not exactly a circle, it's not exactly a square, it's a heart. I'm going to first look at my custom shapes, see if I even have a heart. I'm going to right click on the shapes, go to Custom Shape tool. And you will get this extra library. Click on that and we're going to see if we even have anything. I don't think we do. We have some trees, have some flowers, and that is about it. If you guys want you can import new shapes and you just easily drag a heart and pull it here. But because we don't have that, I'm going to use the Pen tool. The Pen tools right here looks like a pen, click on it. There we are. The same thing with the shape tool when you have the Pen tool, it will create a new path, sorry a new layer. Right now we're on path and that's not what we want. I'm going to change it from path to shape. You can see we get the option to change the color, the thickness, the stroke, and all that. Now, the face is white. But because everything else is white, I'm going to first choose a random color that's going to help me see the difference. I'm going to choose this. Zoom in a bit. And create a point right over here. Now let's click on another point and drag to mimic the curved line that we have here. Going to keep it that way. Like that, we can change this later. Don't worry about it, or we can make it a bit longer, could make it a bit longer and then drag as well so that I'm filling the different parts. If you make it too short, it's going to end up looking really awkward, don't do that. Now we have another part right here, going to click on the point, drag as you can see, this is too short. We have this awkward line over here. I'm going to hold control, drag this circular thing, and just bring it over so it's filled. I'm going to do the same thing over here. Again, we can touch these up later, don't worry about that. Now because right over here, it's a sharp edge, it's not a circle. If I were to continue with this, you can see that it creates a circle. We want a sharp turn. In order to do that, we need to cut these two handles, although one of them only. To do that, we hold down Alt and it creates this pointy thinking next to our pen. I'm going to click one on here and now we have cut this handle. What that means is that whatever I do is now a sharp turn. I'm going to undo those. I'm going to create a sharp turn right over here. Now from now on, I'm going to click and drag to make a round shape. Zoom out so I can see things better. Click, drag. Okay. Go over here, drag. All right. Going to actually create a circle for this area. I'm going to skip over. Let me cut this part as well. Let's see. Cut this part. I'm going to skip over hold Shift, so I'm creating a straight line. Going to put a circle here later on. Come down, click and drag. Somewhat. There we are. It's looking good. Now you can see that this part is covering the image reference. I can't really see where I can stop. I can reduce the opacity. Now I can see the area that I'm working with. Again, click and drag. Then cut this handle so we have a sharp turn. Then click let me zoom out a bit, click and drag. Another point, we're getting there. Click and Drag. Can we finish it here? Okay. We do have a little spot, but we're going to fix that. We have a nice outline and if I hit Enter, we can see that we did miss some spots, but like we mentioned, we're going to fix that. Going to change my Pen tool, use the curvature Pen tool because we're creating curves. It's going to go to another layer, come back, and now this allows me to create my points. Let's start here. We can see we have a awkward thing. It's going to create a point delete that just so I can get into the selection. Now, with this Pen tool, everything is a curve, so we don't have to worry about the sharp turns. It's good here. Here, we can see we didn't quite make it on the reference line, and here we are. Now the reason why we started with the regular Pen tool instead of the curvature Pen tool is because with the curvature, it's not going to create these precise lines, and it's going to just always be curves. But with the Pen tool, we can create deep base like we did here and then just fix maybe tweak a few things with our curvature Pen tool. There we are another line here. You can see that it snaps into place because Photoshop is finding those lines on its own, which is pretty cool. I don't have to tell it every step of the way. It will figure it out on its own. That's pretty good. Actually, I'm going to just use my Pen tool to finish the line here. I'm not going to add a circle. It's going to create a point in the middle, drag it down, and there we are. Now let's hit Inter. Now we have a perfect selection of Mickey Mouse's face. Now I can go ahead, bring back the opacity, change the fill color from pink to white. And we also make this pink by accident. Let's change this to black. There we are. If we add this in, we're getting closer to Mickey Mouse's frame. But the Mickey Mouse's face doesn't really have the outline that we do here. Let me turn all these layers off. You can see that it ends around here. I'm going to create those guidelines using my ruler. It'll make sense in a second, drag from the left side because we want vertical rulers. If I turn on my face base and my shape one, let's actually name this face frame. There we are. I can actually see that the face base is not in place. Let me move it to the right, bottom. Is the other side looking good? Okay, now it's looking good. Okay. And to remove the parts only from this area, I can mask out this area. So with the face base selected because that's the black color and we don't want the black color in this area, going to hit this circle with a rectangle around it, and this creates the same mask layer that you're probably familiar with by now. So this time we're going to keep it on white and then use our brush or hit B on your keyboard, go for a black color, and if you click, you can see that you're getting rid of it. Although because our brush has a soft round, we're going to have to go for a hard round. Can you see that the soft round is mostly used to blend things in, but because this is a simple illustration, we don't really want things to be blended in. I'm going to click on Hold Shift to make a straight selection. Going to do the same thing here and there we are. If you don't want the rulers anymore, go to view the top bar right here and clear guides. These are called guides, but they remind me of rulers. I'm just going to call them rulers. Now I can see that I did miss the lines over here, so I'm just going to go back on my face frame, the curvature tool, remove the face base, turn it off. Just want to see what exactly is going on here. Let me make this smaller. Would just come out a bit more than usual, lower the opacity. We did come out of line over here. I'm just going to fix that real quick. Create a line here, so this part is more stable. Bring it down a little. I'm actually going to delete that. Now that it's more stable, I don't need it anymore. Let's have a look over here. This side is looking good. I'm going to bring back the opacity, hit Enter on my keyboard, turn on the face. Now it's looking more even. Let's zoom out. Let's actually remove this a little and the face base because there were these lines. Let me actually turn it off. I noticed that we have these two lines that we need to add. These are from the original illustration. I'm going to go to my regular Pen tool to connect these two lines. Create a point here. Now we're going to turn off our fill because it's just a stroke. I'm going to add a black stroke. 30 pixels is way too high. Let's go for five pixels. I'm going to change the alignment. I think middle is good. We created one point here and then it ends right here, click and drag. Five is too much. Let's go for two. Okay. I think two will do. I'm also going to curve it downward. Enter. Now let me see how that will look with our face base. We need to move it a bit upward, not the base, the line. We have the line thing. I'm going to create the exact same thing, hold alt to duplicate it. Look at the guidelines. I'm going to hit Control T to flip it, flip horizontal and place it where it matches with the other one. When you drag a horizontal ruler to find the bottom of our thing, drag it to where it makes sense. Let's see. It seems like we deleted too much of this part. Let me go back with my brush, lower the size, turn the brush to white and just bring back enough of the line, so it's even. Then I can bring the line. Right here, I'm just going to hit Control teach just rotate it a little bit. All right. Now I'm just going to remove that. Let me have a look, turn these off at the line right here. We can see that's it gets thinner and it gets thicker here. But we're just not going to make it that precise. We could do it with the brush tool. Let's just do that. I'm going to name this hincresO chin line. Chin line right. Chin line left. Now that they have a name, I know which one I'm selecting. Let me create a new layer. Come down zoom in, go to my brush, or you could use a Pen tool, I'm just going to use the brush and mimic that circular thing that it had. In the original image, make my brush even smaller, so I can create that thin line. Okay. Let me do the same thing or I'm just going to just Control J to copy it, flip it horizontally, and just drag it to where it's equal. Okay. Guys don't try to make this thing the exact same way. It will take a lot of times, but nobody is perfect. You don't have to make something identical. It does take more time and practice. But for this lesson, we're just going to keep things really quick and simple. I'm not going to spend too much time on the small details because that's not going to help you that much. I'm going to merge these two layers by selecting both of them using control, like you would select files on a normal computer, then merge layers. Going to call it chin line, what should we call it? Chin line adjustment. When you group these, hold shift, get all three or you can hold Control, then hit Control G or go to this folder thing to group them. I just want to name this chin line. Now I don't want these chin lines to be moving around while I'm working on the other parts. I'm going to lock my layer. What that means, you can see there's a a sign that's not allowing me to do anything. I can't draw things on it and I can't move it. You can see if I try, I'm only moving the other layers. Now, the same thing goes for the other layers. I don't want them moving around that much. So I'm going to lock this as well as the other ones. Going to turn off the ears completely and turn the rest of the things off because now working on the more smaller details. Okay, so I'm going to go on top of my chin line group. Now let's work with the nose. Because the nose is just a round shape and there's no sharp parts, I can use the Curvature Pen Tool. Right click on the Pen Tool, go to Curvature Pen Tool, change the fill to black, remove the stroke. Now I can click anywhere and maybe here lower the opacity so I can see what I'm doing. I can start dragging, I just closed my shape. I'm selecting on this one, the first one of the sidelines side points. If I go on here, you can see that there's a circle next to my Pen tool. This before it, this is after it. This just means that you're closing your shape and that's what we want. We have a closed shape. After I've closed my shape, I'm going to click and drag the top part. Going to lower the opacity even more. I'm actually going to turn it off so I can just see the lines and just create more points, so I have a somewhat precise selection of Mickey Mouse's noes. Let's create one here, create one there. Let's just do one here. All right. Let me have another one up here. Now I have a shape that is just like his nose. Now I can turn the opacity to 100, hit Enter, and now I have his nose. It's looking pretty nice. Now let's do the. I'm going to turn this off. First, I'm going to name it nose, turn it off, so I can work on the other parts as well. For the eyes, there are ovals. It's a known shape. It's nothing customized or something complex. I'm just going to go on my shape tool, right click, go on my ellipse tool and I'm going to start from one point and drag to one part. Now again, once you're done with the shape, you can move it around and adjust it to your liking and to make mine taller. Okay. You can see that we missed some parts, but that's okay. We're going to fix it further with the Pen tool. Hit Enter, go to my curvature Pen tool. Going to go to another layer, come back to this. Now there's a blue line around our circle. Click one of the points, and now we can adjust it to his eye shape. Let me work this. I want to remove the opacity, I can't quite tell if I'm out of line. Oh yes, we are down here. Let me move things around. But if it was a regular oval, you wouldn't be needing to do this. But because this is a kind of a customized oval, it's not exactly the ideal shape. You can see that here, it kind of gets larger. But you click on this point, hit the backspace to delete it if I don't need it. Even let's see. Come up here, fix the top, fix the corner. See that this part just jumps out in the original shape. Okay. I'm going to increase the opacity, see what I'm doing. It's not looking exactly perfect. But I'm just going to keep it for now. I turn this off, and I think we'll see how well we've done once we've assembled the shape, the face, and then we're going to further adjust the eyes once we get there. Again, if you want to make things easier, you could just import a shape custom shape, custom shape preset for OLs and maybe hexagons, although we have a polygon thing. But for now, this is all that we can do. I'm going to name this. I left. Had V to go to our move Tool or just hit the move tool. Hold Alt click and drag to create a duplicate. Going to use a ruler to make sure that they're evenly aligned. I can see that it's not. I'm going to go in the I left copy or just click on that shape at Control T, use my keyboard to move it up. Using the up space, I'm going to move it up. Now there we are. I think we have to actually flip our shape. Let's flip it like we did. Move it a bit to the right. Now it's looking better. Let's zoom out. Now we have two of his eyes. Let's name this I right. Again, I'm going to turn these off because I want to work on this line right here. Going to go back to our regular Pen tool, create a point here, and another one here. I'm two Zoomed in. It's going to be a little difficult. Turn the fill off and I'm going to use a stroke line 30 is too much. Let's go for two pixels. I think two pixels is too much. Let's see. Will you turn the caps into square? Be level. Let's turn this to inside. Get out of that. Click elsewhere. We got a line, although we have to thicken it on the other side, I forgot to do that. With a Pen tool, select it to go back to my shape, though I flipped it the other way. Let me bring it down a little. Okay. I'll just go ahead and create a new shape, no biggie, start from here and once again, I'm too zoomed in. It's going to move me around. Let me try that again while being zoomed out. I enter, remove that. I think we should start here. Click and Drag, I think we're two zoomed in again. There we go. It's inter going to click Control T. Move it down a little bit. Just one pixel down. Now we got the nose bridge. I'm going to group these two, call it nose bridge. Again, I'm going to lock it. Now if I turn my eyes on, we have our bridge. But now we need to get rid of these parts. I'm going to create a going to first group them. I'm only doing this once, named the group eyes. Go on our circle within the rectangle thing to create a layer mask. Using the brush tool and the color black. Let me flip that. Let me increase my size, be on hard round. Then I'm just going to delete those parts. Like the original image did. I messed up here, going to go for a white colored paint back this area. I can see that I missed this part. Let me hit Control T on the eye right. Maybe I rotated it too much. We're just going to create a new shape and we're just going to draw it using our brush tool. Because we have the layer mask thing on, whatever I draw here is not going to show up. Undo that and just roughly draw the shape. Try to connect it with the rest. Okay. And I'm going to close this lock it as well because I don't want it to be moving around. We got the nose, we got the ears, the face frame. All that's left is the mouth, which is the biggest part. I'm just going to turn all those layers off. I'm going to start with the dimples right here. Go to the regular Pen tool, turn off the fill, turn on the stroke, and turn the pixel size to It pixel will do. Click once, click another time and drag. It in. Let's hit Control J, control T to duplicate and transform. Then I'm going to use the guidelines that Photoshop is giving me to place it on an equal scale. That's mean to make sure, and that is equal. We have the dimples. Let's name this dimple two Dimple one. Use Control to select them both and group them, name those dimples. Lock that in place. Zoom out, and now we got a big shape to create. On top of my dimple, dimple group, I'm going to use my regular pentol to create a point about here, let's click and drag. And zoom out a bit. It's really hard to see. We're just pay attention to the middle and not the sides and there we are. Then I'm going to try to delete this handle because we want a sharp turn, and then closer shape while also creating the bottom part of the mouth. Now, once again, we're going to go back with our curvature Pentl because you can see the middle is aligned, but the sides aren't. Right click on the Pentool Curvature Pentool create a point. You see it sharpens those as well and drag down. It's going way too high. We'll fix that later. Another point right here. I'm going to have to drag this down as well. Same thing goes for this side because we will have an equal shape. Okay, we kind of went out of line, but that's okay. Maybe I can fix it. Yeah. Okay, there we go. It's Enter to be done with our selection. And I'm going to use the mask tool. Although actually, let's see if we can turn the caps off. It is off, though. Hm. No, that's not going to work. Let's just stay here. I'm just going to use a mask to get rid of it real quick. Change our background color to black and just paint away those sharp lines. There's our mouth. Now we have to fill it with black because the background color of the mouth is black, so let's just fill it with the color black. Turn it off so we can see his heart shaped tongue. Create a point with the same thing. I'm just going to, we'll do that later. Just like how we did for the face frame, create a point, click and drag to another part and just keep doing that until you have your shape. Click and drag. Click and Drag, lens is not looking too good. Let's change. I'm going to turn off the stroke, turn it to red. Then I'm going to go back with the curvature tool and fix this area. I'm going to turn this off so I can see Okay. Hit Enter, now we have our heart shape. Turn this layer off. Name this tongue and then turn that off. We have this white reflection thing I is our last shape. Let's turn this to white, the fill color and go back to my Pen tool, click and drag, click and drag and keep doing that until we are finished. Go back with my curvature tool. Again, if you guys were precise, I'm not really that precise, you wouldn't need to spend so much time on fixing the mistakes with the curvature tool. I'm just going to go out of the shape. It doesn't really matter. It's just a reflection. Turn that off. Actually, we need that. We have this shape which still work for us. Go to name this reflection. It's not really a reflection, it's more of a light bounce, but that will do. Now, turn the layers back on. If this was below the tongue layer, we wouldn't be able to see it. Make sure this is on top and your placing the layers accordingly to what goes on top of the other or what goes behind the other. Let's turn this on. Name this, let's name this mouth. I just saw that the mouth is getting out of the tongue. Is that supposed to be I don't know, we didn't look at the original image. It's fine. The dimples are turned on, the nose bridge is there, the eyes are there, the nose is there. The chin lines are there, face frame, face base, let me zoom out, right ear and left ear. Then there is our mickey mouse shape. Let's turn off the main image, see how it looks. It looks quite identical, although the eyes are not exactly the same. But again, if you guys had more time, you could spend more time on making things perfect. So again to see it before and after, I'm going to first bring the opacity of this to full, turn it off, start from my bottom layer, go all the way to top, hold shift, click on the top. I'm collecting everything, you can see everything is outlined because they are shapes and not just random layers. Then hit the folder thing to group them. Going to name this Mikey mouse, and shapes. If I make this smaller, hit Control We can't hit Control T because the layers are locked. Let's unlock those layers because we're done. We don't need to protect them anymore. Is there anything locked in the groups? Let's make sure that there aren't many. Okay. Now we can hit Control minimize the shape. I just want to bring them side by side so we can see how far we've come. Turn this layer off, bring this back on, and we didn't quite get the colors right, but that's okay. We also have the Disney thing. Keep it that way. Or I could just use the eraser tool. Uh, increase the side, get rid of the Disney symbol. And there we are. It's not exactly the same colors, but it's looking pretty similar. And we actually did a great job. So it was really simple. We just used some shape tools and some pen shape tools, shapes made from the Pen tool, I mean, we just used some few adjustments. It wasn't that hard. It did take a little bit of time, but we were able to create a drawing from our reference image, or in this case, copy a drawing from a reference image. So if you did want to change the colors to the original image, you can do that by just clicking on one of the shapes. We're on right here. Go in the Eyedropper color and hit this. So that will come over here and if I click on this, I have changed the color to this color. I'm also going to pick the mouth, which is a bit darker in the face and the red. Now, if I click on the other parts of Mickey mouse or Mickey mouse, I can just use the Eyedropper tool to choose the colors, go the mouth. The mouth had a darker black. It's right here, it's a gray actually, we forgot the eyes, so let's the what color is the eyes? I think it's the same color as the mouth. So let's just use that color, cut the nose. I keep going down for some reason. Go to the last thing, which was the tongue and use the red from the original image. And we actually have this issue right here, the chin line adjustment. So let me just change the chin line left chin right. Wait, actually, we're treating the wrong color, I believe. Now, if you have a layer and it's not a shape and you want to change that color, you could do so by dabble clicking on that layer. Let me do that again. Here we are. We have a layer style. Go to Color Overlay. I'm just going to drag it down here, and then click on Color overlay, and then we have the color. Click on it once, and then we have the Eyedropper thing again and click on the color. Okay now it should have the same color. We have some in the left. What color is this exactly? Okay. There we are. We also need to change the stroke of them. If you notice that this part is still blacks because the stroke is still the pitch black that we had. If I go to the stroke of each shape, this stroke right here, change the color and same thing for the mouth, you can see that the outline is darker than the fill. Go to a Pentool, go to stroke and choose the recent color to do the same thing with this shape right here, the wise is too high. It controls. What is this exactly? The Control T, we actually converted this shape accidentally. Let me enter, bring it back to where it was. And just create a point, take it back to where it's supposed to be. I enter, and there we are. And I had to do the same thing. I need to change the stroke to this grayish color and the same thing for the other nose bridge, turn that off. Whoops, we actually went to the face frame, turn that back to white. Talking about this guy right here. Let me turn it off. Yeah, it's change that to this. If you saw that you accidentally deleted something, don't worry, just hit Control Z to undo your action. Then we have this area which was the same thing as the previous layer. It's not a shape. I'm going to click on that layer, go to color overlay, and it already had the color chosen out. Now this is darker. Let's go back to color overlay. Go to double click on the color overlay adjustment, and I'm going to choose the same thing as the eye which is just slightly darker. Won't you actually bring it below the eyes? There we are. Let's zoom out. We have these lines that we missed out. Go to the mouth shape mask and just delete those extra parts. I forgot to change this. We didn't change the dimples. Okay, now it's looking like the original image in terms of color that is. And now we're done. So I hope you guys enjoyed this and learned how to copy a illustration with Photoshop. I hope you enjoyed it. I will see you guys in the next lesson. 31. Coloring: Let's try to color image in Photoshop like you would with regular colored pencils or paint, and we're going to go over the tools associated with coloring in this program. Again, we have our canvas. I'm going to drag our photo in. I already have it in my library. There it is. I'm going to click and drag it onto my canvas, adjust the size. I think that's good. Hit the checkmark once I'm finished. If I turn off the background layer, we can see that it already has a white layout within it and we actually need to get rid of it. So like we talked about in layers, we want to create as many layers as we need to ensure that our experience in this, in this time isn't hard and isn't difficult. If I were to again, this is a smart object, so I into first assuriz our layer, go on it, right click assurize layer. Now we can do whatever adjustments we want to. Now, I'm just going to show you what happens when you don't add layers. Going to choose a random color. If I started painting on this and I went over the lines, and I want to delete it because I went over the lines. I would end up deleting the actual painting. You can see here, it's pretty difficult. Let me undo that. Now if I were to create a new layer, again, painted in accidentally went over the lines, I can delete my thing only, my coloring. But I've also deleted erased the color as well. When we're drawing something and we want to color it in, let's say we drew this, but I just got it online by the way. I need to create more than one layer. Let me just show you how that works. First of all, turn off your background. We will add a background later on once we're finished with drawing. This is my base layer. I'm going to turn it into actually, I'm going to call it. I'll do that later. Let's just call it base for now. I'm going to keep a copy of the original like we always did and we'll always have to do. Hold down Control, hit J one, do copy our image. I'm also going to make another copy. With another way, click the layer, drag it down to this plus thing. We have two copies of our original, three in total. Okay, so this was our base. Let's turn the base off for now. I'm going to call one color. This is our color layer and another one outline. Let's turn off color for now and prepare our outline. We need to get rid of everything except the outlines in this image. We would need to use the eraser tool, but we can't do this all day because it will take forever and it's not precise. Let me undo those. We will use this tool that Photoshop has. Right click on the eraser tool, it's called the Magic Eraser Tool. This is actually pretty handy when you're working with graphic work, especially when the lines are vibrant and thick like this image. As the name said, it's a magic eraser tool, it will magically remove those areas that you choose. I'm going to click once on this background. The background is gone, just like magic. G to do the same for the inside, gone. You can see that it's keeping the lines because I'm not choosing the lines. If I choose the line, everything is gone. I need to choose the white parts. We're only looking to keep the outline of our drawing. Do the same thing all the way around. Zoom in to remove the white stuff of the window and the door. And there we are. Now we just have the outline of our image. Our outline is complete. Let's turn this up, go to color. Make sure you're on this color layer as well. Again, I'm going to delete the background, but this time, I'm going to keep the white inside. I'm not going to change anything and let it be. Now, in order to make sure that my layers aren't moving around, I'm going to lock my outline layer just like that. But I'm going to keep my color layer as it is because I'm trying to work with it. If you guys remember, we had a lock option that allows us to only paint within our drawing. I'm going to keep that. Now you can see it's only painting within the drawing. We missed the grass, but it's okay. This lets me move it around. But I'm just going to keep that lock on. Let's try not to move the painting around. So I'm going to choose a place to start with. There are different ways to paint and photoshop. You have the bucket tool. Let's choose a color palette here. Let's see what we have in the pastel. I'm not really liking that. This will go with the light. I'm going to choose this dark purple for this area right here for the chimney. If I go with the paint bucket tool, you can see that it left a white surrounding in our area, which is not that visible from outside, but it's still not it's still not acceptable. Yeah, I like to use the brush tool. It's essentially not that different actually. You can see I'm just painting inside. But if you're just going for a solid color, then you wouldn't need to use the brush tool. You can easily just use the bucket tool. I made this dark purple. Let's make the other parts light purple. Let's zoom out. Let's choose this orange color for our mushroom, leave those white. As for the inside, let's choose this lighter orange. Let's make the house itself yellow, choose another color. Let's choose this for the door. Again, avoid the thick lines. Keep the window as it is. Let's keep those white. I'll make this a pink color. Actually, let's choose this purple. Okay. Just a simple drawing, it wasn't that hard and we were easily able to paint in those areas using the Bucket tool, which is the simplest way to do it. Now, what if I want to add dimension to this? What if I want certain areas to have shadows, some parts to be brighter than the others, then I wouldn't be using the Bucket tool anymore. In order to do that, I will use my selection tools. I'm going to right click on this and go to Quick Selection Tool. And I'm going to choose this area right here and hold down all I remove this area because I got it by accident, it's okay if you go outside the lines because remember, we have our outline layer turned on. Let me just show you what it would look like without the outline layer. This is what it looks like. We went out of line here, although because we use the bucket tool Photoshop will determine the outlines itself. And let me do some shadowing work here. If you don't have thick lines like this, it's always good to have maybe multiple outline layers. But because our lines are pretty thick and it's easy to identify, then one is enough. Okay, let's give this a darker color. I'm going to have a look at how this mushroom is taking place. It starts from here and it goes higher. We know that there's space from this area to the edge of the mushroom head. And to add shadow, we can one use gray or to use a darker yellow. I will try with a darker yellow, going to go on my Eyedropper tool. Hit on on this. I now have this in my swatches. Come here. I'm actually going to dabble, click on this to open this panel. Want to reduce the brightness. Let's make it like 70, that's too much. I think 90 will do see it's a little darker than the current one. Now I have a darker yellow color. But because I don't want this shadow to affect this and that I can always go back to the original coloring, I will create a new layer. Layer one, let's call this shadow. And my selection is still there. Now if I paint in these areas, you can see that only affecting the selection and not here. I'm easily creating the shadow. Now, this will take precision. I'm just going to roughly do what I think will work. It has to be curved. Let me delete what I've done. I'm actually going to try with the path tool. I'm going to go with my Pen Tool, the curve ture one because we're going for a curve. Because again, if you look at our mushroom, there's a curve, so we need to mimic that onto the shadow. Go to path instead of shape and our selection is still there. Choose the area where the shadow would begin. It would be around here and it will end here. Now let's try to mimic that area. It's going to be a little hard I'm just trying to trying to mimic the curve here. It's if it's not perfect, again, no one's perfect. I think it would have to be thicker than that. Let's just bring this down. I guess this will do. I'm going to right click Stroke Path. Using the pencil. Okay. This just made a selection. Is o, and there we are. Using the same color we gave it, it did a selection. Let's go back to the Pen Tool. Okay so that we turn that thing off. I'm just going to use my brush tool to just fill in D areas. But a Pen tool helped me create a smooth curve that I was looking for. I also have to continue it here. I have to do this with the Pen tool, but I'll just do it with a brush tool. I'm trying to make it smooth. I'll do for now. Okay. And we accidentally painted this area because we brought the pentle in here. We shouldn't have done that, but we'll just erase it. It's good. I miss this area. Now we have created a shadow for the house down here. Let's hit Control D to deselect our selection. Now you can see that it's a really smooth line. If you turn off our outline, you can see we went outside the line. That's why it's helpful to have this outline layer. We also need to add shadow to the inside of the mushroom. Although, yeah, I think we should do that. Let's just use the Eyedropper tool again, select our color, dabble click, turn the B, which is the brightness, and I just like to bring it down by ten. If it's 96, make it 86. Now we have a darker color. Again, I'm in the shadow layer. Just paint that area just like so. Because this is below the actual head, I think the whole thing would have to be like so. But the area behind the body should be darker. Again, I'm going to double click instead of 86, let's make it 76. I'm just going to create a rough shape though we would have to use our Pen tool again because I want a curve starting from here and ending here. Let me go. We're on path again and our curve is your Pen tool because we want to curve. First point here, second point here. Let's mimic the curve that we have. And let's hit Stroke Path. Pencil. Let's go with the brush. Brush. There we are. I forgot to hit Enter. Once you're done, just hit Enter to get rid of the selection. Go back with the brush, fill in the areas that we couldn't with the pentol. Use the eraser to remove any parts that weren't supposed to be there. Actually, so let's erase that. Or hit undo. Actually forgot to create a new layer for the extra shadow. Make sure you do that, create a new layer. Bring the Pen tool, hold down Control, and we can see the circle next to our pen. We're not looking to close our shape but to create a path. So instead of just clicking on this, we're going to hold down Control on our keyboard and you can see that the symbol changes. You click and drag to where we like. We drag it in here, so it will be easier to delete later on. Now I can just create my line easily. Let's see how that works. Right click Stroke Path, brush, I think that's looking better because now it's a new layer, I can move it around and adjust it further. Hit Enter once you're done. Go back to, let's actually name this extra mushroom shadow so we know what it is. Go with our eraser tool to lead to this area. I'm on this layer. Make sure you are too. Go with the brush tool to just fill in the edges. Now I want this part to be more turned in. I'm going to go on my layer, Control T, and just rotate my selection, it has a sharp opening. It okay once you're done, go to eraser tool, delete this extra part and use a brush tool to just add some lines here. Let me erase that. I'm not actually sure if that's the correct selection. I actually think we should create a curve like this. I'm not really good with drawings, to be honest. Let me just go back on that layer and just try to mimic this curve. Would this be how it works, let's find out. Click Stroke Path, brush, okay? I'm just going to go with it because I'm not sure how else I'm supposed to add shadow to this mushroom. But if you already know how to draw and paint, then this would be a piece of cake for you. Again, it's not lining up. I'm going to hit Control tea to transform it further, it lines up with this. Okay or hit inter, delete the extra parts, add some more stroke to the areas that you didn't do correctly. C even smoothly line up yourself as well. Delete the extra layers. We have some here too. I'm just going to keep it like this. I know it's not looking good. But again, if you're good at trying, this would be a piece of cake for you. I'm also going to duplicate this layer, delete the stuff in it. And go for even darker color. Instead of 76, go to 66 because I want a shadow right over here. I'm going to do it with my hand instead of the Pen tool. Then using our previous color, which is just this, I think this would make sense. I'm not quite sure. Or actually let's just use black. We're trying too hard. Just sit in Control Z, go to black. Then I'll just adjust D opacity later. Let me just use the pentle, mimic D curve. Right click, stroke path, brush, although the color isn't black undo that, make the color black. I have to flip it down here and I'll right click Stroke Path brush. Now we have a black selection. Okay? I'm going to lower the fill so that it's a really light gray. Move it a bit to the side, delete the extra parts that came out of the lines. I'm going to name this darker shadow. Here we have a somewhat good shadow moment going on. We need to add even more to, I believe the bottom here, the chimney. I'm going to just no, it's fine. Let's just go above the color, create a new layer. I call this mushroom shadow. I'll just group all of these three, so it's just mushrooms. I did that by going on the bottom layer, holding shift, clicking on the top layer, and then going on this folder icon here, I groups it all together. Let's name it mushroom. Okay. Now I know that those layers are the mushrooms and I'm done with it, so I'm going to lock it just in case I move them by accident. I see I'm moving something else. Just locking those in place. Go back to layer one. Let's name it chimney. Chimney chimney is good. Come down here and on our purple, we're going to choose a color dabble click on this. Instead of 66, let's go to 56. It okay. Come down to the chimney. Instead of using the pen tool, I'll just use my brush to just create a thing. It's always good to know where the light source is coming from. The light source would be coming from here. That means that I need to create a somewhat triangular shadow for the chimney to make this edge sharp. Just erase that myself. You can use a Pen tool, I'll just use my brush to save some time. What else should we add shadow to? Then if the sun is coming from above, there would be a shadow cast on the mushroom head as well. Create a new layer, call it mushroom head. Again, with the Eyedropper tool, choose the base color, double click. Instead of 95, let's make it 85. Make sure you're doing that on B, which stands for brightness. Don't do it on the S or the H, that just changes the intensity and the color and not the brightness. If it's coming from here, then I would have to what shape would that be? I'll just do a line. I accidentally remove the color. Let's just do a random shape. Not quite sure what would it be would be a triangle or something. Let's just do a random shape. I'm just trying to show the techniques here. Not sure if that makes sense. The shadowing, but it's fine. Another thing that we can do is work on the grass. We couldn't really paint it with a bucket tool because it's not connected. It's not a close shape. Let's create a new layer coll it grass. Go back to our swatches. We were in the light area, choose a color from that color palette. When you're coloring, you want to make sure that all of the colors that you're using makes sense with each other. I cannot choose a blue from here and then choose a blue from RGB because they will not be connected. Let me show you what that means. I'm going to choose this green and if I paint here, you can see that this color is so vibrant that it distracts you from looking at the actual subject, which is the mushroom house. But let me undo that. If I use a color from the same palette, it makes more sense. It's not as distracting, everything is harmony and your overall drawing looks good. It looks professional, so it's not that good if you use random colors from different color palettes. Because color palettes are made for specific purpose and all the colors inside have a harmony. I'm going to first choose a point here and then hold that hold shift and just draw across so that I'm creating a straight line. Let's also do the same thing here. The bar is taller than the other pokeye. It's fine. Now that I have a straight line, I can go ahead and start painting these areas. If I wanted to use the Bucket tool, I would have to close my shape by drawing a black line on the bottom, but I'll just use the brush tool. I don't mind. I drew a little out of line here. Let's just delete that, go back to my brush and just paint all the other areas. Now in further lessons, we're going to get into different types of coloring. We have three D style. We have watercolor, we have a solid style, we have a minimalist style and the list just goes on. It's really interesting how you can color just as you would in real life in Photoshop. It makes things pretty easy. The good thing about coloring and Photoshop is that you could always undo your action unlike in real life. There is my house. It's looking good. And if the sun was coming from here, that would mean that the bottom part of the mushroom would be a little darker. But not too dark because let's say our sun isn't that intense yet. It all depends on your light source. If it's at noon where the sun is at its brightest, then it would be a darker color. But if it's just a regular early morning, then it would not be as intense. So let me create a new thing. I'm going to create a new shape because this will be a closed one, although it wouldn't be actually. Let's just create a new layer, call it mushroom head shadow. With the pentol the curvature one, create a point here and finish the point here. I'm just going to drag it around my mushroom head. I'm also going to close the shape. We could have done this with the shape tool here, but we didn't because I want to stay on one tool at a time just to make things less confusing. Let's fix that. Meet the curve, make everything seem natural. A here. If the light was coming like that from that corner, this area would be less and this area would have more shadow. This is less, but it's slightly becoming more as it goes along. Let's mimic that. Make this part larger. I believe it would stick to the edge. There we are. I left out this area because that owns its own separate area. So let me just actually turn that stay on the path that is and then going in my I have to change a setting. I'm going to go back to shape. Right now, you can see the align is on the middle. We're going to make it on the inside. I'll show what that means in a second. We lost our path. Let's just do that again. What I just did was to change how the path is. If you saw it was the color came from both sides. But now we made it in a way that it's only going to come from one side, which is the inside of our shape. And once I create my path, you can see the difference. It's time saver and it's more efficient if you're going to be drawing for a long time. Let me just close this. Don't care too much about the lines because, we have our outline layer. Even if you did draw out of line, it will not matter. Let's mimic that gradual shadow thing that we talked about. Starts little from here, goes higher from there. We fix this area. Now, right click. Let's set our color first. Let's go with the color black. Then we can change the fill and opacity. Because we have a shape here, we just want to fill in the shape, it's no longer a line. We're going to have our selection, a closed selection. Right click. Go to fill path instead of Stroke Path. It's going to open this guy up, content foreground color, which is the first color mode normal opacity. Let's actually do the opacity later. And make sure this guy is on and then hit Okay. Now we have a black selection. Once you're done, hit Okay. Now it's looking a little bit weird because we didn't change the opacity. Remove the opacity. Let's go for I think 10% will do. Let's type ten. Now we have a nice little shadow and it's gradual, like we mentioned, it's not out of line. I just realize I should remove this. This is looking weird. Okay. So far the shadowing is good. We could do something further with the grass. That's actually something we need to do. We could even make this area brighter, but that will be confusing. We'll do that in another lesson. Let's just come down here. I'm going to close this layer, go on below grass. That would be mushroom head, create a new layer, call it grass shadow. Get my brush tool and hold down Alt to choose the color or go with Eyedropper tool. I actually should choose this yellow because it's the shadows cast on the building. Double click. Let's go for 90. And just brush away. If the sun is coming from above, then it would just be on the right side. I wouldn't be painting here, it's coming from the right side. You guys can use the pen tool. I'm just trying to save time. I'm just going to use my shaky hands and my brush tool. Here again the right side. Whatever side that's under right and it's coming down. Let me do this first and then here I have to change my color because we have a door. This was 96. Let's go to 86. Let's put down the color. This one wouldn't work because it's standing upright, so we don't need a shadow for that. What else should we do? I think we've done enough. We added shadows, we colored in our image, and everything's looking good so far. Now let's just add a background. Let me bring back the background layer, unlock it. Let's go back to my watches and go to my color palette and choose this blue. Or is this not okay? I think this will do actually. Now, let me just connect my grass because it's looking a bit awkward, get my brush tool, increase the size, choose my color, start from there, hold shift, move to either side. Now it's looking better. You can even go ahead and add use the Pen tool to draw thick black lines like this. Let's actually do that so everything comes together. Now instead of the curvature Pen tool, we're going with the normal Pen tool because we're trying to create a straight line and not a curve anymore. So let me just mimic the size of this using my brush, we're on path right now, minimize my brush until it's same as the tip of the stew, this will be fine. Then using my Eyedropper tool, I'm going to use it to find the exact black shade, create a point in the middle and then end it And it where it makes sense here, create a new layer on top of the grass, call it grass outline. It's always helpful to name your layers, by the way, makes things so much easier. Stroke path, go to brush, Hit okay. Now we have a black stroke. Okay with that? Go go to this outline here, which is on the top layer and just delete this white area. Okay. I think our line is too big though it is too big. What was my brush size? It's nine pixels, I guess we have to go with seven pixels. Remove my grass outline, make a new layer, get my pentle out. Come here, right click, stroke path, brush. Okay. I still looking too small. Undo that. I think eight pixels would be good. Eight pixels. Although we could just use the brush tool. I'll just go with my brush, click once, hold down shift to draw a straight line. I'm going to hold down Control plus T to bring it down a little bit, it meets with the line here. There we are. Let's do the same thing on the other side. I'm not going to create a new layer because it's the same thing, although the line here is a bit thicker. Press and hole, it's too big. Let's go one pixel down. This is a curved line, so I need to delete the curve in the outline and also this white finishing thing here. Do it here and there is my drawing. A simple house, cartoon house that's made of mushrooms, it has shadows. It has a good color palette that we chose. It's also named this grass outline. Then I'm going to merge everything related to the grass. Again, top layer, hold down shift, bottom layer, control G or create this group by clicking on this folder thing. Let's call it grass. Then we have the chimney, mushroom head. Let's add the mushroom head in D mushroom layer, mushroom head shadow, put that in there, anything related to mushrooms. The outline stays out, the chimney as well. Then we could just add the chimney in the mushroom layer, but make sure it's on top because the chimney is on top of the mushroom layer. Now we can I'll actually group everything together so we can see it before and after. Grab everything, group, name it colored. Okay. Now let's see the before and after. This was before and this is after. Let's actually add the background inside our thing. We didn't go and actually bring it here. It's in now. Before after, we colored a shape. It was pretty easy. Just took a little time. Again, if you want to make it perfect, you go to spend more time on it, use different tools and different color shades. If you want to add a photo inside, you can do that too. It's really easy as you saw. I hope you guys like this lesson. In the further lessons, we're going to go over more difficult drawings and see how we can add patterns and maybe make a drawing three D, use watercolor, and many other styles. I'll see you guys in the next lesson. 32. 2D Vector Landscape: In this lesson, we're going to illustrate a landscape using Photoshop. Now that we know how to make our own custom brushes and our own custom patterns, things will get a lot easier for us. And I'm going to use a reference image, and we will try to recreate that landscape. But again, you guys can always sketch it out and then scan it, then bring it onto Photoshop. You can draw your own original works. For illustrations, we're going to go to create new the settings will be a little different. If you go in art and Illustration, you get some presets. You can also choose from down here. But it all depends if you want it to be a square, a poster, maybe you want to make a poster card for Christmas, or you just want to have a poster printed for your room decor. To choose the sizing, I'll just go with a poster. With a smaller one and make sure your resolution is at 300, but I'm going to bring it to 72 so it doesn't lag what I'm trying to show you guys. But you guys should keep it at 300. But if you're just trying to practice and you will not be using the final product, then you can also use 72 for your resolution. Let's go ahead and create our document. Here it is. If at any point you didn't like the sizing and all that, you can always go to image, canvas size, and then you can change it to ours was inches, so I can just make this maybe six by eight. I can change it up and now I have a bigger canvas. I can just fill it in so it looks like that. I'll just stick with the smaller one, you don't have to go out and then make a new document and come back into the canvas again. I'm going to bring in my reference image. I downloaded this from Freepi there it is. This is my reference, and I also got a color palette that I just copied from the Internet and I can paste it in here. You can see it's way too big, so I need to resize it. There it is. Now, instead of having to always come back to this image, I'll make a folder dedicated to these colors. I'll just delete this watch. In custom colors, I'm going to first rename the group, call it landscape. Then I will go to brush or anything, hold down all and then click on one of the colors, then make a new swatch, name it as it is. Then go to the second, do the same thing and just do this for all of your colors so you don't have to keep looking at the image and getting it, you can just go in your swatches and get those colors. All right. I brought the wrong brush. Let's go back in here. Now I can go ahead and delete my layer one. My reference image is something simple and we call these two D vector landscapes. The reason why they're two D because there's only two dimensions. I don't think I have to explain two D. The reason why they're called vectors is that they are flat. You can see there's not much detail in every single thing, so it's not exactly a detailed painting, but a really simple and a geometrical, I guess you could say a geometrical landscape. So we got harsh lines here. We got some outlines here. We just got a flat circle for the moon. And you can see there's not much detail. If you guys see a actual painting, you would know that the trees would have so much detail. They would stuff in the mountains and the water, the moon, and all of that. So think of vector illustrations as simple illustrations. So if you are looking for this, you just search two d vector landscape illustrations. But if you want a more detailed things, you can just search two D landscape illustration or you can search three D or whatever you want. In this lesson, we're going to stick with two D. I'm going to first imagine my landscape because I do have a horizontal image. We see how it will look if I expand it. Okay. This just makes things easier for us. I'll leave it like this. Now, this is my reference. I cut out most of the things. I'm just going to lower the opacity and then lock it in place. So the mountains are quite easy to create. All you have to do is just go in with a pen tool, but I'm going to first start with the moon. So I'm going to hold down. I'm going to click and hold down shift to make a perfect circle, then let go and we're going to turn off the stroke, make the fill color, the white that we have. It's not exactly white, but it will do going to lower the opacity so I can make it a similar size. I enter. Then I'll just bring back the opacity and I'm going to call this moon. Just turn this off because we're going to work on the mountains now. Now, normally, if this was daytime or maybe a sunset, the order of darkness would be the opposite. This would be the darkest mountain and then it would get lighter as it got closer to us centrally. But here, it's the opposite because the moonlight is shining from there. So we will have to copy this. But if you guys saw that it was a daytime landscape, pay attention to the colors and make sure you follow them so your landscape doesn't look strange. Okay, so I'm going to determine what color I'm going to use for which mountain. I'll make my first mountain, which is this. The lightest one is this one. I'll actually make a color that's lighter than this because I'm going to use this for the grass. I need one, two, three, four colors, but I only have three. I'll go on my lightest color. Go to color, click once, and then turn the brightness to let's say 93. You can see gets a little brighter. Couldn't even make it to 95, just experiment with it. And then we'll add this new color to our swatches, and there it is. We now have four new colors in our group. I feel like I disturb the harmony with the colors. Let's delete that. Go back on this. This is very important. Paying attention to these. Instead of that, I guess we'll just work with the saturation and not the brightness. Let's go for 45. It's too little 40. 40 is better. You can see their brightness is what keeps the harmony. There let's come here. Let me add the colors so we can see. They are a low dark colors compared to these vibrant RGB colors, you can see that these are darker in brightness and that is what is making them harmonize. If let's say you want to make a color here, an extra color here, let's come. In this, you can see that the brightness and saturation is at 100 and if you wanted to make a new color, you would only have to change the hue so that you don't mess with the harmony of the color palette. Let's go back here. I made my moon that color, let's bring it back. That's how you color a shape by the way. If it's turned on and you see the Eyedropper tool here, if I go over these, I'm changing the color. You don't have to go in the panels if you don't want to. Now let's start drawing the mountains. I'll get my lightest color that I just made and I will create points kind of select, hold, and then kind of pull it to either side so I can meet the curve that it has. And then we have a sharp turn here, so hold down Alter option and then click once here to get rid of the handle. And then just meet it here. And then I'm just going to close the shape like so. So there is our first mountain. It's called this Mountain one. Going to turn that off as well. We have the second one. We'll make a point first, and then I will change the color so I don't change this. Then I'll zoom in so I can see things, make my click, and I'll end it here. This is not right. Let's go here. I think the curve starts here. That's a really slight curve. Then I'll cut the handle and just finish it off and close the shape. This is Mountain two. Turn that off. Our third mountain is this guy, get the third color. First make your point and then choose your color. Now let's go. If you made a point, you can see I made it above where it begins, hold down Control or command and just bring it lower. Then just make the shape. As best as you can. Right now I'm seeing we have one extra color here, so I have to add another color to my palette. Going to close my shape. This is Mountain three. Mountain three. It's a really faded color, so I'll just use this so I can make this color darker, it's in between this and this. Let's first make our shape and then we'll come back for the color. It's a really faint mountain. It's not the right thing. It's hard to see. Just do the best that you can then close it off. All right. Now let's go to color. I will have to change the saturation. I want it to be darker, so I have to make it like let's try 78 too little. Let's go to 89. Let's go 100. It's a little darker, just like how it was here. You can see the current and new. That will be the color. I'll just add it here. That will be the color of our mountain. Was this. Let me put this guy next to it and see, they are a little different. Close that. Let's make our last mountain. Mountain five is our last mountain. Hit P on your keyboard to go back to the Pentool and make your final mountain. Got a little curve here, so just you don't have to exactly copy the illustration because it is your artwork now. And then the new thing that you're making is your adaptation of the artwork. Alright, there is our Mountain five. And then where's our moon. We colored our moon again, bring it back. Now, if we turn off our landscape and then turn everything on in order, you can see that we have a really nice mountain landscape. Got the moon. And if I make the backgrounds, let's see, going to have to make something in between this and that. I'll go on this click once, and I'm going to reduce the saturation, make it like 30, 2010. I think ten will do. Just making a ten, and there's our sky. We can even make it lighter. We make it zero. Now, it's kind of a grayish color, but it's okay. This is what makes it creative. We have a purple hue. I will add this to my swatch as well. All right. We got the mountains. Going to turn all of them off so I can focus on the other parts. We have the sky, as you can see, the sky will have to use the head P to go to your pentol. We'll have to use the curvature pentol because there are curves. Just make two points, can make it even outside of your drawing and enclose the shape. Then just pull it as much as needed. Zoom in so you can make extra points. Again, you don't have to exactly copy the reference image that's just there to help you. We're going to choose the white, but we're going to lower the opacity later on. You can see it's not exactly the same color, that clouds are faded. Do the same thing for the other clouds and making it and better yet, we could just merge the shapes on shape one, go back to another one and come back to it, make a combined shapes by combined, it just means that they will be on one layer and you don't have to make five different layers for the clouds. We're doing this because in the end, we just want them to be faded. We don't want to do anything special to a singular cloud, so it's best to just put them in one shape. Go to delete that. Hold down control again. If you want to move a certain part and then hit Enters, you can see it's only one shape. Let's call these clouds. Then I'm going to turn this off, bring back my background layer. Let's call it sky. Bring back my sky layer and my moon, and then we are going to adjust the opacity. Want to see what number is okay. That's still too high. This will do. Now I can just remove that. Where's my sky layer. Turn off clouds. We're done with the top half. We just have some details here. Now we can make our water. Go to your normal pentol because we have some sharp shapes and we need to make can actually make this with a rectangle. It doesn't matter. Just make a rectangle, go behind this. Then I'm going to choose a light purple for this. I'm going to call this water. Turn it off. And now we can add this thing. I think it's like grass, Smet points everywhere for your grass. Curve it and then cut it, make sure you finish. You close your shape. And then this, as we determined, is going to have the darkest color in our palette. Let's call this ground. Then on top of it, you guys notice we have the same shape repeating, but they're just in different sizes. This is where our custom brush preset comes in handy. I am going to create a similar look up here. I'll make a point to bring it down here like this and then I'll curve it to make our grass. Close that. I'll give it a little bit of ground. You can see we have some ground here, merge it and then make that grass thing happens. So there's our first grass. I'll hit Enter. I'll hit Control J, Control T to just flip it the other way. Now we have two grass, you can see here. And then I will make a third one, which is this guy, which is a little shorter than all of the other ones. And I'll end it here. Make a curve, cut the handle, give it a ground to stand on, and then that's too small. Let's zoom in. Merge the shape, just kind of give it a little body. Hit Enter. There is our grass and we're going to use this as our brush preset. The first thing we have to do is to select all of the layers. We could have just made them into a singular one. It's okay. Group them using this or just hit Control G or Command G on your keyboard. Right click Merge group. We have a rasterized layer of our grass. Now, I will select my grass using the Marquee tool or the Lasso tool, whichever you like. Go to edit defined Brush preset, call this Before it, we have to turn off our layers. Make sure there's nothing else going on. Now go to define brush preset and now you can see there's nothing. Call this. I'll call it grass, anything you like. Now we have a grass at control D. We have a grass thing. All right. But one thing that is not exactly it is that it's really faint, as you can see here. So we need to fix this brush. We have to make our layer black. So go on adjustments, hue and saturation, remove the lightness completely until it's a black shape. And now I can use my marquee tool again to go on group one to make my brush preset. Let's call this grass. Okay. Control D to deselect, turn off our human saturation. Now it is quite darker. The more you click, the more it adds on. So if at some point you wanted a faded ras, you would do that. But if you wanted a let's make it a little smaller. If you wanted a more saturated one, you would click it or just single click to make a really light one. All right. So we have our brush. Let's remove layer group one, sorry. And now I will bring back my landscape and my sky layer so I can see. Below our ground layer, we're going to make another layer called this Coras Using our custom brush, we're going to try to match this. If you're trying to rotate your brush, just right click and rotate it to either direction. Ours was just a little rotated. It's too much like this. I'm going to make the big ones really pigmented and then I'll make the small ones just normal. Bring it to where it was, and then I'm just going to start making my crass. Make sure you make it random, make your brush smaller and try not to make things too identical because it will show and I'll make this one bigger, flip it, rotate it to this side, and we're just going to fill up this area. I'm going to do that using my brush with the same color as the ground. I'll rotate if needed, resize if needed as well. You can also make different grass shapes if you want, and you just have to follow what we just did, and then you can have two different this is the old one, let's delete this. You will have two different brushes that you can use to make your grass. I'll do this and then I'll be right back. I finished my grass and I actually went ahead and made a new brush. Let me show it to you guys. This was my second brush and this was my first brush. Let's make them the same size. I made a new brush. You guys can do that, too, and this is what it looks like. Let me turn off my landscape layer. And I'm not liking this, so I'll just bring my ground shape a little higher, like so. Now if we turn on things, turn on the water, and turn on the clouds, the mountains, we're going to see it come into place one by one. Yeah, so far it's looking pretty good. I'm really happy with it. I will, however, add a bigger grass. Let me get my grass too. I'll make a bigger grass. It's too big. Just like here, there's some randomness to it. Now, all that is left is the details. Again, I'll just turn everything off so I can see my reference image. You can see we have some trees. Now for trees, you can make your own brush, but there is actually trees in your custom shape tool. Go to Custom Shape tool, and in your shapes, there is leaf trees. Get some tree options. I believe those are pine. Here we already have our pine. Trees if you're not seeing them, you can import shapes. You can append default shapes as well, so you can get more options. There's legacy shapes and more. I believe there are trees here as well. Let have a look. Signature, we got some trees. I think this tree is better. I'll just grab this. I'll use the same color. Let me change the fill to our dark purple color. And I'm just going to zoom in to make my pine trees. See how easily we just made a tree. I'll make a group, so we can just rasterize it later, and I'll just copy the trees, bringing one below, one above, trying to make a random landscape. Don't worry about the bottoms. They will go behind our water tool, or water shape, not tool. Just make a very random a forest, I guess, a very random forest. This is not random and it's not going to look good if it's not random. Just place them those random ways you can. You can add on more trees going to lock my sky. I just moved it. I will actually get more trees to put me to put in between these current pine trees, let me bring some to the edge. And the more variety you use, it's going to look better. So let me do this. You can resize some of them, Control team, make one smaller. So you can make it, like we said, really random. And this will go behind this mountain. Don't worry about that. And I'm just placing them like this before I get my new tree. Let's go get another tree. In our custom shapes. I know the amount of trees is just so much, but they're all going to be rasurized into the group layers, so don't worry about that. I'll go to the first tree that we saw, which was this. This is slightly wider than this tree, it will create a nice variety. If I let go, get my move tool, it's really pixelated I don't know why. Oh, that's a dead pine. Okay, we don't want a dead pine tree. We just want things that are alive. I'm not sure about landscapes, but I don't know if such a tree would exist next to pine trees. What is this? This is I think we can put this. Let me see how this will look. Is it also pixelated yeah, I'm not sure why they're pixelated. These are photoshops, custom shape. I did not make them. So clearly, we'll just have to stick with our regular tree. I go to look to see if we have even more options, we don't. Alright. That's good to know. I'll just work with what I have. Just placing them in the most random positions, bring a tall one here. We haven't had a tall one. Make this guy look super tall, bring some of these guys over here. It's an army of trees. Bring this guy here and just Copy this here. This is my tree landscape. I'm finished with them. I will now go to my group. I'll name a tree, trees, right click, merge group. Now it's just one singular layer and it's asturize we cannot change the color anymore unless we add a color overlay. Now I will bring this below our water and you can see it cuts it, but we need to make a reflection. If you look at the original image, there is a reflection of the trees. We will have to control J on our tree, control T on the copy, turn it on, so we can see it. Control T on the copy, right click flip vertical, so we can get the thing. We have to make them shorter. Try to match the reflection In there, hit Enter, and then I'll just go in with my eraser tool. Make sure it's hard round. And then I'm just going to oops. It's way too big. Spring it really small size, and going to put a ruler Make a click hold down Shift to make a clean, straight line. I'll get rid of my ruler, and now we have reflections. But comparing it with our main trees, the reflection, let's call it trees reflection will have to lower the opacity. So just go in to that, the reflection needs to be above the water. Just look at how it looks on the water. We have to make it. I guess 15%, let me add one more. 15%. Now it's a really cool reflection. I don't like the watercolor. I feel like it's not exactly the color that water would be. Let me try Well, let's do. Let's see with that. Could be because we don't have any details in the water yet. So let's just sweep this B, and we can start with the reflection. Oh, I forgot. We need to make a reflection of this mountain two. I believe that was, it's Mountain five, Control J, control do the same thing we just did. Flip Vertical, match it with the reflection. All right. And then we are going to mask out using the hard round brush, the color black. Now I need my ruler. Bring it back and just click hold down Shift to make a straight cut. Bring back the water layer. This has to go on mountain five. Mountain five reflection, bring that above the water layer. Turn that on and we're going to lower the opacity. I guess we'll go with 20%. It's really faint. You turn the tree reflection, it's looking better. I will also rasurize this layer, right click on the asturize layer and then we're going to apply layer mask. It's just the reflection. Now we can start with the details in the water. We also have some in the mountains. I'll just add a line. There's no need to get into that. All right. For this, I can also make a custom brush. Make a new layer, though we didn't have to, we're going to use the Pen tool. It will make a new layer itself. Use the regular Pen tool to just copy one of these guys, add a little curve like this, cut the handle, close it and add a similar curve on the side. All right. If we turn off our landscape, it's just like a water the moon's reflection. So we're going to first go to human saturation, remove the lightness completely, limit it to shape one. And then I will merge the two. Now we have a rasurized layer, turn off everything, so we have a PNG or else those are going to come in our brush. Selected with the marquee or lasso tool. Go to define brush preset, call this moon reflection on water. Try to be specific, there is our brush. If I use a white color, hit Control D and then you can start drawing. Okay. Let me bring back my water. Then on top, I will make a layer I call it reflection. Just add some random lines. You can see I'm not really good at drawing random things. Trying my best here. Still not looking random. If you wanted to change your position, use lasso tool to select that hold down Control until you see the scissor. Just click and drag it to the right area. Click and drag. If you're not good at drawing random things, you can use the reference for help. You can refer to the reference for help and just try to match that random reflection that would be on a lake at I guess midnight. Control D, we'll take those behind the grass, don't worry about it. Let's make our brush a little bigger, make some of them smaller. Let's make things better. All right. Now on the water, it's way too bright, so we have to lower the opacity. We turn that off. Did we get everything? I think we did. Turn this back on. Let's see. For the mountains, I guess I'll just won't get into these little details. If you guys want it, you could add a little line. Let me show you what I mean. This is a technique they use for highlighting a mountain. We have a dark color. I believe this is it. I can use a light color like this on top. I'm using the Pen tool, just copy the path that is on there. Or you can make a copy of that layer. I'll just use the Pen Tool. Just try to match it as best as you can. There you are. I will end it up the opposite way, add our light color and then limit, hold down person between, limit it to the top of the mountain. Then we can just lower the opacity and then we can later get a mask layer, get your brush, not hard round, get soft round with the color black and just fade it as it comes to the edges. Just adjusting my brush. I don't want it to be perfectly like that, but the thing is that this does not really match with our style, this is making a three D itch, so I won't do that, but that was just a technique that they use, especially for mountains where it's faced towards you. So it's like this, there would be a line like this coming in the middle. One side would be darker, one side would be lighter. The lighter side would be towards the sun and you could do that if you're doing a sunset, but this is just the moon. Now let's have a look at our landscape. I'll get rid of this ruler, bring my sky layer. We are going to start with the bottom, go to the water reflection needs to come before the grass. It is before the grass. All right, we're going to start with the ground, then the grass, then the water, the reflection. And then we have the mountain five reflection, trees reflection. Then we have the trees itself. Then comes the mountain five, Mountain four, Mountain three, Mountain two, mountain one, the moon, and finally, the clouds. It's a really fun way of illustrating. These are just vector illustrations. It looks really cool. You can print it, put it on your room wall or just use it as a gift card, a birthday card or anything you want. You can even add extra elements. I was thinking of adding a boat, like a fisherman on a boat. This is optional. I'll go on top of reflections. Then using a dark color, the darkest purple, I'll make a fishing boat, curve it, cut the handle, and let's add something like this, a random shape doesn't have to be perfect. It's your art. Do that. There is our fishing boat. Let's call it boat. I can use a brush to draw a human inside because a boat cannot be floating like that without anyone in it. Just make a ball here or the guy's head and use a smaller thing to do this. I saw this on the Internet and you guys probably did, but if you didn't, this technique was used by a really famous graphic designer, and I thought I'd show you guys the technique. I forgot her name, but most of you probably know who she is. Or he, I'm not sure. Get the hands and try to draw a fishing net. I'm not sure how they would look. Let me just use the pen tool. It is most certainly straight. Just use the Pen tool, turn off the fill, get the oops that's way too big. Make it like one pixel, maybe two pixels. I'm going to put everything related to the boat into a group. All right. Shape one, I close my shape. I'll do it again. It has to be tall, and then I'll turn off the fill at this, make it like two pixels. Still too big, one pixel. One pixel will do. We'll just make the alignment and bring it in the center. All right. He needs to touch his hand. There it is. And for the hit tra I'll make a new shape. For the fishing net, I will connect it from here, and I guess it will go here. Let's do this curve it, do that. This has to be way smaller, go for 0.5, really thin strand. For the fishing net, lower the opacity as well. Kind of lower the opacity as well. And there's our fishing net. What we have to also do is to add the little water things that go around anything that's on the water. The rings is what I'm referring to. I'll use the curvature Pen tool to make those rings. It has to be bigger. Turn that to whites, not the fill. We're talking about the stroke. And we're going to make this slightly larger, so make it like two pixel. Then we'll fade it out with a mask layer. It's called this ring. Make sure you name the stuff. I guess it's called fishing wire. I'm not too sure. Fishing stick. Name it what you can. This is our person. The ring will have to come below the boat. Bring it below the boat. And we're going to do a similar one, but thinner around EGI as well. So make this a little bit higher and then make it bigger than the previous ring. Try to make it good, make the tips match, and I will make more points so I can make it look more faded. Hit Enter and we're going to make this one pixel because it fades out as it goes away. Call this Ring two. All right. On the Ring one, we are going to before I do that, let's copy our boat, go to boat, get everything. Control G, control J, on the group copy, control T, right click, Flip Vertical because there will be a reflection. But it will look a little distorted. So let's see what can we use. Before I do that, I will just merge this group. This is just my reflection, control team. Go to Warp. First, we're going to make the ends meats like this. I'm just going to bring everything down, make it distorted because it is the water. It's not going to be perfect like this. Kind distorted, it would be, I guess, wider. So bring this area like that. You can click anywhere to make a Okay, it wouldn't be like that, right? I'll stop here. Okay, we're going to lower the opacity because this is just a reflection. The sky is there. I'll bring the reflection below the rings, the two rings that we made. And now on ring one, we're going to get our brush soft round, the color black, and we're going to fade out some parts. It's going to be very random. You don't need to overthink it. Just make a random cuts along the way, then lower the opacity. Do the same thing for ring two. And this needs to be, again, not exactly like the first ring, so just kind of go in areas where the ring one isn't there. Then, if this is 53, this has to be like 33. It needs to be very little. And there is our fisherman. Looks nice. Um, I will make the fishing boat a little thin. And then I'll bring my person, the fishing sticks and all that. I'll bring them a little below. All right. Now I'm finished with my landscape and you can see that the two lines are actually colliding. On my fishing wire, I'll make a mask layer and then I'll just delete that. We have to make similar rings here as well. Go on top of fishing stick, make a ring surrounding the wire and we are going to fade this. First, I'm going to make it really small. Actually, one is okay. Leave it at one, lower this, so we're to move this reflection a little. We merge together after use the Lasso tool. Control, see the scissor, just pull it a little back and away from our area. Get where is the ring? Get the ring layer and just remove the top. There's a lot going on in our layer. All right. So fishing the ring, ring two is kind of colliding with the thread, so just remove that. And where's is this the fishing ring? Okay, now, the second one, which I'm trying to find Oh, there it is reflection. Just erase the tip here. It's not looking pretty. They need to met. Bring the moving the water, they'll move the water. The new rings call this ring. Make the new ring. A little bit more faded. You can make multiple ones. I'll just go in with the brush with the same color white and just kind of draw a second make like lines so you can make things easier for yourself. Make little lines, and the first one was 56. We'll make this. Oops, I deleted a lot of things. Make this. 46. Alright. Let's call this ring two. And on Ring two, I'm actually going to delete the top and this guy. I'll make it a little bit more faded. Actually, I'll just remove ring too. We don't need it. Alright, there is my drawing. I will one of the reflection is colliding with the boat again. Just move it away. Control. Bring it, like here. Control the. Make sure your reflections are not colliding because it will look bad. I will get one of these small ones and then just bring it in here to fill up the spot. Right now I'm finished. You can see we have a lot of layers, but if we name them, let's call this reflection. What's this? This is just the boot. This came out of the layer, the group, bring them in like that. Everything is tidy. If we group everything related to the let's bring this here related to each element. So, for example, anything on the water, I will group that. I will make things a lot easier, and then I'll name it water. Anything related to the mountains will be grouped as well. And this is the thing about Photoshop is because there's a lot of layers, things will get a little confusing. So we need to make sure that we keep things organized so we don't confuse ourselves. The tree, that's the water, the boat, or the tree reflection should be in the water. The grass and the ground I'll bring the tree in the mountain layer and then the grass and ground, put it front. Now that it's all groups, if I wanted to make an adjustment to the mountains, I know that I have to go in the mountains, find my layer and make an adjustment, instead of having to scroll through my layers to look for the part that I need. This is it for this lesson. I hope you guys enjoy this short and easy landscape illustration that you can make your own and I will see you guys in the next lesson. 33. Flat: You've probably seen them everywhere on websites, on ad campaigns, on your social media pages. And these kind of illustrations are really popular because they help bind the entire website together, and it helps spread the message. But what makes them different from other illustrations is that they're really minimal and they have few colors and they're not as detailed, which doesn't which helps keep the attention on the message. We'll see a couple of examples so you guys can better understand what I mean. Let's go to Chrome. If you search website, flat flat Illustration website, and go on images, you can see, let's say this is your website that the illustration is really minimal. We have a few colors. There's not much detail on the characters, and this helps the attention to not stay on this illustration for too long. Now imagine if my illustration was as detailed as the Mona Lisa, people will just keep their attention onto the illustration and will not read about the website itself. Now that is why you see a lot of these flat illustrations on applications, websites, social media posts and all that. It's because they're fun way and a really creative way to decorate your platform and bring in color and all. But it's a really smart take because like we said, it does not steal all the attention like a normal illustration would. If you write flat illustration just alone, these are what flat illustrations are. More specifically would be this one and not per se, um this one. You can see it's flat. It has no dimension. There's not much detail on her face. The colors are really little. They didn't shade every corner. There may be some little shading and the colors don't need to make sense as long as it shows the form. Of the thing that it is. Just by looking at this, we see that it's a person with long hair on their phone. We don't need to know if it's who it is. What's the name of the character. What is she doing? What's her occupation? We don't need to know that because this is designed to help deliver the message better. Let's say Nix, this will write an easy application to use. It's just showing how easy it is to use. And this is not really considered a flat illustration or at least not the type that you would see on a supporting act. This would just be its own illustration. This would be the attention, but it will not be used next to a website text because it steals all the attention due to its detail and dimensions and the patterns and all that. So sometimes they can have faces. No think that all of your characters should be faceless. They could have faces. Other times they could not have faces. What's really fun about these flat illustrations is the difference in size. They could have a small head and a big body. They could look really tall. You can see the upper body is really small compared to the bottom part. And there's a lot of the other ones. You can just have a normal size and you can try to find other styles, at illustration styles. Let's just look it up. You can have something so minimal like this. It's just two colors. You can have really creative gradients and patterns. Again, you have a small head, big body. So essentially, there is no limit to how your character is going to look. See we have pointy legs, pointy arms and different sizes for the body. I just brought you guys here so you can see the difference in these illustrations and regular illustrations, which would just be regular drawings. You can see this would be a regular illustration. This is its own attraction. This too. And this too, but this is a flat illustration. All right. Now that we know what it's supposed to look like, I want you guys to look through these pictures. You can either do it on Google, go to Pintres and all the other sites that we mentioned before, and then just choose your style. Are your characters going to have a small head, a big body? Are their toes going to be pointy? Will they even have faces? How will they look? Will they have shadows? Figure out your style of illustration, but it's okay to copy others when you're first starting out. But once you've chosen your illustration style and also you know that you want to maybe illustrate a man and a woman or you want to illustrate a plant only, you can then go ahead and choose color schemes. Let's see if we write color schemes, there is a lot of things you can choose. We just not this. Just color schemes. It may be a little bit confusing to see which one works better, but if you search color schemes for flat illustrations, you will get a bunch of good color schemes or just palettes. You can see it's a small amount of color. We don't want to. Like we mentioned, this is not supposed to be the main attraction, so it doesn't have that many colors. It has a few colors, sometimes only one color, other times five colors. And now you guys can go ahead and choose your color palettes. You're looking to find vibrant yet not too intense colors. Sometimes it could be colors like this, other times it could be pastels like this. Yeah, see what works well for you. We have also some intense colors. Choose a few colors don't overcrowd your illustration. Once you have your character in mind and you have your color in mind, you can start choosing an image to trace. You can go to pixels close that off. And I'm going to choose a position that I want my characters to be in. So like girl reading book, let's say. Let's say, and I'm going to find something that will be easy for me to trace. So if it has, like, a lot of similar colors, that's going to be a little difficult. But we have to look and see which one looks better. Maybe this will do or this. And just find the illustration. Sorry, find the image that is easy to copy. And we'll make your time easier. You can also just trace straight off of another illustration. Now that we know what we want our characters to be doing and what photo we want to trace, we can go ahead and start creating a new document on Photoshop. Because this is an illustration and we want maximum quality, because we want all the tiny details to be there. We're going to go to Art and Illustration. Choose your grid. Is it a landscape? Is it just someone's face, choose the size as you would and keep it at 300 for the purpose of this tutorial, just so it's not laggy. I'm going to keep it at 72, but you guys should keep it at 300. That is if you want to post it and publish it afterwards. If you're just doing it for practice and you're not looking to save that document later, then keep it at 72. The leave the rest of the settings, just hit Create. Close this. Don't need that. Now that I have a background, I'm going to bring in my image. I brought in my image, as you can see, it's not that complicated. My subject is against a background that I can easily trace. I'm just going to scale it in until I am just seeing her head turn. This is now going to be our background layer. I'm going to lower the opacity so I can see my tracings and I'm going to lock it in place. Now I'm also going to bring in my color palette. There's my color palette going to make it smaller and just put it in the corner. Now I can start drawing. I'm also going to lock my color layer and also my Subject subject layer. Now I can start using the Pen tool or the shape tool. It all depends on your illustration style and just start painting in and tracing my character. Now with flat illustrations, you can either use an outline for your shapes or don't use an outline. It all depends on you. I'm not going to use an outline. Instead, I'm just going to keep it really flat and simple. I'm going to start with the easy part, which is first shoe. I'm going to choose a fill color. Let's go with this dark blue. Actually, let's go with this green. We'll leave the dark blue for her jeans, and I'm going to zoom in on her shoe and just roughly select the shoe shape. Doesn't have to be perfect because this is not the main attraction. Don't try too hard for the illustration and just roughly select the area. Hit Enter. Let's do the same thing. I'm making these two separate layers because I might want to add shadows to them later on. I suggest that you guys do the same. Going to hold down control to make the curve smaller so I can continue making a smaller curve and then do the same thing here. Continue right here, because I'll end it here. All right. It's not looking like shoes. You can go ahead and use the curve at your Pen tool to kind of give through right curves. I'm actually thinking of making her the tip of her shoe pointee. This is optional, trying to make a shape that I like the shape. What I meant when I said you don't actually have to copy the subject perfectly because this is all limited to your imagination. I'm trying to make here pointee because this will not, it will be faced towards the camera. It will let's see. Maybe I don't want her to stand like this. I'll take her shoe, rotate it like this. I'll just keep it like that and just copy it rolling down alt and clicking and dragging. I'm just going to keep this this way. She's standing in a weird position and I might change later on. Now I have her shoes. Going to turn these to layer off. Let's name this shoe one and shoe two. Now we're going to go in with the pen tool again. I'm going to choose her jean color. And I'm thinking of the color scheme. I want her shoe to be this green. I'll use the same green for her shirt. Her hair is going to be black, and let's make her pants black too. It's kind of equal. Now let's start selecting her pants. I like the pointy style that I saw online, so I'm going to mimic that and make her make her legs pointy as they come downwards. It gets thicker as it goes onward and I just find that style funny and creative. I'm going to just copy that as I go. I'm choosing different I'm making two different legs instead of making it one collective shape because I might want to move her leg position later on and I want to make that easy for myself. This part doesn't matter because her arm is going to be on top and let's choose her leg. Continue. Let's first get her knee and then continue downwards. Enter, I will come in with the curvature tool and fix to knee curve. I don't like that. Maybe do it like this area too. I want to make it really smooth and curved. I don't want to make it really straight. Make sure she has a hamstring. I guess I like this gstyle. If I put the shoe back on, although I turned this one the wrong color, give back the color. When you bring the shoe on top, just drag it on top of this and see how the sizing works. Now I know that I need to make my shoe smaller because I mentioned that I want to keep it funny looking. And now that I know the style we bring the leg back onto her like her shoe. Alright, I'm going to do the same thing on her other leg, and then I'll be right back. I'll also try to do some adjustments and make the shoe I make the shoe shape better and align it with her leg. Okay? I adjusted this leg and shoe. Again, this is a style that I chose. You guys can make it look realistic if you want. I also named the layer, so it's easier to understand. Alright. And now I'm going to have the funny style that I mentioned, meaning that I will go on my pen tool. And just kind of sorry, that's the wrong pen tool, go with the curvature, then delete that just so I can get in and then hold down Control to just drag this higher than it was to give a high waisted pants effect. Then I'll have to fix the curve here. Just a little bit. I don't want to make her look too curvy because it's not supposed to be based on a real human. We're just using this real image to guide us with the human anatomy just so it looks a little like humans but not identical. Just hold on control, click and drag your lines and zoom back to see how it looks. There's my pants. Now, on top of my leg layer, I'm going to start creating my shirt. We said we want the shirt to be this color. I'm going to first create a point to make a new layer, change the fill to this color. Now I can make a straight line. I'm not going to worry too much with the sleeves because her hair is going to come on top. But if your character has short hair, then you need to work on the sleeves. All right. Cut this. Again, the collar doesn't matter that much too, because because it's covered with the hair. We drag is a bit higher and I might change the sleeve type. But for now, this will do lower the opacity as you go. I brought it to zero, so it's easier for me. I want the shirt to come out of the pants, maybe drag it a little below so it looks like it's taller. Do the same thing here. Now I can connect it, maybe give it a little bit of a curve. Let's zoom this in. There's our funny looking character. Let's name this shirts shirt. But turn off the shirt layer so I can and also the legs so I can see the arms better. Now for the arms, you get to choose do you want it to be white? You want to be cream? Do you want it to be a light yellow? I'm going to go with a light yellow. I'm going to sample this and just work with the brightness or actually the saturation, not the brightness. Bring the saturation to 30, maybe 2020, it will do. And I'm just going to use. The reason why I'm not using white is because if I want to place this on top of a website, the website backgrounds are usually white, then it's not going to show our character because she blends in with the website. Choose a color according to the area that you're going to use the illustration in. I'm going to keep that gradual decrease. There's one arm. It's going to copy this with the alt holding down Alt. Flip horizontal, adjust just put it where it is. I'm going to bring the shirt layer above these, so I can see if I did it okay. Let's make the arms a bit smaller. I'm going to go with the curvature tool so I can keep the curves. This arm is looking good, but the other one not so much. I'm just going to delete this and then copy this one. Control T, flip horizontal, rotate as needed. Maybe rotate some more. Enter once you're finished. Let's name this arm right to her right, arm left. We bring the pants, she's slowly coming together. We turn off our subject layer. We're getting an illustration going on. Though her shirt is not balanced, let's create a points, bring this part down. Zoom out. Now it makes more sense to me at least. Now what I'm going to do is to start working with her head. I'm going to just turn off all these layers so it's not distracting for me, bring back my subject layer and just keep the shirt on. For her face, I was thinking I can go with an oval. I'm just going to go on the Ellipsool and just click and drag to make an oval going to make the color the skin tone that we chose, then adjust it where I needed to be. I can make it big or small if I want to. It all depends on my chosen style. I'll make it a little bigger. Just kind of rotate it this way. No, not that way. Is it too big, I think it's a little too big. I'm going to leave it this way. Now for her hair, it's probably the most fun part. Turn off the shirt layer on top of the ellipse layer, which is your head now. I'm going to make a point, change the fill color to black because that's what we decided for her hair. I'm just roughly going to create a weird shape. Again, you guys can make it curly, wavy, choose what you want. Just roughly going in like this and I'm going to change the hair later, the style that is. It's looking weird. Let's give it some waves because I want my character to have wavy hair. Let's create a wave here. I'm going to create that little area, the gradual area that hair usually has like that. I'm going to really make it bold for my character. And then give her bang bang. All right. Slowly coming together, and enter, I might make her hair short later. We'll just have to see how it's going to look in the end. Now for her neck, because it's below the hair and below the face, we need to choose different colors. First I'm just going to make my next selection. Again, it doesn't matter as much because it's below everything. Choose the skin color layer, click that and we're going to add more saturation. If the skin was 30, make it 50 to make it a little darker and more saturated. Just make this neck. Let's name it neck. Bring the neck below everything below the shirt. I think 50 is too much. Let's make it 40 there. Then adjust the neck, how you want it to look or better yet, let's just make a little adjustments, make it like that. Then on top of the neck layer, make another shape. Let me match the two parts and close the shape off. Make this the color that we mentioned. We have to bring the saturation down too because it's a shadow. Sorry, the brightness, bring the brightness to not 70, 90, limit this to the neck layer. Now we have a little fun shadow moment. We can rotate it, so it's only coming from one corner and not the other expanded if you want. All right enter once you're finished. I'm not happy with the hair. I'm going to just delete that for now. For the face, I think maybe a circle will look better. I'm just experimenting here. Click your point, drag it to make a holding down shift if you want a perfect circle. I'm just going to make it bigger. Or maybe not, keep it as it is. Hopes I made another circle. I guess I'll keep it here. For the hair, I'm going to give it a short bob, name this layer face, forget the A, start from the center, make the color black because that's the hair color. Then we're just going to make a little bob hairstyle. Then I'm going to come this way, give it the curve that hairstyles have. Cut this layer, and just make the Hair, look pretty. Do we make it like this? It all depends on your imagination. Maybe curve the head or actually not that area, curve this part a little bit, bring it this way and keep this part short. Bring the curve below, so it's matching. Let's just go in with a rectangle. I just want to make a flat shape on top of hair bangs. Alright. Trying to fix this area. It's sharp. Let me also fix this area. It's looking like a weird character. I'm going to fix the collar now because now we have short hair, and now I need to make it look better. Just click anywhere to get into the path and then bring it close to her neck. Maybe give her a circular collar. Going to make this smaller. She looks like she is slouching. Can keep that if you want. Let's actually give her some shoulder. Just experimenting to see what works better for me. Enter, bring the arms. Now I need to fix the arms, just bring them in a little. They will hide behind the shirt, doesn't matter. Give me the legs. She's slouching. We will have to fix that actually. I think it's the neck. I'm going to grab the neck and the shadow and just curve it to make it look like she's not slouching. Then bring her head, and the hair. No. Bring the head and the hair over here to where you like it. Now she's not slouching. She is bending towards the front, but that's better than slouching. Now I'm going to name this hair first, clean up to merge actually let it be turn off my subject layer to have a closer look at my illustration. We to start working with her arms because we didn't give her arms. This is the left. What did you give little circles for her arms? On your arm left, go to combined shapes and just make a little circle. The fill is the skin color. Let me just make sure sample this, it's the same color. I could make it bigger. All right. Now she has little circles for her hands. Go to the right and do the same thing. Combine shapes if you're not planning to maybe add shadow or separate the two shapes later on. That's not what we're going to do, so I'm just zooming out. And there's my little character. Now, what we can do if you want is although we can do that in another lesson, but I'll just give a quick overview. I'm going to fix this rough edge here. Just go on my pen tool. It's okay. I can turn into a live shape. Then we have too many points. So I'm going to just try to make her head curve a little better. I guess that will do. Maybe this part is two. Make it curve like the other side. Because she's looking at an angle, this part needs to be bigger than the other part, just perspective. I'm not going to give her a face because I like that it's the way it is. But what we can do, like I was saying, go to arm left or any other arm. Again, with the pent tool, go on top and try to create a shadow for her arm. Go with her shadow color, which I believe was this, and we didn't close the shape, so close it off. And let's see where is the layer that we were drawing. Let's make it a little faint. I guess it shouldn't be a square. Let's point it. First get into our shape layer, delete, delete this one, and just bring this on a corner. All right. You're going to copy this onto the other side, just flip it horizontal and then adjust it to the right area. Use my arrow keys to make precise placements. So is optional. You can barely see the effect that we spent time making. And I'm going to end it here. You can give it a little background. Let's go with this yellow. It's vibrant. It's pretty. Turn this layer off, go to my background layer, which is the white area that you're seeing, just make it yellow. Now, my character is shining even better. If I want to show my character, I should put a colored background. But if I want to put this on a website or somewhere, I should where's my layer? Thin layer? There it is. Bring it on top so we can see it. Yeah, I should keep a colored background because it allows everyone to see my my shapes and my paths. I just noticed this is there a curve here? Definitely have a look at your illustration up close and away so you can make sure that it's looking good and you're happy with it before you post it anywhere. So there is my flat character. If you want to do something else like he's doing a card wheel, you can use a subject image that is doing a card wheel. I'm going to delete these two. Also, again, if drawing from a real human is hard, you can always get someone else's illustration, use the basic head placement and arm length null as reference and then change it up to make it your own, maybe make the shirt smaller or whatever you like. It's just a really fun way to put out your creativity in a different illustration style such as this. Now, you guys can merge every layer if you're not planning to do anything with it, or you can just export it file export. Like we mentioned, what we just made is considered a vector, so it's always highly recommended to export as both PNG and SVG. That way, it will not get pixulated as we're working with it. You will use SIG on your website or another poster, book cover or anything large scale. You will use PNG on social media since most social media platforms will decrease your resolution as it is. But in A PNG is a better idea compared to a JPEG because PNG has a higher resolution compared to JPEG and you will not lose that many detail. You can also save this folder, save this document. And if you wanted to make another character, you would just move around the points with the pen tool, change the color, and now you have a different character. So this was it for this lesson. I hope you guys enjoy this. We'll see other illustration styles and further lessons. 34. 3D Style: All right. In this lesson, we're going to look at another painting style, a style that has a three D look to it, but it's not exactly three D because the drawing itself is too D, but we're only making the coloring three D. I would say it's a semi three D effect, which might be handy to you guys if you guys like the design that is. Let's go ahead and create a new document and get straight into the lesson. Go to art Illustration because it's an artwork. Again, I'm going to lower my resolution only because I'm trying to show the lesson and I don't want it to lag, but you guys should definitely keep it at 300 PPI. Just leave it B. I'm just doing this so it doesn't lag. It creates now I have a squared canvas which I can start drawing on. I'm going to unlock my layer. The drawing, I'm going to make a mushroom character and then I'm going to paint it in using the style that we talked about. I'm going to turn my pentel to shape. First, I'm going to choose a color palette that I will like. Let's see which one suits. I think I'll go with the pure color palette. I'm going to turn off the stroke, go to pure. I'll choose this red for our mushroom head. I'm using the curvature tool because the mushroom heads are curved, so I'll just create a bunch of points all around the head. Then I can go back and just move these around, make them the way that I wanted to. Let me I think it'll have to be like this. Let's say this is this head, I enter once you're finished, we have a separate layer. I'm going to name this head and I'll just bring it up a little bit. Then I'm going to lock it in place so I don't move it by accident. Go to layer zero and then we're going to work on the mushroom stem and then go to pure, choose another color. Then I'll choose this orange and I'll go into swatches because we didn't choose the orange. Go to the swatches here, and I will let the hue be, but I'm going to work with the saturation. Let's go for 50. It's too much 30, 20. I think 20 will do because mushroom bodies, I guess, they're not exactly too pigmented. Usually they're white, but because our background is white, I'm trying to avoid using the color white. Right. It's kind of a chovy mushroom. Let's just make it a little bit realistic by bringing in the sides. Okay. And then I'm also going to give the guys some arms and a little feet. Because I want that to be part of the body, I'm going to either hold a Now, you have to go to this thing that we talked about, go to combined shapes. Whatever you're making right now will be combined into shape one because it is a part of the body. I'm going to use a ruler for this, so the arms are leveled and I'll put another ruler at the bottom so I know where to stop the feet. If you guys aren't seeing this ruler, just hit Control R and it will appear. Another one for when I should cut the arm once I'm done, and it went away, combined shapes or just hold down shift, actually. I'm holding down shift. It's not exactly working it back to, I'm going to go to layer one, come back to shape one just to reset it, and going to make a layer first, away from the main one, and then I'll connect it here. Just a little choppy arm will do. Then I will have to do the same thing onto the other selection. Let's start from here, and then just come down. I don't know if they're equal or not. I'll just let it be. It just makes it fun oops. I forgot to do that. As you can see it made a new layer. We don't want that. Go back to layer zero, come back to shape one to reset the tool and then choose combined shapes, then continue to draw the arm. I enter once you're done. Now all of this is one shape. Let's also add his leg, go back to layer zero, shape one, combined shapes, and then I can just Oops. I went on the thing. I'll start from here. And just let the regular curve do its thing. I wanted the bottom to be a little slimmer compared to the top. I'll make it cuter. Enter, do the same thing on the other side. Make his leg a little smaller, continue making my chubby feet. Then a chubby foot, actually, it's one singular. I think you're equal. Just leave it like that, and there is his body. I actually think I should make it white because the pink is not really sitting with me. Go to layer zero. Let's just change our background in pure, let's choose. Let's see. Is this green good? Let's make it a little lighter. I think it's too dark, go to B to like I guess we should go for an 80, 90, 100. Then in saturation, let's go backwards, 40. I like this looks pastel, but we didn't change the hue. Layer zero, just change your background and then I'm going to go to shape one. Again, can I merge the two? I just merge the two shapes that I accidentally made. As in I accidentally made a shape separate from our body layer. Let's name it body. Now I can just go to shape and then the Pentool just change the fill to white. Now it's looking more like a mushroom. Another thing that we can add when you first remove these guides, go to view, come down to clear guides. I'm going to add these little white things on the head. I'm going to go on the head and then on my shape tools going to go to ellipse and hold down shift to create, it's locked, not letting me. Now go to layer zero first and I'll bring it back up. Hold down shift, click and drag to make a equal circle, like a perfect circle, I guess. Make it white, close the panel, bring it on top of the head layer. I'm just going to place these where I think they would be nice. I'm also going to hold down Alt. You can see that our cursor becomes two. Click and drag on D Ellips to duplicate it and place it wherever you think is good. You can also hold Control T to make them smaller, which we should do. Let's see. Let's also duplicate a bunch of these tiny ones. Put some here, some here. I'll make this one a little. I'll make it in between. And I'm going to also resize the rest so they don't look too identical. I'll make that bigger, make this a little smaller. All right. Now, the circles are there, but they're going outside our line. So we can just merge all the circles and then limit them to the head area. Because these circles all have the same fill color, the same stroke color, which is none, I can just merge the shapes without an issue. Go to Ellipse one, hold down shift to the last ellipse, right click, merge shapes. Now it's one layer. I can easily just limit this to the head layer by holding down Alt and clicking in between the head and the circle layer. Let's name it circle. Now it's in there and we have an organized mushroom. Now, the body is looking tilted to me. I'm going to go on the body layer, Control T, move it to make it straight. I think that's better. There's my mushroom. Move it a little bit here. All right. I think we went too far. I'm going to use my arrow keys, control teeth, and arrow keys to make more precise movements. Now I was thinking that I can add a face onto my character. I'm going to also lock my circle. I don't want to move them around and my body too. And what I mean by, I don't want to move them around is that if I was, let's say, if I drew something here, and I want to move this, but I accidentally end up moving this, it's going to be really annoying. I'm going to lock the layers that I'm not going to I don't want them to move and then proceed to make newer layers. All right, on top of the body, let's make two little eyes. I will go here. We'll have to fill it first make our circle. Make a little circle. Let's turn the fill to black. And then I'm going to zoom out and see if the size is okay. I think we'll have to make it a little bit bigger. Now it looks creepy. Going to make it a little bigger and I'm going to right click, go on Distort to make it longer, a more cartoon like effect. Position it where I want it to and then hold down Alt to make an exact copy. There is this eyes. We can merge the two because again, they have the same fill, they have the same stroke settings. They can be easily merged. Just select the two, merge shapes. Now let's name this eyes. And I'm not going to add a mouth to it. I think this looks cute. And the math will just make it weird. All right. I think that's about it. We didn't want to make it too complicated. We just made a simple mushroom drawing. Now to color it, I'm going to first go back to my pure color palette. Let me close this so it's less confusing. I'm going to start from the body. Now, because the body is white, we need to go to our gray scale to choose different shades, choose a different amounts of gray to use it for shadow. Go on top of your body, create a new layer, limit it to the body. Let's call it body shadow. This is one way to paint things in. I like to do this. Right click General brushes, soft round. Now, to create that three D effect, again, it's not exactly three D. The soft round brush is perfect for this. Change the mode from multiply to normal. Although I'm going to see how it will look with multiply. I'm going to choose a let's see which gray looks better. Is this better? It's too dark. It's too dark too. Trying to find the right I think this is the right color, right. So what it means by multiply is that if I keep going on it, it will get darker, which is helpful for me because I'm trying to make a darker shadow here and then like a lighter one here. So I have many options, and I don't have to make several layers for different intensities of shadow. Now because our body layer is below the head layer, everything will be limited to below the head. I'm not really painting in the head. Don't worry about that. Now I can start make my brush a little bigger and create that curve and then go over it again to make it a little darker. Okay, got some on the side because it's curved. You got to follow the curve. His arms too. Okay. Now, miss the head a little, come down to the foot, make it smaller and do the same thing. We went too much, make it smaller even. Trying to give the impression that like he has a big tummy. And yeah, he has a big tummy and the shadow is there. I'm trying to kind of blend it in. Didn't work. Okay. We'll just make our brush bigger so it looks better. Make it bigger, do a few tabs. Then with the eraser tool, I'm going to make using the hard round, going to make a sharp cut here, so it looks like the shadows only on his foot and not his belly. Let's see. His arm is okay. And we've got to think of the light source. Where is the light coming from? Is it from above the side or where is it coming from exactly? Right now with the way we drew it, it looks like it's coming from above. But let's actually not do that. Let's say the sun is coming or the light source. We create a new layer just so we have a reference. The sun is coming from let me get a lighter, brighter yellow. It's coming from this side. That means that this side should be bright, this side should be dark. Going to go to body shadow again. Use the gray that we're working with. I'm actually going to go for the color black so I can then change the opacity and adjust things. All right. So if it's coming from here, that means there needs to be a triangular effect on the side and then a light a light curve on the side, and his foot should also be there. And there we are. If we lower the opacity, we can make it look better. Add a little bit of curve here and here. All right. That was his body shadow. Now I want to do the same thing on his head, go on top of the circle, create a new layer. And just actually bring it in between the head and the thing. We will probably have to let me see. Now we don't have to do that. Let's name this head shadow it inter, do the same thing as we did here on here. It's going to be a really big shadow area here and it's going to get lighter as it goes towards the sun. Do something here, lower the opacity. Just right. 45%. We do. I also miss this spot. Make it a little darker on the edge. Let's do the same thing for body shadow because it gets darker as it gets further away from the sun. That was the shadow. Now let's work with the highlights because as you get closer to the sun, it will be brighter. The middle would be the normal color that we had and then here it will be lighter or brighter. Go on top of the head shadow and then hold down to limit it to the head. All these layers should be limited to the head. Let's name this head high light. Right now with the head highlight, we will use the color white, the brightest color, and it will look a little weird on the mushroom head. I'm going to go on my head shadow layer, choose a very light gray, though it has to be a little darker because we lower the opacity and just go over, I actually have to create a new layer. I'll just go with this really light gray, I'm going to limit it to the circle layer. Going to cancel this and I'll just delete this. Maybe go to the circle layer, the Pen tool and just choose that grayish color in my shape. Yeah, for the shape. Now in the head highlight, if I go with white, it's affecting everything. Now for the white, we want to make a really rough selection. Lower the opacity by a ton. Okay. And instead of multiply, we shouldn't be a multiply right now actually. Go to ten I think, and just do what we just did. You can see that here it's completely white and it gets lighter as we go. I'm going to actually go to my eraser soft round, kind of make it a little better. A little shorter. I think the highlight was way too much. Just go to limit it to the side only. G turn the soft distracting. Now on his belly, we're going to leave the belly alone, it's white. And actually, we could do without the head highlight. I would just have the shadow. This part is already bright. And what we can do, if you guys want it another way to do this effect is to go on your body layer, turn this off for a second. On body, go to the Pen Tool or the shape tool, go to fill, and you have this gradient effect here. So you have to make sure it's linear, black, white, or any color you like, and then change the angle. That is there. I'm going to create a bunch of white points just to make things a little better. The problem with this is that it will not look that great. I just like to go with a brush, but you guys can always do with what you think works best. Okay. But again, I don't really like this, so I'm going back to the white and just add my own body shadow, go on. I think I believe this was the gray and just fix it up a bit. All right. As for the head shadow, I think it's way too dark. Maybe we shouldn't even put that. Yeah, I think it's not looking that great. It's way too intense. I'll go with 11%. Okay, what else can we do to our little mushroom? We can add a fun little background. I'm going to turn all of these layers off so I can see the background better. Go to layer zero. And instead of the bucket tool, right click to get the gradient tool and choose any color that you like. Let me try this purple and blue thing. Click your first point, drag and let go for your second point. And now you have a cool little gradient. You can change the mode. Go in radio and see how it looks I will create. The first one would have to be in the middle or anywhere else that you want. Depends on you. But I don't really like the colors. I'm going to go to see what we have for pinks. We have this three color effect. Let me go with this. See how this looks. Not sure if I like it. Trying to see which direction will look cool on our mushroom. Let me group all of these. It's easier to turn on and off. Let's also create a floor for him, so it's standing on it. Go to the Pentool or we can just draw a rectangle. It's not that deep. Go here. I'll make it this big D fill. I will let's see what color should it be? Should it be like this? I don't really like that. I'll make the ground smaller. I mean, shorter. Let me try black. Is that better? Can't tell. R? Pink. Let's stand with pink. Control we can't control tea because it's locked. Let's unlock our layers. Now we can control bring it on top of our floor, and enter. I will also add a special effect to this group because we want a shadow on the floor because he's standing on it. Go to this FX, go to drop shadow, and it will open this panel for you. Now it's on multiplied to color black, the opacity, you can change it. You can now change the angle. Let's see. And it can change distance. I want to be a little distance. The angle is not correct. Bring it down. I think the distance is too high too. I think this will do. Maybe it should be below. I'm not sure how the shadow would look like. Let's just keep it like this. You can change the size as well if you want to be like this or like that, going to make it like this and also make it spread a little. I think this will do. Hmm. You work with the opacity, make it a little faint, okay once you're finished. All right. Now, what can we do? Mm. Actually, I don't think there should be any drop shadow on the background because the background would be further from our character, and it will only just be the floor. I'm going to delete my effects. We just hit Control Z until it's gone. I'm going to hit Control J on our group, and I'm going to put a mask layer. And before that, I'll get my rectangular tool and just select the area where he touches the floor. Then once we have that, hit the camera looking tool. Now on this, we can go ahead and add our drop shadow. Again, the same panel, now it's only on his foot and not the rest. Trying to give the impression that he's standing on the place on the table, distance spread. And I guess, this will do. Now with the though this will not work because we have the rest of the mushroom. I'm going to just do this layer. Then on top of rectangle one, just create a shadow layer, call it shadow. Where is it the shadow and create a shadow layer. Paint in with soft round. Where again, the light source was coming from here, it would be something like this. Limit this to rectangle one, which is our floor. We can change the opacity of our shadow layer. Just make it low 23% is good. There is our mushroom to create a fun little retro poster, first name my group one mushroom. When you name it, it's a lot easier to understand. Take your mushroom and the shadow layer, Control T, and just move them to the side. I'm using the arrow keys on my keyboard. That's too much. Just a little bit, so I have some space here. Now we can add some fun little text using the text tool on top of the mushroom layer. Let's type fun. As for the color, I'm going to use this purple, increase the size, actually make it bigger. Fun. Bigger and then hit the check mark. Let's bring this below our mushroom layer, go below the floor layer two. Fun. The font isn't exactly that fun. I'm going to choose a elephant elephant font. Just click on it. Hit the checkmark. Actually, I'm going to add more text. Let's write U fun. Control A, we need to fix the spacing between the words. You are fun and bring it down here maybe. The whole thing is half capitalized, half normal. Let's write. You are fun. It's just a random text. Let's try to make it all capital. Capitalized? You are fine. Okay. Hit the checkpoint and it's a little too mushroom is a little too big. We can't really see the text. I'm going to hit Control tea with both of the layers that are related to the mushroom and the mushroom layer itself. Then I'll just make it small enough. As for the text, I'm going to make this smaller too. Should we bring it up here? Yeah, I'm going to put it up here. Then after the Rs, I created a new layer. After the E, going to put a space. You are fun. Let's bring it. Let's also hold Control A to select everything and going to increase the space between the words. We're fine. I'm just going to remove the E and DA. It's like a quirky text. Do we bring this back where it was? Just a little silly design that I created for the lesson. Going to change the alignment to the center. Bring it to the right place. I think this will do. All right. Let's also add a gradient effect to the text. Go to the text tool and I'm going to make a new layer. We'll do that later limiting it. Let's choose another gradient, something similar though, and then just do something like that. Limit that to the text. Although I want to change the gradient, it does not look a separate greens. Let's see what we have. Is this better? Can't really read it. Let's just search around the gradients. Hm. Orange isn't it. How about red? I guess red will do. I'll leave it like that, and let's also add a drop shadow to our text. Go to the FX symbol here, go to drop shadow, and let's fix the Oops, that's the wrong way. The shadow. Just a little shadow, change the distance, spread it around, change the size. And it okay. And there's our mushroom. Like I said, it's not exactly three d. It's kind of three D, and I try to keep it really simple or else I would have added more effects. But we'll do that in lit a little while. Like after a bunch of lessons, we're going to try to make more complicated posters and designs. For now, this is really simple. You guys can do it on your first try. Nothing too hard here. I hope you guys enjoyed this. I will see you guys in the next lesson. 35. Watercolor: I'm back in Adobe stock, and we're going to look for a simple drawing that we can trace and then color using photoshop brushes to make it look like a real watercolor painting. You want to find a drawing. I'm just going to go for cute elephant. Go to find something that's easy to trace. So I don't take that much time. You guys can go for something more difficult. But let's go with this one. But to license it. I'll get the JPEG because I just want to trace it. I'm not going to use the actual image. All right. Then I'm going back in Photoshop and we have to create a document suitable for such a thing. Go to Create New art Illustration. Let's see, should we go for a poster? We'll just keep it square. Because I'm not trying to post this anywhere, I'm going to keep the resolution low so it doesn't lag. But you guys, if you're trying to export it somewhere, publish it, be sure that it's at 300. I'm just doing this so everything loads faster and the lesson goes smoothly. Create there is my Canvas. With watercolor, like you would in real life, you would be drawing on watercolor papers. They are textured paper. You can tell when you're stroking with your brush, the paint goes in between the crevices of that textured paper. We need to mimic that because right now all we have is a blank, a flat paper, and our brush is not exactly watercolor. So let's unlock our background. We're actually not going to touch it. We're going to create a new group at the folder mark. The background is not in the group, so make sure that's outside. This group is going to be our textured paper. Let's write that. Just write paper. Then we're going to mask this with this rectangle and circle thing. We're going to mask this. And then we're going to in the mask layer, not this, go to the mask layer, go to edit, come down to fill. Instead of foreground color, we're going to go on pattern because textured paper is considered a pattern. Here in custom pattern, if we open it up, we saw earlier that we only have a few selections and these will not really help us, so we have to change the presets. Before I do this, I have to first bring in the patterns window, go to window, come down to patterns, and now we have legacy patterns and more. Close this, be on the mask layer, go to edit, fill, then go to pattern. In the custom pattern, go to legacy patterns and more. And then in legacy patterns, go to artists surfaces, open that I'm looking for not oil pastel, quash light on watercolor. This is what you're looking for. Click on that, click away, it okay. Now you can see it went from white to this texture. Now immediately, you can't really see much. There's no effects going on, but that's because we're not using the right brush. So now we will create a new layer. This will be where our drawings will be. Then we're going to change the layer. Let's name this color. We might have to change the name later. Go to instead of normal, go to multiply. Now if you go on your brush, right click to find a watercolor, got to go to wet media brush. Let's see which one looks good. No wet blender. And I'm not sure if this will work out. I think we need to go and download some brushes. Yeah, I would have to download some watercolor brushes to bring it in here because none of these are for watercolor. Let's go to chrome. I mean, Adobe stock, but again, you guys can search for other websites. Just search the watercolor brush, and we have a ton of options to choose from. I'm going to go with this one right here. Let me see what blush pink, no. Are these even brushes? Alright, so I wasn't able to find what I'm looking for. I'm just going to go for search in Google watercolor brush, Photoshop right there. My favorite place is Bush Easy. I think that's how you say it, Brush easy. You just have a lot of options. I apologize for the rooster and we're going to look for something that this is the one I always get with ink Photoshop brushes, click on it, free download. This is free. It's great. We're just going to wait for this to download. Okay. There it is. Going to wait for it. You guys can download any other brushes that you like if you like oil pastels, maybe pencil. Actually, let's download pencil while we're at it too. There it is pencil. I've come here before because we're trying to trace our elephant. I want to make sure we have the right watercolor look so we need a brush. This underline pencil brush. The change the filter. These are not looking like the pencil brush. Trying to find one that will look good on our thing. Although I think we have a pencil brush. If I go to right click charcoal pencil, turn that off. We have a pencil brush already. There's no need to download one. This is downloaded. Going to extract it. Right click open with WinRAR. Just open with that and then right click and we have to import it here. In my brushes, right click in this setting thing, go to New Brush Preset, or actually, sorry, you got to import brushes import brushes in our downloads, where we found the where was it? But I find the location and then I'm going to import it and hit load on it. I'll be right back. I found my brush. I imported the brush. Now if we right click, let me close these. Not special effects. There we go. Free wet ink Photoshop brush too. We now have that's really big. We now have brushes, watercolor brushes. If I go on this color layer, change the mode of my brush to multiply as well, it Inter. I can now, let's choose a random color. Do some watercolor drawing. Just like watercolor, if you go on it, it will darken as you go. Another tool that we will be using in this lesson is when we want to blend two colors together just like we would in um in real life, let me see which one is better. They're always so huge. I think this is better. Let me choose two colors that would make sense with each other. I'm going to make a stroke with the screen, then I'm going to darken it in the brightness part, for 83. I made it too bright actually. It 73, I want to go for 54, just something a little dark so we can blend it in together. It's okay if it's on the same layer. Go to your Much Tool. It's right here. Now it's on the blur tool, come down, right click much Tool. Turn the strength to 10%, just really small. Now if I go to increase my brush, I have to turn this I mess something for the smudging. Again, I'm going to go with a random color and make my brush a little big. I'm using I ended up using the wet media brush that Photoshop gives it to you, Kyle, Ultimate inking thick and thin. I'll go once. Make sure your layer is in the group so it gets the texture. Do a bunch of colors on top so we can learn how to blend them in later on. We have some colors here now on the same layer, I'm going to go to the Smudge tool, mode normal, strength nine, and just blend in those rough edges. I got some here. I'm just showing this so you know how things work and then we're going to get into the actual practical way of first tracing an image and then coloring it in. We just blend it in like how you would with normal watercolor. It's really cool because this is all digital. And it's less messy. I would imagine working with watercolors can get a little messy, but this is just all in the computer. I'm going to get my eraser tool and just delete everything going to drag our image. Not quite sure which one it was. Okay. I'm reading the tags company, elephant Child. That was the image we got from the Internet. But just like any other illustration, you can draw it on a piece of paper and then take a photo, bring it onto Photoshop, so you would not have to go online and get something. I'm just doing this because I didn't have anything prepared. Now I'm going to turn off the textured paper layer first, bring this out. This is what it looks like. I'm going to create a new layer and call it outline. For this, we said that we wanted a pencil color instead of your regular color. Hello, Kyle. I'm remembering this. I need to remember the brush. The brush name, so I can come back to it later. Now if you want a pencil, you would have to go to dry media. Let's see which one works better? Get Black. Is this better or the charcoal pencil. G to go on the first one, which is Kyle Ultimate pencil hard. Choose my thickness. I think this will do. Go to the Pen tool and we're going to change it to path so we can get the same effects from our brush. Going to lower the opacity of my image, not my outline layer. I'm going to start let's see where should we start? Let's start up here. Just click and drag and trace your image. I'm going to do a small part just so you guys can remember how it worked and then I'm going to finish it and then come back so it won't be a long session. I'm going to come until this part of his head, we zoom out a bit so I can see. Let me cut this part. As you guys remembered, once you have your path, right click, and we have to go on our outline layer. Go on your outline layer. I to fix it with the curvature tool. You can see I missed the curve that the trunk has. Let's cut it here. Go to remove the image layer. Right click, you don't have to remove it. Stroke path, brush, okay. Now we have the same effects that we assign in the tool onto here. I think it's too thick, I'm going to control and reduce the size maybe five pixels. Go back to the Pen tool on the outline layer, right click stroke path. I think this is better now. And if we bring our elephant, there he is. We have a stroke now. Using the same method, I'm going to trace everything. Just to make it more watercolor, I'm going to skip out some of the parts. I'm not going to exactly follow the lines, and then I will be right back so we can continue with the coloring. I stroked each line, avoiding the ones that I didn't want to be in the final product. I didn't add the strokes in his ear. Or his face and using the same stroke path method, I did the entire thing. Now if we turn off our image layer, we can see that we have a nice pencil stroke of our image. I'm going to delete my image layer. Actually, let's keep it to sample colors from it. I will sample first bring back the opacity, I will sample this gray. And the pink, and that's all I need. Now I can turn it off and just put it away, but not delete it just in case I might need it. Now, if we go to, this was named outline. If we go in our textured layer, create a new layer inside that, let's name it color. Going to bring my outline layer on top of my textured paper group. That way, if I stroke out of the line, first let me bring back my brush. I believe it was this one. If I stroke, my line is still there. Change the layer mode to multiply and also the brush mode. Turn that to multiply. Now we can begin painting in our elephant. You guys can be messy, it's watercolor. You don't have to go in the lines, but don't let go if you want one shade of pink. Trying to fill it in as much as I can. Now to create shadow under his ear, going to click again. Now let go to make a selection to paint in selection that is. There maybe a darker one on the very top. Then I'll use my eraser tool. I guess, we'll just use soft round or hard round actually to just delete the area that aren't supposed to have any pinks. That areas for the gray color and not the pink. Do the same thing here. As you can see, because we have a separate layer for our outline, we can easily delete the color without going on top of the outline layer. I'm going to leave the blending for later. Let's just continue with our coloring. I'll actually make two separate layers. Let's name this pink. So that I don't mix the two colors in once I'm blending. The other parts that have pink are foot is the foot. Again, adding going on it again for the shadow, and then deleting, erasing that part with my eraser tool. It's really simple. Let's do the same thing on the other side. This part doesn't need any shadows because there's nothing on top of it. Make it clean. Then for his toes, let me refer to the first image. I think he has a similar pink, just a little darker. Let me just sample that, turn it off, bring back my layer, and then using this darker pink, I'm going to fill in his toenails. All right. Again, if you want to make it darker, you can layer on it by going on it once more to create this dark pink color. Let's keep things tidy as we go. Lightly delete, keep saying delete, erase the surrounding. Let's do the same thing for his other toe. And then do another stroke on all of them. Do a third stroke to create that shadow. Clean the edges, need to make our brush smaller, slightly tab along the sides to give him clean toenails. We've got one here. I could just lower my brush size. I don't know why I'm making things so hard for myself. Just adjust the brush size accordingly, and you will save yourself a lot of time. All right. You have the final foot. Got three more toes to go. Three more toenails actually has nails. Second time for a darker color. And eraser to erase the extra parts. Parts. All right. Now, let me try to get in the crevices here. It's okay if it looks uneven, we will blend everything in and it'll be okay. We're done with the pink. There's nothing else that needs to be pink. Now we can move on with the gray. I'm going to create a new layer, call it gray. I enter, change the blend mode for both the layer and the brush. The brush is already that color. Go to the gray that we sampled earlier, adjust the brush size, zoom in for a closer precise look and just paint in the ear, the top part. I'm just making the edges a little dark just for fun. I'm going to go on it again. All right. I can make my brush bigger because we have a large area to work with. Make it smaller. They will be blended in. Patchy things are actually good for watercolors. This is not a solid drawing as a solid painting. We're not using solid colors to paint. Watercolors usually have patches of different colors stacked on top to make a pretty image. Let's do the same thing for his body, give it a light gray in the middle part. Try to get close to the edges as much as we can get this part as well. We could actually use different colors to give it more personality. I will maybe use some blues, some places, maybe some reds to go with the pink. But you can choose any color that you like. Don't forget his tail. All right. Now in the second part, we will go over the areas that will have shadow, which is his tail. This part between the enhance, this foot, I guess, that's all. Let me just erase this area. Try to minimize my brush as I go. Because we created a separate layer, if I went on the pink, I could just delete this without deleting the pink area too. That's why we created two separate layers for coloring. Because gray and pink will not go well together once we try to blend things in. We have this drawing now. I will use the color blue on top of the gray. I guess we'll just make small adjustments around. This may not be properly colored, but I'm just trying to show for education purposes. Let's just make some random patches on his ear and then for the pink, let's go for this orange pastel color. Just go around everywhere. All right. I did the orange on the gray layer, go to the pink layer. We didn't spend that much time for nothing. Now I can begin blending things in. As I go, I could add more colors. I'll just go to my smudge tool and just do light dabs. I'm going in circular motions. You can see that it blends it in perfectly because we're on gray, we're not touching the pinks. We're only working with anything that's in the gray layer. You can see how beautifully they blend in. It's almost as if this was a real watercolor drawing. Okay. Got some around his face. I'm actually going to keep it messy like this. I will not be erasing the edges because I feel like it looks more authentic and cute this way. Now let's go on the pink layer and do the same thing. Small adjustments, small clicks around his ear, and we're going to leave the toes be. But I did get some gray in his ear. We don't want that because it's not the right place. Let me just delete any blue or gray that accidentally came on our ear. Now we can use other colors. If necessary, what else can we do? Maybe we can create more dimension in the gray layer. Go back to the brush. Let's choose a dark blue and I'll go around his bottom. And also the top of his ear, giving a children's storybook why. On the pink layer, go to maybe this pink that we have here and just make a shadow layer. Let's also go a little around this ear loom. Go to the smudge tool, smudge things out, blend things in, and try to only blend the edges and not the actual body of the color because that will ruin the whole purpose of adding a darker color. Little tabs around the edges around his tail, and there we are. Now for the outline to look more real, I'm going to first see if we can work with the blend mode, see if there's a blend mode that will help us get things to look more realistic. I'll just go on multiply and reduce the opacity. To about 45%. I think this looks more watercolor compared to what it was before. Let me also check overlay, see if we can work with that. I think overlay looks better. I enter once you're finished. Although there's barely anything, go back to multiply. Change this to. I'll go with 49. Let's zoom out. Now to adjust the colors to make them the way you want it, you can create extra adjustment layers to adjust how bright or dark you want the colors to look. I'm going to go in levels. I'm just going to maybe work with the darks to make the color a little darker and do that. I'm just messing around with the levels. Now you can see before and after, I'm going to limit it to this group, so I'm not affecting the background. As for the background, we can actually put it in the, don't do that. We will add a nice pastel blue. Maybe that can look good. Let's see. Let's lower the opacity. A, let's just keep it white. I think it's because of our textured paper layer. We'll just keep it white for now. And that's about it. We can do some extra lines maybe for the eye or something. You can create grass at the bottom, not with the color white. Let's go go back to the pencil that we had pencil hard. So maybe we can do a little puddle. It's optional and I will put my color layer in my textured paper layer, get a blue, and this is the oh, you have to go on our layer, multiply. Brush, also multiply, and enter. Why is it gray which shows gray? Make your color blue. Just add a little blue, maybe layer on top with some purple. We can also add a little sunny moment at the back. This is all optional. You don't have to do this. But this was just how you can use the Photoshop brushes and some blend modes to create a watercolor painting, which is really cool, really simple. Although if I spend more time on it, it will look more clean. But this was just a demonstration of how the things work. I hope it was helpful to you. If you're planning on maybe doing kids illustration, maybe making a children's book, this technique will be really helpful for you. Or just any other drawing, painting type. In other lessons, we'll look for other styles such as comic book style or maybe random illustrations. By the end of this course, you guys will know how to fully digitally paint in your drawings or drawings you got online and there will be no limits to what you can create anymore. I hope you guys enjoy this lesson, I will see you guys in the next ones. 36. Textured Storybook: A very trendy style of illustration nowadays is the children's book Illustration. What that refers to is just simple illustrations but with certain textures and patterns on them. For this lesson, I just went ahead and drew this raccoon really quick and I've also separated my layers. I've named them. So this is the face or should I say the head? This is the head and this is the body. Everything is organized and if I open my group, I have named everything. Which you should definitely do when you're dealing with illustrations because there will be a lot of layers. I already colored them. I'm going to use really simple colors. It's just the grayscale colors. It's not that complicated, so it would be easier for us to understand what we're doing. Before I start adding textures, I am going to work with the brushes, maybe make a few custom brushes for my illustration. Turn both of these off. And I will make a new layer, right click. I will get my soft round brush, get the black color so we don't have to change the lightness later. I will make it really small, remove my background layer, and I will change the blend mode to dissolve. If I do that, this is what it looks with normal. With dissolve, it will look like this, which we can remove the flow as well. It's like a textured charcoal like thing. If you can lower the opacity if you want, or lower the film. So we have the option to use this when we're masking out our colors, but there are a lot of brushes that you guys can download online from either official ones or just the ones that come in default come by default in Photoshop, like dry media brushes, wet brushes, and the rest are just the ones that I downloaded. So I'll go to Dry Media and I will look through to see what can give me that rustic illustration. Look, I will remove that, make it normal, bring back my flow and see what will work best for me. And I'm going to use these as little lines across my character's head. I guess I'll go with this. I'll delete this for now. I will make my brush really small. This is a pattern that I'm going to add for my character. I will click Hold Shift and drag to make little lines. Little straight lines, that is. I guess I'll do it one by one, so it's easier to work with. Then I'll get the Marquee tool, go to Edit, define brush presets, call this pattern. You can see we missed something. Let me delete that Control D. Make sure you don't leave any extra detail because that will come with a brush and then you will not notice it in your drawing until it is too late. Let's call this illustration pencil pattern. There it is. Control D. I now have a brush. I like how faint it is. I don't want it to be too much. Make sure your opacity is at 100 and now I have my own custom brush. I can choose the color and I can get started. I'll start from the body, spring the head as well. Go on the body, make a new layer, and then hold down Alt and press this pressing between the two, so you can see this flash. If the flash is not there, you can also do this. Go on the layer one, right click right now it's release clipping mask, but if you go in again, create clipping mask. Make sure it's on top of the layer that you wanted. I will call this pattern. We will make some more for shadows and highlights. I will use the color that's on his nose, hold down alter option until you see the Eyedropper tool. Click on to sample that color. Then I'll make it lower and I'll just start creating these little lines. It doesn't have to be perfect because it is a rustic illustration. It's supposed to be fun. I'm just going around to give some texture and to give him the hair that the character is supposed to have. Raccoons have a lot of hair. I'm creating that with this custom brush. Just going everywhere. Because I created that clipping mask, I cannot go outside of my layer. You can see I cannot really go out. If there is no clipping mask, it will come out and I can just easily get out of that layer. I will create the clipping mask and continue making these little hair things for my character. Now I will lower the opacity. And change the blend mode to overlay. I want it to be really faint. I don't want it to be that visible because it's not that big of a deal for people to see that he has hair. Now I will do the same thing for this head mark that he has. I'll go to head. I named it head mark. On top of head mark, it will automatically be clipped onto this because we had some clipping mask going on, name it pattern. Forgot the A. Then I will use the same technique to add some patterns, try to make it random. Always you have the option to undo what you're doing. Just go in freely and add some textures. Then change the blend mode to overlay and then adjust the opacity if needed. I will actually make this a little bit more visible around 50%. And now I'm done with this brush. I will start with the ears. If you click this because auto select is there, it will bring me to that layer, but if it's off, it will not bring me to any layer. Make sure this is turned on and change the option as well. Hit Inter and zoom in and create something for his ear. We'll just use the Pen tool. I forgot to give him the inner ear part. I'll just do that right now. Then I'll sample this color. Under face, it will be there, and I'll just name it. I name these wrong. I ear left. This is inner ear left. This is ear right. Let's zoom out first, hit V on your keyboard to get the move tool, hold down Alt or option to click and drag and make a copy. Then bring it on top of ear right. Control or command T, right click, flip horizontal and just place it, pay attention to the guidelines that you're getting. Let's name this inner ear right. Now he has those inner ears. We can now start with as in continue with maybe some details on his face. I want to give him some sort of blush. I'll make him cute. On top of your face layer can go in, let's change our brush. I have to make a new layer first. Let me get a pastel color and see how that will look. It's really faint. Looks like he has acne. Let's give him a better brush for him to use. Make this bigger. This is cute. I will make these little blush marks for him. Then I will lower the opacity. Move it a bit here. If you wanted to move one of them, just get your Lassa tool, select Control or command until you see the scissor, and just drag it where you want it. Control D, do the same thing if you want, do the other one. Control D, I'll bring a ruler to see if I'm putting them in a similar location at least. Control D. Now his eyes are not leveled. I will move his eyes, bring it in closer. Actually, we'll just leave it like this. Again, I'm looking at the guides for guidance and the expression changes as you bring the eyes further and as you bring it closer. Right now, he looks silly and dumb, which is cute for this character. But if you bring it inwards, he looks more aware and more normal. I'm going to keep it somewhere in between like this. Actually, I'll just bring it above the blush marks that I gave. I'll use a ruler to place them in a similar location. Let's get rid of these two. Now I will go on top of his arm, get a brush, be on your keyboard, sample this color by holding Alter option, click on, you have the color now. I'm going to create a furry effect on this arm. I will call this that we could create a layer mask. I'll go in with my black brush and just erase the unnecessary parts. Okay. Now for the shadows and the highlights, we are going to create a new brush because I want to be a really grainy brush, but at the same time, I want it to be faint and not that extreme. I will turn off my layers for a second. Then I will make a new layer. On my new layer, I will get the brush that we were using I believe it was this, and the name was forgot what brush. I was happy HP, HB. It should be in your default brushes in the dry media one. Then using the color black, I'm going to make make it bigger. I will make a couple of hits like that until I have a solid black in the center. Then we're going to add some filters to it. I'll go to filter, noise, add noise. I want to give all of the noise, make sure it's monochromatic and choose uniform for 100%. Hit okay, then go to filter, blur, Gaussian blur. And you want to blur it out a little bit, not too much. I guess this will do. Just so that the noise is not that sharp, okay. Now I want to soften the effect. I will have to erase some parts, hit the eraser tool and we're going to I'm going to get the soft round eraser tool. And before I start, I will use the edge to that's too much. Let's lower the flow about 41% and I'm just kind of making the edge a little soft. Then in the center, I will make it 21% and then just add it and I will work randomly around the edges. I don't want it to be so sharp. As you can see, it's really faint, which is exactly what I want to add some in the center. It's really random. Now I will get my market tool, grab it, make a new brush. I will call it shadows, shadows, hit Okay. There's my brush, Control D, and now it's a really faint brush that I can use to add detail to my character. On top of the body layer, I will make one called shadow. Then using black, I will just go in and I will just add like this. Then we can either change the blending mode to overlay and then lower the opacity or you could just do that from the beginning to add some dimension to this drawing. I'm going to zoom in. Unfortunately, I think once we were trying out the brushes, I drew on my pattern layer so you can see. I will have to delete those extra areas that we made, which is most of them, bring back to flow. Turn this layer off. I'll just get the brush that I made earlier, which was the custom pencil brush, Illustration pencil brush. I'm just going to redo this pattern that I just did. I'm doing this because I drew on the same layer atently. Then I'll be back so we can continue. I added the details and to ensure that I don't draw on it again, I'll just lock it in place. Now I can work with my shadows. Let me go back to the brush I made. I was this. And I'll just continue doing that and I'll change the blend mode to multiply the blend mode of the brush. As I make more strokes, it becomes darker, you can see, M undo that. If it's lighter in these areas, I want this part to be darker. I'll go in on the edges and you can see it's dark to light. I'm just working with the area. I think the shadows are okay. And now I need to add even more shadows to the arm behind the arm. I will just where's my arm right on top of arm, look below it. You will add some. You have to think where the sun is coming from. Let's say the light source is coming from here, therefore, my shadows need to be behind this arm, I'll lower the flow. I still too big too much. And I will just kind of go along. I will remove the blend mode from multiply. We don't need to make that effect. We don't need to make that effect, hit Enter. I think I'll just kind of go around. I'll try that again. I'll just use this brush as a razor one. I'll actually go with, um, more grainier one splend in perfectly with the arm. Let's go for overlay and just very lightly add something. I think we need to make the arm color dark because it is similar to the ops, should we do that? Let me see. Where's his head? I think we should because you could barely distinguish the arm from the body. Let's make that one the same or at least this color. It's the same color. Now that the arm is visible, we can work with the shadow a lot better. Where is the one that we just made? I think it was. There it is. Get really small and then get the black color, make the opacity 50%. Now let's just let's make a arm effect. Start again and we have to make it at an angle like this, something like this, at least. Because if the sun is coming from that way, let's make it overlay. I went out of our thing. I'll just make a clipping mask for the body and it will go right where it belongs. It my eraser tool and clean the edges a bit. The top part. I got a slight shadow effect for the arm, and now we need to make one for the head. I'll do it in the same shadow layer. Just make the brush a little bit. I'm on the eraser again. Do it with your brush. I think this was it because we have the settings on, it's just going to be a lot easier. Although change your blend mode to multiply for the brush, not the layer. I'm going to first make something here and then I'll go in more around the area. I think it's because it's on overlay. It's fine. We'll bring back the opacity 74%. This part is a little bit too uniform. I'll get my eraser and my soft round eraser there were and fade out that area. We have a bald spot here, so it's an angle coming down to the body. All right. I might come back to add some more texture, but for now, this will do. That was the head and the arm. Now let's add some shadow to the, that was a body. Let's add some shadow to the head. Make a new layer, call this shadow, your brush, and we will have to change this to overlay. Let's see how that will look. Don't like that. We will make it keep it normal. Lower the opacity to like 50%, make it big. Just kind of dab along the face. Okay, and then get your razor tool using the same brush and kind of soften out the edges. I'll lower the opacity even more. All right. We're coming back to this to add more shadow effects, don't worry about it now. We will come back for it. Then we have to add some on the nose because we said the light source was coming from here, so there would be a shadow cast it around here. Get your brush and just dab away. Get your razor tool with the same brush and make it better, lower the opacity around that much. And then we have to just keep doing the same on different parts of our character so that it makes sense. Make it big, so lower the opacity, your eraser and just go back and forth and see what works best for your character. All right. Until now, we got the shadows worked out. Now we need to move towards the highlight before I come back to the shadows and do other adjustments. Now for the highlights, you can actually make the highlights in one singular layer, so I'll make one for the face and one for the body. Highlight is not that complicated. Just get white this time and there it is. We're getting multiply it's not the right color. Make the brush mode normal and make the layer. I think ten was the one. I'm just looking through to see which one was the one that I chose. Our flow is really low. That's what's causing all of this. I had a really low flow. I forgot to bring it back to 100. Now, there is the texture of my brush. I will hit Enter. Then I'll have to bring it above the head layer. On top of the head mark, then get the eraser tool and just soften out thing, lower the opacity, and we'll make this multiply. As I tap on, it will get brighter. As you can see, it's brighter here and then it fades out to the shadow. Let's do the same thing for the body, so I'll make a new layer. Highlights the same settings, just change it to overlay. Lower the opacity, make some little dabs along the body. As you can see, we're creating a really nice texture effect. Now that I know that my flow is at 100, I will have to redo my shadow for the head. I'll delete that we had one more layer. What was this layer? That's the head layer. Talking about this guy. It's called this cheeks. Why you need to name every layer. Just delete the shadows in general. Is this pattern, highlight. I don't know where this layer is coming from. That was just our highlight layer. It's not a shadow. Don't worry about that for the highlight, I will make it a little less intense because we can't really see the pattern. Now on the face that I locked in place, I will add one called shadows. Get your brush, set it to multiply, make sure your flow is at 100, or else you will experience what I just did. Just make dabs. Bring it above the head mark. Lower the opacity to around Let's stick with 20, and it we'll come back. Shall we need more than 20? Go in with the eraser and just dab away some extra unnecessary stuff needs to be the darkest around the edge of his face. So keep that in mind when you're cleaning things up, so you don't delete the parts that you shouldn't have. Alright. I'll change this to multiply as well. Then I'll go in with my eraser tool and just soften things out. It's a little too rough right now. We also need to add some on the top of his head. Then go back in with your eraser. You're always changing from eraser to brush. That's just how it's meant to be. Then we're going to do the same thing for the nose, make it a little smaller. All right. The shadows layer needs to come above the nose as well. Here it is. I will delete the whole thing and then just add my shadow. Then get the eraser, dab it out like this. All right. Now we need to add some more detail on this nose because it's just a flat white color. We need to give it some style. Let's see. Make one here, then go back with the eraser tool. Just a little bit of texture. We kind of make this edge less rough. All right. Bring back what I just removed. And let's do the same thing with this body with this shadow layer, go to brush and set it to multiply. Now we can see that we have a lot of work to do. Go around 50, get the eraser tool and soften things out, make your brush bigger. All right. Now he has a textured body, it's looking three D, which was the point, but it also has texture. Let's add something to the ear. I'm going to group all of the ear layers. They make a layer on top of the group. Make a clipping mask, call the shadow, get the brush, set that layer to multiply. Add some shadow, then go back in with the eraser just soften out the corners. Do the same thing for the opposite side of the ear. By the way, I'm switching before brush and eraser by holding B for brush on my keyboard and then clicking E on my keyboard for eraser. Do the same thing with a highlight layer, call it, and then change deep lend mode to overlay, get the color white, and then just make little adjustments, lower the opacity if needed. Okay, I will lower the shadows a little. It's too harsh. What's this layer? That's for his arm. They don't need that. He doesn't need that anymore. I'll just delete that. On the head, the highlight layer, we need to work with it even more. I'm looking to see what is working, what will work best for us. Bring back the highlights, and I'll go for the eraser tool. Remember that the bigger the eraser tool is, the more texture you're getting from it. And on the shadows, I don't like that it's curves like this. I'll remove the top a little. Remove that and our character is coming together. Now we have to add detail to the parts where it's just a flat color like his nose, clipping mask, the color black, go in. Do that the razor tool, get a little smaller, fade it out. Then another one for the highlights. I'm on the eraser tool, go to brush and then you can add the stuff, soften it out with the eraser tool. Lower the opacity. Now, the only thing that doesn't have detail is his this area, I don't know what it's called and the eyeballs as well as his arm. Because this arm is faced towards the sun, it needs to be lighter than the other arm that is in the shadows. We to make this darker, I'll go in, make a new shadow layer for this arm. It goes here and then we highlighted the other parts, shadow clipping mask, brush, color black, mode multiply. Then go in with your eraser, lighten the effect. Make another one top of the shadow, colored highlight, and then make a clipping mass, deggs to invert the colors. Then I will make this actually will leave it normal. Just make the top parts even lighter. Then with the eraser tool, I will make things more balanced, lower the opacity. Going with the eraser, making some selections. I'll add some more. Alright. Then I will do the same on this arm. When you're dealing with this type of illustration, you do not want flat colors anywhere because it will show that you didn't try or spend that much time on it. Make things as pretty as you can. For this part has to be the other way because the sunlight is coming from here. Instead of it being just here, it's just this whole area. I forgot to lower the opacity. Let me draw again. To the eraser tool, make it bigger so I can just get some texture. Go in with the brush, the color white, make a new layer, highlights. It is a lot of layers, but generally with these type of illustrations, it's a lot easier to work with Illustrator or Procreate because they made the interface a lot easier for illustrations. But as you can see, it's not impossible on Photoshop either. It just might be a little confusing, so you just have to be as organized as you can. By naming them, grouping them, and just making things really organized for yourself. The final thing is the eyes and this area that we talked about. I will actually make the color of the shape a gray color. No, that's something like this. That way, the highlight and the shadows will look a lot more real and vibrant. Tap on that. Then get the eraser tool and just remove those areas. All right. Where is our highlight layer? I'll have to bring it above shadows. Get the color white, the white brush, and add some white. Facts. I erased some of these stuff. Now, everything has detail. For the eyes, you don't need to add highlights. Sorry, you don't need to add shadows because they are black. Just add some highlights. I will group the eyeballs, call this eyes, then make a clipping mask here, get my white brush, then lower the opacity and just work with what you got to make things perfect. All right. Our character is about done. I am trying to add more texture to his face. I feel like his face is way too flat. So on the highlight layer, I want to add more highlight to the bridge of his not nose, the head mark, then I'll add some shadows as well. I'll make a new layer because I want to make this really light. Okay. Not seeing any effect. Where's they go. There it is. Bring it in more, get the eraser tool. Where is our head shadow layer? I will erase it off from the center. I don't know where is the layer that's causing this. It's fine. I'm just working around to see what else I need to add to make my character more cartoon like. This is a process that you guys should be taking too. Don't try to rush things because it will not look pretty. I will bring the pattern above my shadow and highlight layer. Now it's more visible and do the same thing for the body. I just bring it here, although this was already above everything. All right. We're done. This is my character. Well, I'm not done yet. Let me add some more opacity to the pattern. Lower this a little bit. Just let it be name my layers. I might want to come back to this another time. All right. Where is the shape head mark. That is the shape. I will make the head mark white and then lower the opacity. Because it was a grayish color and it did not stand out that much. Let me get some shadows here. Remove some of the highlights from this area. It's too much. Just a little bit. Below my nose layer, I'll make another layer because the nose would have a bump that should leave a shadow on the head mark area. There's a lot of shadow layers, shadow and highlight layers. That's just a fun thing about illustrating. You have to work through all of these layers and make something pretty out of it. A razor tool. All right. Now it looks better. I can soften it out. Now you can distinguish the nose bridge from the head mark. I added my shapes. They're looking good. I can also maybe add a background that I like, but you guys can easily do that yourself. Now that you know what techniques you need to use, it's a lot easier to do that. But so you won't be needing more guidance for something you already know how to do. Maybe you can continue and make children's book, make a storybook using your own illustrations. I will add a background. Not exactly white. Let's add a pastel background. I will turn off my body, every layer. It's a lot of layers. And I want to make a little fun background for my character. So let's do that. Using the blue for sky, I will make another layer. Kind of add something like this, and then put some green in the background. Just a little fun backgrounds, kind of cartoon like, which is what I'm going for. Maybe add some yellow in the corner. Let's do that in another layer. Add some yellow in the corner, make it a little faint. I made the background purple, so it's a fine little background effect. I will remove this yellow and second thoughts, it does not look that great. Let's see. Where's the green? Got rid of the texture. Make the little dabs around the screen. Let's see how that looks. Looks fine and then get the eraser tool to get it out of that uniform shape that we are seeing. Get a darker green. We're trying to create dimension here. Go on this layer. All right. Now let's bring back our character. Clearly went out of line here. There we are. Where's his ears his ear, and finally, his body. That is how you create storybook illustrations. Me specifically, illustrations with textures. This is different from three D coloring because we have all textures. So if you want to get inspiration from the Internet, but you're not sure what you should search, just search textured illustrations or storybook illustrations. Now, this is not the only textured version. There are flat versions, as in they don't look this three D. So just scroll through and see what works best for you and what style you like best. So this is it for this lesson. I will see you guys in the next one. 37. Mockups & Geometrics Introduction: Welcome back, everyone. In the following lessons, we're going to learn about more complex things that you can do using Photoshop. We're going to take a look at how we can make professional mockups, three D objects, geometric shapes, and complex compositions. We're going to use everything that we have learned so far. So if you need to revise something or learn more about the basic tools, go ahead and do that before starting with these new lessons. Now without further ado, let's get started. Mm 38. What are Smart Objects: So the first thing that we're going to learn about is something called Smart Objects. Now, we briefly touched over this topic in the previous lessons, but I wanted to give you guys more insights about how it works and what we can use it for. We're going to be using Smart Objects a lot moving forward. So I just want to make sure that you guys know everything and how to make a Smart Object before we move on. So I have right here a blank canvas. Currently, I have no layers except my background. And now I'm just going to make a shape so that I can convert it to a Smart Object. So let's grab the rectangle tool, choose a color, and just draw a random shape. There we are. So now I have a new shape layer. Now notice right here we have this icon. This thumbnail is basically saying that this layer is a shape, meaning that I can always come back and work with the settings up here and nothing will change. Now, when I convert this shape into a smart object, the thumbnail is going to change and I will no longer have the options above. So I'm just going to duplicate this shape so we can see the difference, hold down Option or Alt. So the cursor is changing. Click and Drag. Let go to make your duplicate. Let's make the second one a different color so we can tell the difference. So I'm just going to call this shape, the orange one. The red one will be a smart object. Alright. Now, grab your Smart Object layer, right click, Convert to Smart Object. Now, you can see right here that the icon is different from the one we just had. And right now when I go on the red shape, Smart Object, go up here. I can't really change the shape color anymore. You can see I'm choosing black, I'm choosing orange, white, nothing is happening. So why would we even do this? The good thing about Smart Objects is that now I have kind of a mini canvas inside this shape. I'm just going to go on the thumbnail, dabble click, and now I'm inside a new window. We still have the old project up here. This new window is a dot PSB. So it's a different window, and basically what I can do here is to add things, save it, and it will be applied inside this shape. So I'm just going to grab a new layer, get my brush and just do some really random stuff. Once I'm finished, I need to hit Command S because if I don't, you can see nothing's changed. So go back here, Command or Control S. You can also save it up here while save. And when I go back, you can see that I have this new thing. But we're not seeing this new layer that I just made. Now let's delete this. Now, the good thing about this PSB file is that I can change my color inside here. You can see that the icon is for shapes. So that means that I can change the color of my rectangle right here. Something I can no longer do in my main project. Again, if I hit Command or Control S, I have changed the color. Now, the nice thing about Smart Objects is that if I make a change in the PSB window, I can then change the perspective of my original shape in the main project. Let me show you what I mean. I'm going to grab the custom shapes. Just grab it right here. I chose this camel, can find it in the wild animals folder. Let's click away first and get the color white. And just make a camel in the middle of my green cube. Move it in the center. You can see I have a separate camel layer. Command or Control S, go back here, I have my camel. But now what I get to do with this, let me just hide this for a second. Now, what I can do with this is one to move it around as one shape. The camel is not being separated. Secondly, I can, maybe hit Command or Control T and just distort my shape. So maybe do something like that. But then when I go back here, let me close this. When I dab a click in my Smart Object, it's still that original layout. So I can just maybe put a pattern here, my logo, a text or whatever, and then I can distort it however I like without messing up the original layout. So if I were to do this inside here with a regular shape, let's try to make a camel here. So grab your shape, go up here, subtract from shape, so I can have a cutout of a camel. You can see there's a minus on my cursor now. Click and Drag and make my camel. Alright, so this right now is one layer. We don't have two separate layers. I'm going to grab this Command or Control This is not a smart object, and just do the same thing. With perspective, I'm going to make it like what we did for the other thing. So you can see I'm also distorting my camel, which is not that great if I have a logo or something that I needed to stay as it was. So my camel got distorted. But when I use my smart object, you can see that my camel stayed the same. We almost have the same perspective things. So you can see how this camel is really big and stretched out compared to our original camel. And these guys are pretty much the same in terms of perspective change. If I reduce the opacity, as a little space. Let's try to fix that. There. So identical shapes, identical angles, but the camel is looking different. So if you ever need to put important graphic inside a shape, and then you want to distort it, you would want to use Smart Objects. We're going to learn more about this in the mockup lessons. But this was basically how we can convert to a Smart Object, how these windows work. We just save them, it gets applied. And once you're done with these, you can always close them. So the data is not lost because we saved it. So this was how we can make Smart Objects with shapes. Going to get rid of these. Now let's look at two other instances where we would want to use the effect. Let's grab a text, put it right in here, get a darker color. Make it bigger. And there we go. So right now I have a text. It has the properties up there. I can change the font, the width and everything. But if I ever wanted to change this to a Smart Object, I would kind of have to let go of those things. So I'm going to duplicate this again. Right click Convert to Smart Object. Again, I have gotten this icon, and now with this new copy, I can't really change the font or anything because it's changed. But if I dabble click on the thumbnail, I have a text. So you can see the T right there. I can grab it. Let's write high. Command or Control S or just save it up here. Close this. Now my text has changed. I didn't change it here. I changed it in that separate window. Now the reason why we want to do this with text is kind of similar to why we do it with shapes. We want to maybe distort this text, add some additional effects that may interfere with a regular text layer, or we want to add so many things, and we just don't want our main project layer panel to be filled up with 50 different layers. One is just for one text. So in terms of keeping things organized, you would want to use Smart Objects too. Now there's another instant, and that is when you have a image and you just want to keep applying effects to it. But you want to go back to these effects as you move on with the composition. So I'm just going to bring an image, and it will see how that works. So I have my image right here. I brought it right in and you can see immediately that I get the Smart Object icon, and I didn't even have to convert it. So because this is a smart object, I'm just going to make it duplicate so we can see the difference. Grab your layer Command or Control J. Let's call this asurized and this one Smart. So on the rasterized layer, let's click it, right click and rasterize the layer. So that icon is gone, and this is just a regular layer. On this regular layer, I'm going to go to filter and maybe blur this up. Gajanblur 5.2, something like this. Maybe I go on with the other things, and then I decide that this is way too much blur for my image. Now, there isn't a undo button because I've done many other things. And if I go back to Gagen blur, it's going to add to whatever I had before. So you can see, even if I go to zero, it's still blurry. I could use my history panel, but if you're doing a lot of stuff, then it's going to be really hard. So in my history panel, if you're not seeing it, it's here as well, Window history. I can just grab Gaussian blur and delete it. But if I've done a lot of things, then it'll be hard for me to find my Gaussian blur state. So let's bring the Gaussian blur back, Commander Control Z, and do the same thing on our Smart layer. So I'm going to grab it, filter, Gaussian blur. Let's add the same amount, 8.5. So notice how when I did that, there's now this Smart filters option. And now I can see, maybe turn this off. And let me turn this off first. Get rid of the surized layer, put it below. First of all, I have this eyeball, which allows me to see what I just did. And second of all, when I dabble click on Gaussian blur, I get the panel, but I get to work with the amount that I just applied. So maybe I wanted less than 8.5, I want maybe 4.2. Or more. But the difference here with smart filters is that I'm not adding on more gaussian blur. I'm working with the same amount that I initially applied. So that's a good thing about Smart Objects or smart filters when using images. You see, we didn't have that with our rasterized layer. And you can also add different effects here. So this is one. Let's add another one. Let's add some noise. There we go. So I just have this noise. If I changed my mind, I wanted to be a little less. Instead of deleting my image, doing everything again, I can just double click and maybe reduce the noise. I can do this as many times as I want as long as my layer is a smart object. Now, there's this thing next to each of these effects. This is for the blending. So if you go right here, table click, we have some blending options for our effect. First one is the mode, which is the blend mode we have right here. I can set it to multiply or pin light, anything really. I'm just deciding how this noise blends in into my image. We also have a opacity slider. We can work with that. There's a zoom in and zoom out for the preview, of course. If you want to see a preview, just turn this on. We have the same thing with Gaussian blur. Do a click. We're going to get this, said, Okay. And I can decide how this blur gets blended with my image. So you can see, we have a lot of options. Again, opacity can work with that. Okay, it's back. So just with two filters, you can see how it got this really nice retro glowy look. And I can always go back, change things up, maybe get rid of my noise effect, which you can also do. 39. Basic Mockup: Now we're going to combine all that we've learned to create some mockups using one design and different surfaces. So the next couple of lessons, we're going to go over five different pictures, each of them differing from each other, especially in case of what the material is made of and if there's any perspective change. So most basic we'll do. Then we'll move on to something else that's a little different. Move on to a screen that has something in it. We're going to replace this with our design. We have the fabric behind this glass bottle and the hardest of them all, how we can put our logo instead of this. These are all pictures from pixels. You can go ahead and download them from your resource pack, and let's start with the most simplest one, which is this. Always duplicate your layers so you have reference of what you started with. I'm going to call this base. This is the design that I have. Again, from pixels, I'm simply going to use my object selection tool to grab this main logo. Commander Control J and once I have my logo, I can resize my document so that it's nice and snug. Can turn this to a one to one ratio just to make sure that when we paste it onto our designs, it looks nicely fitted. So let's copy the logo, layer one, and then go to our first image. Over here, I'm going to make a rectangle with a shape tool right over here. Just click and drag onto this white area. Now, this is your ideal mockup scenario where you have a shape that is ready for you to use. But a lot of times, like the examples I showed you, you're going to have to clear that object first and then add your own design. Let's call this design. Right click, then convert to Smart Object. Once we have this as a Smart Object, we can lower the opacity commander control team, right click, distort, zoom in, and just make sure that it fits the edges of the frame. When we're done, click Okay and bring back the opacity. And if we double click on design, we're going to be brought onto the rectangle itself. And here I get to paste that logo, like so, then hide my design layer. When I'm done, we can hit Command or Control S to save this document. Going back, we can see that our logo is nicely fitted. Now let's blend the design onto the background. Set it to multiply, and there we have it. You can rotate this inside the design or even take it a step further and work with the blending options. I'm going to do a very faint white overlay on top of this to mimic that frame. So let's go to color overlay. Actually, I think gradient is better. We're going to have to assume the light source is coming from the right. Gradient overlay, click on your gradient, turn this side to white and this side to nothing. Turn it to zero opacity, click Okay and then just change the angle so that the white area is towards that light source. Then change the plan mode to something else. To intensify that further, I will add a color overlay with white, have this set on soft light, and just lower that amount. I think normal looks better, something like that. Click Okay. Now hide the design layer, go to base, then using the object selection tool, where you're going to grab the frame. Hold down alter uption and then remove the areas that have the leaves inside, so we can exclude it with no problem. Once you have a selection of your plant, you can hit Q to make sure everything looks good. Just focus on the areas that are on the frame and use your brush to introduce or remove parts of the plant. Queue again when you're done with your selection, and then make a layer mask from base and drag it above your design. So now when you bring back your design, it looks like it's behind the plant. And then all I have to do is blur this up so that the focus is still that plant. So go to blur, gauge and blur and blur that out just a tiny bit. And there we go. So that is my design on a very simple and ideal surface. This is our second scenario where it's still the same, but we're dealing with a tote bag, and there's a tilt in the bag itself. So the process will be relatively similar. So duplicate your layer, draw that rectangle, convert it, and then lower the opacity so that you can fit it with Command or Control T. Now for this one, I'm going to do the pattern. So what we're going to do is try to get a larger selection out of D toad bag. Once you're done, click Okay. Call this design. Double click and paste your pattern on here. Alter uption drag one of the corners, and then hit the Enter key, hide that rectangle one and hit Commander Control S to save. When we go back, it's all over our tot back and we simply need to change the blend mode. Now, as you can see, there are some areas where it looks odd. We're going to fix that later, but first I want to make it blend into the fabric using the blending options. Grab the underlying layer keys, Alterupion click on the triangle and reduce this until the highlights are poking out. And then click Okay. Now it looks a lot better. To make it fit into the toad back itself, we can hide the design, grab our object selection tool and just grab the toad itself, and then go on to design and click the layer mask. On the mask itself, go to properties and add a slight feather, maybe 0.6 pixels, and there is our design. Just like the first scenario, we have to blur out the design. By around one pixel and there is our mockup. So those were two very simple scenarios on how you can do mockups in Photoshop, both with one logo and another example with a pattern. In the next lesson, we're going to level this up a bit and work on more complicated surfaces using still the same pattern and logo. So I'll see you guys in the next lesson. Mm hmm. 40. Full Screen Mockups: Now let's take a look at an instance where we have a full screen pattern and we want to put it on an object. So right here, I have this piece of paper that is attached to the wall. Looking at this paper, we can see that we got the sharp edges, but at the same time, we have the curve. So this is one level above what we learned, and we're going to see how we can use the options in Photoshop to kind of push the pattern into the natural curve of the object. So the first thing I want to do is to just make my shape as we learned. Convert it. Reduce the opacity, command T, right click, distort, and just fit the corners. Now, the difference here because this is a full screen, we want to make sure that it's perfectly fit for the shape. So once I zoomed in, I can see that I'm missing out on this tiny area. So unlike the first example, we need to be really precise with the corners and make sure that it fits perfectly. I'm using the space bar, holding it down so I can move my cavas around to get to the other corner. Head ok, command zero, and now I have my shape. So once I have chosen the corners and set it there, I'm going to actually warp this object. So again, Control Team and we're going right click Warp. So this will give me this new grid, which basically allows me to push the shape into the curves that we have. So when I zoom in right here, we got these two blue handles, and I'm just going to push them up until my shape matches the object. You can also push them to the left or the right to shorten the handle. We're good here. We also had a little bit of a curve here. Go to zoom right in. And we're good here. We do have these little spots, but we can fix that later with the blending I option. So now my shape is no longer a regular rectangle, but it has these rounded sides. Hit okay, bring back the opacity, and it's perfectly fit. Now I'm just going to go in here and bring my pattern. So in your resource back, you should find this pattern. Just bring it right above. Hold down optional out so we can scale it from the center. Command or Control S, and there's my pattern. So we just got to work with the blendings right now. Let's first change this to multiply so that we can bring in the shadows and the highlights. Next, what I want to do is to kind of blur out the edges of my shape. If I hide my shape, you can see that the paper's edge isn't exactly sharp, and we want to replicate that with our rectangle. Now grab your shape, and I'm just going to make a mask. Hold down Command or Control, click on the thumbnail so that we can select the rectangle. Then hit this to make a mask. Duble click on this mask until you see the layer mask, zoom right in, and I get to just kind of feather out the edge right here. So you can see if I go too far, we're feathering things out, and this will help me get a more natural look. I think one pixel would be good for this. Type one, Command zero, and things are looking good. So now, once we take a look back at the paper, we can see that we got this rounded area, which is causing some shadows and the light source is hitting this area the most. So I know that I have to use the plentif options that we already learned about. Let's push this right here. I want it insight. Optional alt, click on the underlying layer for white. Just grab things like so. So just a little bit from the whites. And again, if you'd like, you can kind of reduce the fill opacity. There we go. So there's my new pattern. And if at some point you zoom in and you see that you messed up the edges, that's no problem because this is a Smart Objects. First, let's unlink the layer mask. Click on this chain button, Commander control team. And I think we're experiencing this problem from the Warp. So I'm just going to pull this down a little bit. And I'm going to delete this layer mask so I can get my shape right first, and then we can proceed to add that mask. So there it is. Now I can just repeat my mask feathering, pretty simple, type in one. And there we are. Now, as for the corners, when we turn off our shape, we remember that there's this little corner situation that we're not exactly seeing on the graphic. So this can also be solved by the blending of options, starting from the underlying layer. Something like so. Really subtle. We just want to darken it up so we can show that there is, like, a fold in that area. And there we have it. So this was pretty simple to do. We just need to distort our shape into the object that we have. Now we're going to move on to a more complex step in the next lesson with geometric shapes. So that means we're going to be working with shapes that are not a simple cube or a simple rectangle. These first two examples were really simple. Hopefully, you guys were able to follow along. Now that we know how to work with a shape like this, let's move on to a more complex shape. 41. Geometric Mockups: Our next candidate for the mockup is this computer screen. As you can see, the photo has some sort of color grading. It's kind of purplish and brown. And what we're going to do is place our logo instead of this laptop screen. The first thing we're going to do is clean up anything we don't want from the screen so that we have a space to put our logo in. Unlock the layer and then duplicate it. I will call this clean. On the clean layer, we're simply going to zoom in. And remove this window only. So you don't want to remove the bar down here or up here because that's just the normal screen for a MacBook. And when it comes to selection tools, when you long click on the selection tool, the Lasso tool, there are these other options that we went over in the previous chapters. I will use this option because I am dealing with a rectangle. So click once on the corner, I'm going to go zoom all the way in and grab this corner. You can see I'm getting this line. Get the second corner Third. And finally, close it off here. Okay, I think I didn't pick this area. Just gonna hold down shift and add on. So straw line here, one here. Now, it may look like we picked up extra, we left out extra pieces, but that's just the edge of the computer. So if you look over here, this is the edge that is not part of the screen. And the same thing happens down here, although I think I did miss a little bit from down below. So I'll just do another selection, but bear in mind the structure of the computer itself. Hello, where do. Okay, once I let go, we now have that edge in mind. On this end, we don't have an edge because of the camera angle. Now with this in mind, I could actually go in and put a solid color. You could just replace these two images to make it look like they're editing the logo, but I just want to make it look like it's just a photo of the logo on their screen. So with this in mind, let's grab the bucket tool, hit G on your keyboard, long click, paint bucket tool, hold down. Let's make a new layer, actually, alter option and grab the darkest part of the screen, it should be on this end. And click once. Once we let go, we now have a black screen. Go to type screen here. And since we have the clean layer, we can always bring back aspects of the original layout. But if you don't want to, you can delete that and just focus on the screen. Okay, now that I have this, I can go ahead and begin my Smart Object process. Grab your rectangular tool, click and drag and I'll change the color into something visible. Then right click Convert to Smart Object. I will call this design. On the design layer, commander control team, right click, Distort. Just match the corners to the screen layer. Now, the edges don't have to be perfect. The main reason we're doing this is because of that perspective, but our logo will just be over here, don't worry too much if these are not precise. If you were doing a pattern instead of a logo, meaning that the design goes all the way to the edges, then this would matter. Once we're done, we can dab or click on design and then grab our logo. Now, before I paste my logo, I did want to increase its brightness a bit, just click on exposure. And add on to that, just like that. I can then Command or Control E, copy, and paste, then hide my rectangle one and hit Command or Control S. So there's my logo right now. If you want to resize it, don't do it with this layer, but within the dot PSB file. Now over here, what we need to do is first of all, blend this in with the focus. So right now, if you zoom in, the camera is focused on this area, meaning that this logo needs to be blurred out. If you go to the original, only this part is in focus. So let's go ahead and do something. I will combine these layers, design screen and clean, Commander Control G, Commander Control E. So let's call this new design. On the new design layer, we're going to duplicate it called this blur. On the blur layer, we're going to go to filter. Is use Gaussian blur. You could try the different blurs, but I just like the way this looks. So blur this out. Let's first make this a smart object, so I can always go back and change it. Let's add for now, 5.2 pixels. Click Okay. Now, before I go ahead and do the gradient, hide and unhide the blur layer and see if it's close to what you see down here. So for me, it's a little too blurry. Therefore, I could just double click on Caussimblur and maybe try 4.6, and that looks much better. Maybe a little bit more. Alright, that's perfect. So now that I'm happy with my blur, I can go ahead and rasterize this layer by right clicking. And then on this blur layer, I could use my gradient tool. I have all the layers, a layer mask on top of the blur layer, gradient tool, black to white, and choose linear gradient before making your points. Click and drag black to white. It needs to be the opposite. I'm just going to click this button to switch their positions. Now, essentially what that did, if you look at here, you can see that fade in between is that it introduced a faint amount from the blur and then disappeared as we went on to 0.2. If I hide all of these, you can see this is what we now, the problem is that it also went over the edge here and normally that would be a problem, you would have to make another mask for the screen itself. But since this area was blurred already, you can't really tell the difference. In our case, that's fine. Now, the last thing we need to do is match the logo to the color grading that's happening all around. Let's go ahead and make a gradient map. So go to adjustments and choose gradient map. This is going to place colors on top of your entire opposition and then use these colors as the shadows and highlights. Right now the shadows are white and the highlights are this purply color. But that's not what we're looking for. I'm just going to hide it for a second. Just click on the bar here, grab this side. It will trigger the Eyedropper tool and target that purply shadow color. So actually go on color and then do that. Think we're in the wrong layer. I have new design selected, and I'm just going to sample the darkest part and the lightest part, and it's going to go in our swatches. Something over here. Going back to the gradient map, I can just grab the swatches right here to dark purple, and then the highlights, it's an almost white color, not exactly white. And then perhaps in between, one of the colors we picked up from here. Click Okay and bring this back, and now we're just going to change the blend mode. There we go. I think this could be a little bit purply. I'm just going to grab the darkest color we picked. Using the sliders, you can change the way the image looks. Then just lower the fill to make a less intense result. If you want to match the low contrast look, just go to adjustments and grab brightness and contrast and simply lower the contrast until you have something similar. Let's group it all together, and there is our logo. So we have before and after. You can always go back to the blur. And once you click on it with the gradient tool, you're able to move this slider around, and that's essentially going to introduce more white and less black. So notice if I have it all the way here, the edges here are sharp, too, but if I bring it all the way here, it gets blurry. So I will have mine somewhere around here and then simply duplicate it to intensify that blur look. On the copy, I think I'll do a layer mask with alter option, so we get the opposite and then just introduce a little bit of blur the loco itself only. Because we don't have anything in the background, this should be pretty easy to do. So there is our logo replacement. This was before, this is after we removed this window for Lightroom and replace it with our logo. In the next lesson, we're going to go over our next scenario, which is this. So it'll be fairly similar to our fabric lesson, but we do have the addition of this object on top and the reflection it has from the bottle. There's also this flower that we need to account for and just make sure the pattern blends in so well that you can barely tell this was Photoshop. So I'll see you guys in the next lesson. 42. Linked Files and Warping Pt. 1: So right here, I have a shape that is not exactly a simple one. As you can see, it's a lot more different than what we're used to. So in this lesson, we're going to see how we can put a design on top of this and also how we can work smartly with the pattern designs that we make in Photoshop. So first, let's go ahead and create the pattern. I'm going to go to File New. And since this is a vertical design, I'm going to make sure it's 1080 by 1920. I got one right here, 100 DPI and make sure that it's vertical. Alright, so we're going to make a really simple pattern here. So in your resource pack in this folder, you're going to find image and a logo. So here I have created a PNG from this file, the EPS file. If you know how to work with Illustrator, you can just open this, change the color, the shape, and whatever, and then just save it like this. So first, I'm going to put on this image that I got from pixels. Let's hold down Shift and just rotate it like this, hold down Option or Alt to scale it from the center. If we don't hold down Option or Alt, it's going to kind of move towards the side. So once I have my image, I'm going to create a shape that is going to contain my logo and any other information about this product. Choose your fill colors, start your shape somewhere like this. I'm going to move it a little bit to the side, and then we're going to create another shape inside of this. So hold down optional alt, click and drag. And on this one, I actually want, like, a stroke rather than a fill. So turn off the fill. Let's get red for now and just get a brownish color. There's my brown. As long as these are shapes, I can always come back and change them. So I'm just going to place it right above the previous shape, but then I'm going to hit Control or Command T. Hold down option and just scale it down. Let's move it down so it meets the edge here. Zoom out, right, click, distort, and just lift this up. At a frame. So now I have this shape with, like, a stroke inside. I'm going to work with the color a bit more. Just sample the color here and then make it brown, like so. So it looks a little bit more blended in. Alright, so there's my background. Now I'm going to add my logo and then the text, which explains what this product is for. Drag my logo. Let's paste it here and bring it above the rectangles. You can also use this brown in this stroke. All right, so there's my logo. Let's add some text. Click once, write, maybe rose and Time. Like this would be the scent. Get a roboto font and add this right above. So I'm going to deal with the fonts later. I just want to check the positioning for now. Let's say this is the scent for this hand cream. Just duplicate this and write the name of the product. Moisturizing hand cream, Command A, Commander Control A, commander control team. This is going to let me work with the stuff here. First, let's change the leading to auto and then I'm going to have the align towards the left. Increase the size, okay. Let's get the Helvetica font, put it here. Going to have this go in like that, put my logo up there, and then I'm going to make a line to separate the information that I'm putting on. Hold down shift to make a straight line, let go and add your color and change the cap to a rounded one, so we get rounded edges. So there is my line. Let's just make it a little bit smaller. Feel like it's too big right now. Go for like five pixels. And then I'm going to create some change here. So Rosen Time is, let's say, the scent of this hand cream. I'm going to hit Command Team, hold down shift, and just rotate it 90 degrees, scale it up and put it in like that. Let's get the fonts to be something more elegant. Go to filters and choose script. And depending on what fonts you have, you can choose something that has this script look. Alright, I'm going to stick with this one, sign painter. I get my fonts from Adobe. There are other resources that you can find that give you a lot of options. Mistreizing hand cream, and let's write something below it. I'm just going to hold down alter option, duplicate, and write, like the only cream you need. Command A, let's make this a different font. Go to all classes, stick with Helvetica, get a lighter style, reduce the size, and then increase the tracking. And then I'm going to write this to 50 grams, slash, and then convert that to 1.7 ounces. Decrease the tracking, get something more natural. All right. Put it right here, maybe make it a little smaller because it's not as important as the other advertisings that we're doing here. Let's change our text colors. Going to get that. Something really down to earth and simple. All right. So for this one, I think I'll go with all caps, which you can do down here in type options, select it all, and then click this. Now we get to see what it looks like in all caps, maybe lower the font size a bit and put it down here. I'm going to bring it up actually and write another thing below, like, made in Sweden. Command A, remove this from all caps. Make the font smaller and put it below. I'm also going to do something with the tracking here just because it's pretty common in cosmetic packaging. I'm trying to get a really normal and simple design. So there's my design. It didn't take long at all. I just want to put this onto my mockup. So first of all, this is not saved. Let's go ahead and save it. File save. Make sure it's on your computer. I'm going to save it in the same folder and call it ball club package. All right. It's safe, and now it's a dot PSD. Now, instead of dragging our Photoshop file right above or saving it as a PNG, what we're going to do is to go to File Place Linked. I'm going to choose my PSD file right here and it's going to bring it in. Let's scale it up and rotate it to the degree that we think is right, and leave a little space. And just place it in a way that would work. All right. It, okay. Now, the difference here is that this photo right now is directly linked to my Photoshop file, which we have open right here. Now, it's similar to Smart Objects. Whatever I do here, I need to save it and it will be updated here. So what I'm going to do so that we have a better view is to first move this canvas around to the side using the space bar, like the space bar, and then I'm going to click and track this out like this. So you can do the same thing with this one. I like to keep my main file inside and not separate it. Go to put this out here. To demonstrate how this new technique works is that, for example, if halfway through my design, I realize that I need to add, let's say, a line down here instead of opening my PSD, editing it, exporting my PNG, bringing it back to my mockup file, I can simply make that change in this little window. So let's go here. I'm going to open my layers there we go. So you can see we get all the layers and not for this because I clicked on this first. So I'm just going to make a line, write what we said. Hold down shift, and get the same fill color. Let's make everything rounded and nice. Then change the positioning. Let's go with like four pixels. All right. So I'm done with this. You can see that I didn't change it in here because I didn't save it. So let's hit Command S or Control S, and there we go. We have a line now. So this is great if you're working with a package design that's inside Photoshop. Now, normally, you would do it in another program, but this is a really fun way and smart way to work with designs and mockups. So I'm going to keep to the side just in case I need it. And now let's get started with the mockup. 43. Linked Files and Warping Pt. 2: O All right, so let's get started with our mockup. The first thing we want to do is to change the transform properties. So I'm just going to reduce the opacity, zoom right in, and make sure that I'm happy with, like, the rotation and the placement, and if needed, work with the settings available. So this is okay for me in terms of rotation. And I wanted to leave a little white space from the top and bottom. If you guys don't like this, you can just scale it to go all the way to the edge. Hit okay, bring back the opacity, and there we go. So to make this fit inside the cream, what we're going to do is to actually use Warp. We used Warp before for the rounded oil mockup that we did in the previous lessons, but we're going to do one additional thing. So hit Commander Control team. We're going to lower the opacity again so I can see the edges. Zoom right in, right click, Warp. And instead of just doing this, which is what we did previously, which is kind of push things to get around, we want to make sure that we do not disturb the line right here. We can't have the line kind of get rounded like this because it's a rectangle. So we're going to do something else. Before that, I can see that the edge of my rectangle is kind of faced outwards. So I'm going to fix the rotation real quick and put it right there. Don't worry about the top. We're going to fix that later with a little masking. Just make sure that the rectangle is placed in a nice position. I use my arrow keys to move it slightly. And if needed, you can always distort the shape. So now this is looking better. Push this down and just get the perspective right before we start. If your package is faced directly towards the camera, there's no need to do this. All right, so I have this. Now let's go back to the Warp, Commander Control T Warp. H. Split warp vertically. So this is going to give us this line, and I'm going to use it to make sure that whatever warp I do does not kind of push my rectangle to the side. So let's try pushing it without this line. So if I push this normally, you can see that I'm creating a curve on my rectangle, and that's not nice. But with this new line, what happens is that it will not allow any distortion to happen from this point to the left. So this is perfect. I'm going to start with the corners here, push it rather close. And then use these lines to just kind of match the shape of this bottle. It helps to zoom in. You don't want to have, like, bald spots like this. Push it in and don't worry too much about that little space. Like we said, we're going to mask this out. Just try to get an accurate curve inside this bottle. All right. Let's repeat this on the other side, split warp vertically. Make a line somewhere close here, and then we're going to start with the corners, push them in, do the same thing to the other side. Then use the handles to create your curves. There we are. So now the image is looking distorted because we have a round surface. But my main package is looking pretty good. Now, apart from this, we need to work with the roundness down here. So I'm going to click once. It's just a slide curve. Not a big deal. Simply grab the handles a little bit towards the bottom, nothing too extreme. Do the same thing with the one at the top. All right. So there's my packaging. I'm going to hit this checkmark, bring the opacity back, and now it's nicely fit. Let's change the blending mode to multiply and kind of have this package burn into my design. Now, to have this blend in even better, we're going to use the blending options. Going to just push this here so I can see it. So we're going to work with what we have below. Alter option, click on, pull this back. So we want to add the lightness that's coming from here onto our package. There we go. Alter option. I'm going to do that with the current layer as well, just to kind of have things look more natural. Alright, so this is good right now. I got my package, and now let's fix the problem of the edges. Go to hide this for now, get my background layer, and using whatever tool you want you want to select the area. So like we mentioned in the previous lessons, the Pen tool gives you the best precision. Try to use that. It is time consuming, but it's also important that your masking is accurate. G to reduce the opacity of the shape layer so I can see exactly where I'm putting these points. You can just make a straight line here. It's no big deal. But if you did extend your pattern all the way to the edge, then you would have to be precise there, too. I left that little white space, so there's no need for me to do that. Hold alter option to work with one handle at a time. If you wanted to edit the position of a point, command or control, go once you're done, and I'm using the space bar to move my canvas so that I could go down. Again, once I'm done, I can just connect this because I don't have my pattern extending towards the edge. So now that I have this, I'm going to right click Make Selection with one feather radius. We can always come back to this, bring back my design, and just make a mask. So this is going to get rid of the edges and give us a cleaner look. We zoom it right here. You can see it's pretty good. And if at any point you saw that maybe you missed a spot, you can keep the shape layer adjusted. Either right click and make selection or hold down Command or Control, click on the thumbnail to get that selection. And then you can just update your mask. I'm going to increase the feather of the edges, and there we go. It's looking good so far. The next thing that I want to change is the way the label looks here. It's a bit too sharp and that's not exactly decent. So what I'm going to do is to just grab my layer again, go to filter and just blur this slightly because it is an object that's far away from the camera. This is a smart object, so I can always come back and edit this. Alright, it's looking a lot better. Let's just reduce the amount a bit because I want the text to be easy to read. And now things are looking pretty good. Let's say I spent all this time on my mockup, and then again, I realized that I missed something from my original design. So notice right here we have a chain icon instead of a shape or a smart object icon. This is indicating that the current layer, this layer is linked to another project. So that means that no matter how many layers I have, I can always come back and edit the original layer as long as it has this icon. So again, I'm going to go back to my original design. And let's say I want to add, like a circle on either side. Let's grab our Ellipse tool, click and drag, hold down option. Let go and I'm going to make it the same brown, get my move tool, Zoom in, try to put it somewhere nice. Hold down alter option and just get the same thing on the other end. I added this additional thing. Let's save this. And look right here. There it is my circles. So I'm able to do this as many times as I want. One last thing that I want to add is a little bit of lighting change on the bottle. This is additional, you don't have to do it, but I feel like it could use a little bit more lighting here. So let's make a new levels adjustment right above, and I'm going to darken things up a bit. Something like this. Hit Command or Control I on the mask to invert it. Going to get my brush with the soft round, the color white. But before I start drawing, I'm going to hold down Command or Control, press once on this, and it will create this marching ant effect. I'm doing this so I don't have to draw on the leaves. Let's start at the corner and create a repetition of what the actual bottle shadow looks like. There we go. Dabble click and I'm going to feather it out to get a softer edge. H and that's looking good. Once I'm done, Command or Control D to deselect. Now I have this shadow part, cast it, and it's just looking a little bit more realistic. I also want to add a nice lighting coming from the window, so like light lines going above the product. Grab your rectangle. This is, of course, optional. You don't have to do it and just make thin shapes like this and just duplicate this, like so. Make sure that they're evenly spaced. Alright, so once I have these lines, what I want to do is to merge them all together. Select the first one, shift, then select the last one, right, click, merge shapes. So you're going to get one shape that has all of these rectangles. Now I'm going to distort this Commander Control team, right click and hit skew. So I'm going to, like, pull these down a bit. If you want to make them full screen, you can rotate them, do whatever you want. Once you're done, we're going to hit this checkmark. Hi, okay. And now I'm going to make a levels adjustment, another one, I mean. So here we want to make things dark. First, I'm going to increase the contrast, and then I'm going to make things darker. Let's get rid of the whites as well. Now I have something like this. I am just going to delete this layer mask and make a new one using these shapes that we just made. Hold down command or control. Click ones on the thumbnail, and you're going to get the marching ends of all of these shapes. We can hide this for now. Grab D Levels two adjustment layer, hold down option or alt, click on this. Now you can see that everywhere is dark except for the areas inside dictangle. Double click on your mask and just feather this out quite a bit, something like this. So it kind of looks like window light coming through. And, right, you can get rid of this rectangle. We don't need it. And now I'm done with my product mockup. So it's always about how you present your design. Of course, you can just put it onto an object and call it a day, but when you put more effort in it and make it look pretty, it's going to look more appealing towards your client. So I recommend taking the extra steps to work with the colors and the lighting and then deliver your final product to your client. Moving forward, we're going to learn more about difficult objects and how we can add a design right on top. So I hope you guys enjoy this lesson, and I will see you guys in the next one. 44. Fabric Mockups: All right. Welcome back. We have this image right here and what we're going to do is place that pattern that we used in the previous lessons onto this fabric. Now, the first thing we need to do is separate our bottle and the flour in any method that you prefer. I will grab the optic selection tool and just go around the bottle, having Photoshop detect the rest for me. I'll hit Q to make sure everything looks good. Some of the edges are not ideal, but I could just hit Q again and click on Photoshop's own recommendation. Bring this in as well. Again, I think that looks a lot better. We do have something like that going on, which I will fix with a layer mask. So once you're done with that, hit the layer mask, and we're just going to make sure with our brush that everything on the edges look fine. So right over here, there is some problems. I'm just going to introduce it back parts of the bottle with my brush tool. Very subtle changes. And then to fix the overall crunchiness on the outside, we can just go to the mask and feather the edges a bit. So that's going to make it a lot more soft. Alright, so there's our bottle. I'm going to duplicate it and then delete the mask from our base layer and call this bottle. Now we can duplicate this one more time and call this the flower. On the flower layer, we're going to grab a flower. Just click at once, you can see it detects it on its own. But to make sure it looks good, we have to go to the other dedicated window. So select a mask, and I'll try the refined hair option. Make sure everything looks fine. Believe we are missing a few details. Once you're done cleaning up, okay and make another mask. Now, once I hide base, I should have two separated objects. Think we are missing a part of the flour, so let me just fix that with my brush. Okay. Commander control zero. And I'll just hide these for a moment. Let's actually group them. Call it objects. Hide objects for now, and do it like this. And now we're going to go back to our selection tool and hit Select Subject. Once you have this command shift I to get everything else, I'll hit Q to make sure we got the most important parts, let go, and then hit Command or Control J. So this is our fabric layer. Now on the fabric layer, we're going to duplicate it to save it as that. So I will make a new document. Displacement map, fabric, like, Okay. And over here, what we're going to do is, first of all, get rid of the colors. This is something you should be familiar with by now. And it's something you can really apply to any other scenario. So anytime you have fabric and you have these folds, you do want to make sure that you are using the adjustments at your disposal to ensure that those same folds show up on your new design. Go to fabric, filter, gauge and blur small amount just to smooth things off, and then save this as a PSD. It's a command or control S, and just it safe. Let's go over here and paste our design. There it is. I'm going to use the same pattern, but you can go ahead and use a different one. Place it once you're done scaling, and now we're going to clip it onto fabric. Now let's go to fabric itself, filter, distort, displace. I will there is a lot of curves here, so maybe 13 by 13 and then stretch, warp around. And once you hit Okay, it's going to ask you to import that same displacement map. So we got all the folds in, and now all we have to do is change the blend mode. Very nice. Now when I hide this, notice that there are some areas that are really bright. That's not exactly being accounted for in our design. So we're going to use our blending options, alter option, click on the triangle and just reduce it until it matches a normal sun reflection. Click Okay once you're done, and then I'm just going to blur out my design a tiny bit. So go to filter Gaussian blur because it's on fabric and not flat surface. So around three should be fine. Click Okay, and then bring back the objects. So if I don't have the objects, you can see that some of the design goes on top. But when I bring the object layer back, that's being fixed immediately. So let's bring it back, and there is my design change. Now, just for practicing sake, I have this image for you as well. Real quick, we're going to see how to add the logo on here, so not a full pattern. And the good thing about this image is that they're standing at an angle, so we can see how that's going to play out when we try to put the logo on. Same procedure, grab the shirt. I click once, duplicate this, save it as a displacement map. And just do what we've been doing so far. Two. Copy the design and then paste it on here, alter option to clip it, and then we're just going to use our tools, cotter Control T to change the perspective a bit. So if you drag the corner, you can see that we're able to match the way they're standing. Now, we didn't do our shape method, which was to create a rectangle, adjusted because we don't really have a rectangle. But a curvy shape, so it's a T shirt, but there's a lot of irregular folds that we can't predict. So place that. I'll call this logo, and then we're just going to distort it. Same thing. I think that should work. Displace it like their shirt, and change the blend mode. Same procedure with the blending options. Just be sure to hit Alter option to make the faintness a little better. I could move this around anytime I want. And then lastly, we're just going to blur it out a bit so that it fits the scenario it's in. Something like that. You can always move this around. It's actually tried here. I think that looks better. Okay. So you can see how that displacement map is accounting for the folds, and that is perfect. Alright, so we were able to put a logo on a T shirt in a few simple clicks. In the next lesson, we're going to go over something more complicated, which is this example right here. We do have this bottle that has Pepsi on it. This is from pixels. And what we're going to do is first clear out the can, so that's just a blue can and then put our own design on it. So this will include some warping, as well as all the blending options that we've learned about so far. So I'll see you guys in the next lesson. 45. How to Make Templates: Now, let's talk about keeping our mockups. Of course, we can easily just save it as a dot PSD. But I'm going to teach you guys two other methods, which is really suitable, especially if you're going to be using this mockup often with different projects. So just for revision, we're going to make a dot PSD file out of this project. Go to File, Save As. I'm just going to save it here. Call it. Bag. All right, so bag dot PSD. Save it. And now, whenever I want this, I can just open it from that folder. Now, what if I was using someone else's computer, but I needed access to this file? So just go to file Save again, same as. But this time, we're going to save to Cloud documents. It's going to open up this new window, and I'm going to call it Bag mockup. It's save, and now we can see that the extension becomes PSDC. So there's a C there. And if I just use another computer, log into my Adobe account, I can access this document. Now, let's see how we can save this document as a template. So I already have, like, a Smart Object here, and this is just a regular image. So if I just open the location where we saved the PSD file right here, close it in Photoshop. And open it again. Let's say I want to change the background color. Then to grab my main layer, select, subject, and then we're going to add a solid color. Command or Control I, and now I got a new background color. Net a little fine tuning there, but let's say this is the change that I want to make. So if I save this right here, it's going to update my PSD. So if I close this, go back to that document, open it up. I now have this background. So everything that I do is going to override the original PSD document. Now, this is okay, but if I want to use this for different projects, then it would be a problem. Maybe I want all of the images to have a blue background, but I just want the logos to change over time. And I want a different document for each project. For example, I want one document for myosin mockups. I want another document for another logo. So I don't want to override my One document with that other new logo because there is a chance that I might have to go back to this. And if I have it saved as a PSD, it's not going to be there anymore. So I'm going to open my PSD again, like so, and now we're going to save this as a template. So back that PSD, just add a T at the end. So PSD T and make sure that your format is Photoshop. Safe. Okay. And now we're just going to close this again. Go back to the folder. We got the original and we have the PSDT which is the template. So let's open up the template and see how we have untitled one. So it's no longer bag but untitled. So this means that every time I open the template document, it's going to create a new project for me. So this is great because I get to create a project for my Assin logo, another one for another logo, and just create as many as I need from the same original document. So I'm going to make the background different here. Let's make something really vibrant red. And now I'm going to save it. It's going to ask me to save it as if this is a new project. I'm going to call this Assin Logo mockup. Dt PSD, and now when I go back, I have a separate PSD file from this. But if I open up my PSDT again, it's not going to be red. It's going to be the exact way that we left it when we saved it as a PSDT. Now I can make another one with a blue background and just save this as another thing. Call it. Blue BG Mucu. Now I have a new document. So if you're still wondering why you need to go through all this process when you could just save us different PSDs, it's because when you're working with a client on the other end of the project, there's going to be a lot of times where you give them something, and they're going to be like, Okay, that's good. But then later, they're like, Oh, actually, it's not okay, and like, could you do this as well? So you're going to realize that you don't have the original document anymore, and you would have to start over. Or that you made another version for the client, but that ended up overriding the original. And if the client was asking for the original, you don't have it anymore. So this is how we can make templates inside Photoshop. They're really helpful, and I definitely recommend that you guys create one if you're going to be using a mockup more than once. I hope you guys enjoyed this short lesson. I'll see you in the next one. 46. Where to Find Templates and How to Use Them: So there are tons of websites out there both free and paid, and I'm just going to show you guys a few that you can use whenever you're in a rush and you're in need of a mockup. So the first website that we're going to explore is called FreePiC. I use this quite often myself. There are other things as well. You can see photos, fonts, effects. And right here on mockups, you're going to be able to find a PSD file for basically anything. So we got sign mockups, frame, hat, clothing. And if I go into any of these categories, I have the choice of downloading free ones and premium ones. So you can sign up for a plan and get high quality designs, or you could just get the free ones. Either way, the stuff on this platform are quite high quality, and you can just download them like soap. So you can download this. You can see it's a PSD and a JPEG. So this was our first website. Let's look at another one. Which is called Yellow Images. Again, we have free and paid options. You can go over here and change the category to free, and I get all of these options. So let's try this bottle. I'm going to download this by the end of this lesson so we can see how it works inside Photoshop. Our next platform is WCDC, and this again, has a lot of options, photos, vectors, videos, and bundles. But if you search mockups, you're going to get a lot of free options. You can also do some filtering here for maybe editor compatible or Pro license, even choose the color. So I'm going to choose the screen, and I'm going to get mockups that are green. Our next platform is actually pixels. Now, pixels does not give you Photoshop files, but they do give you images that are perfect as a base. So if I search mockup right here, you can see I get a basework of a blank piece of paper, a blank frame, blank phone, bottle. So I would have to create the Smart Objects myself. But luckily, we already know how to do that. So if you do want to start from scratch and make your own original mockups, you can come over to pixels. Our next platform is Adobe stock. We can go to the template section, right maybe mockups. If you search mockups under templates, you're going to have a lot of options. Now, Adobe actually does have some free stuff, so we can just go down to free and it gives us some options. Now some of these are just JPEGs, just like pixels, but some of them are Photoshop documents. You just have to look out here. This is another JPEG and I guess the free ones are mostly JPEG. Let's try one that isn't free. Let's go over here. And there we go. So this is a PSD team, as we learned, a Photoshop template. So pay attention here when you're downloading things from Adobe stock. Now, if you do have an account here, whatever you download will be brought into your library, and that way you can just access it directly from Photoshop. So I'm going to download one of these later on and see how I can use it from my Photoshop library. The final platform is a popular one that is Invodo elements. So just go to products I'm going to go over there and choose graphic templates. Again, tons of options to choose from. You can also choose your program of choice. And we got all of these options. I don't think Invodo elements has free items, but they have reasonable pricing, so maybe you can sign up for it. If you don't want to pay for these assets, you can just use any of the platforms that I listed before. You just have to pay attribute to the author. So if you're using their mockup, you need to write their name wherever that you publish it. But if you're just going to practice it for yourself and not post it anywhere, then you don't need to. So I downloaded this file from the Yellow Images website. This is a TIF file. I can open it with Adobe Photoshop. Here it is. You can see all these layers, and this is a pretty common layout. They have all the layers named for you, so you will not be confused. We have a label option, and we have a full label option. We also have one for the cap. So hue and saturation stuff, the base object, drop shadow, the blank image, and the background. I'm just going to go into full label, open up the file here, and we can see that I need to put it in the bottle design layer. So if it's a smart object, we know that we can just step a click and just add a design. So I'm going to grab one of the patterns that we used before. Put it right above and just scale it. Commander Control S, and there it is. So the shadows and the highlights, they are all already there, and that's a great thing about these templates. Now I can just export this and hand it over to my client. I didn't have to start over. I just had to place in my design. Now, of course, this is a free design, so I have to pay attribute to the person that made it. Now I'm just going to bring in a mockup from my Adobe library. I do have an Adobe account, so I just paid for a license there, and I'm going to open up my library right here. If you're not seeing this, just go to Window libraries. And I don't have to open up the mockups that I get from Adobe stock, from my finder. Instead, I can just go here and there's a folder for templates. So these are the mockups that I have downloaded. If I want to use any of them, I'm just going to right click Open New Document. So this one in particular, gives me three options. And we can just take a look at the layers. It's telling me where to put my design, that will click. Let's bring in the same design. I'm just going to copy it here. Commander Control C, Commander Control V, and just scale it so it fits the screen. Commander Control S, and there's my bag. It's looking pretty nice. Now, this was a PSD team, so it opened a new document. So that's how you can use these documents and a list of websites where you can download really high quality templates. 47. Geometry Level 2: We're going to see how we can add a design onto three D geometric shapes. So this right here is a cube, and we got this diamond shape as well. So this right here is an image. It's not a three D model. We're going to begin with what we did in the previous lesson, which was to make the shapes, combine them, make them into a smart object, and then use the perspective warp. But last time we just had a box like this, and here we have a top layer too. So this is actually simple geometry. We're going to begin with the rectangle tool. Choose a random color just so we can see, draw your first shape. I'm going to make it into a square because I know this is a cube, so hold down shift, click and drag and let go. So that is my first shape. Let's make another one with a different color. Gonna deselect that shape. Get another vibrant color. Start from here, click and drag hold down Shift. Once it snaps, we know that it's equal. Let go. Now I have two shapes right next to each other. Now because we have a top, we're going to have to make a top layer. G to grab them both, command T, push them down, and make another shape above this one. Let's get a different color. Start from one corner, click and drag while holding down Shift. Let go on SIT snaps. So I have three shapes because we have three sides. Before we move on, zoom in with your scroll wheel and the Alt option key and make sure that these guys are right next to each other. So I just had to pull that down. We don't want it to be like this. Pull it down. Let's zoom out. Go to the other side. Not looking so good. And if you saw that your shape is slightly larger than the other one, you can just grab the tool again and pull it down until the purple lines show up. If you're not seeing the smart guides, which are the purple lines, go to view, show, and make sure that smart guides are turned on. All right. Let's check our green shape before moving forward. So here it's a little short. Grab the tool again and pull it forward. So now that they are right next to each other with no gaps, we're going to merge them all. Grab your last shape, all down shift, first shape, right click, Convert to Smart Object. This is going to collapse them all and give you one layer, which is a Smart Object. So now that I have this, I can go ahead and use Perspective Warp and place it right above my cube. Let's put it in here. Go to edit. Perspective Warp. I'm going to get the layout first, and I'm going to zoom in a little space bar to move the canvas and basically get the three shapes. So that's my first shape. Don't worry about the corners right now. We're going to fix that later, start from another corner, make sure they meet in the center, and then do the same thing with the top. Now it's time to check the corners, so we're going to zoom right in and make sure that we got the corners perfectly. You should have a shape like this. If you're seeing maybe two sets of points here, then that means that you did not connect your shapes. So in total, we're going to need eight points. If you have more, then you would have to start over and make sure the layout is connected. Once you're done, head to Warp. And just pull them down so they meet the actual edge of your cube. It's going to take a while to get it right. Focus on the corners first, and then you can go in and fine tune it. Go to just get rid of the opacity so I can just see my point, maybe just a tiny bit and just fix this up. Once you're done, hit this check mark, and we got our shapes perfectly fit for the cube. All right, so we're going to dabble click here. I have my shapes, as you recall, one, two, three. Let's group them together. Grab the first shape, shift, last shape, Command or Control G. I'm going to call this shapes. Let's bring in the pattern. So right here, I have two patterns. Going to open this up. There's a JPEG and an APS if you want to do it yourself. Drag your pattern right above. Let me just rotate this. Scale it so it covers the entire screen. Hit Okay, and then we're going to hold down Option or Alt, get in between the two layers to make a clipping mask. So we want the design to go inside the shapes. Once you're done, hit Command or Control S. And there is our pattern. So let's have this blending better. I'm going to change the blending mode to something else. I'm going to go to Color Dodge because my shape is black. We will not be using multiply. But if it was white, you would have to use multiply. So I got my shape right here. Open layer styles, and because our shape is mostly black, we're going to work with the dark side in the underlying layer. So alter option, click and drag. And now you can see we got the shadows in perfectly. The highlights are already pretty visible, so I'm not going to be working with this. Let's go back to perspective warp and fix this. Just double click and you're going to get back there. Going to kind of push the shape outside of the cube border. This way I can just mask it out and I won't get this problem. The most important part is this area. So the rest, you can kind of pull them out. And that way, we can mask things around and also make sure these two parts are matching. Alright. Let's turn this off, grab the background layer, select subject, and we're just going to grab our design and make a mask. And I'm also going to blur this out a bit to make it more natural. Cajon blur, maybe four pixels. So we got our design right now. I just have to go back in and fine tune it. I can see that here, we did something, disable your mask layer and just fix this area which we said is the most important part. All right, there's my cube. And we were able to do it with this perspective warp. So it doesn't matter what complex shape is in front of you. You just have to kind of deconstruct the shape and see the amount of sides that it has, and then just make a cut out as you would with an actual piece of paper. So if I wanted to make a cube with three sides from that angle, this is what my piece of paper would look like. Then I will just have to glue the sides. Let's also duplicate our background layer, bring it right above, and change the blend mode to soft light. We can decrease the opacity for a more natural look. So this was how we can put a pattern on a cube. In the next lesson, we're going to explore the limitations of the perspective warp using this shape. 48. Mockups with Warp Tool: Now we have our final mockup, which is this soda can. And what we're going to do is replace the logo that you currently see with our logo, which we have used in the previous lessons. So before I go in here, I just want to follow this style and put a text underneath my logo. So I just made a new document with that art, and this is the same from last lesson. So you probably have a document opened just for this piece. So alter option, resize it as you see fit, place it in the center, and I'm just going to grab the text tool and just type something. Let's grab a nice font color white. And give ourselves a slogan. Alright, let's center that as well, grab both of them with the move tool and then position it right at the center. Now, going back to this, things are a lot more different than the previous lessons, mainly that we first have to clean up our soda can and then proceed to do other stuff. As always, make a duplicate of your base layer, and then using any tool of your choice, grab the can. I'm just going to use Object Selection tool. It's pretty simple. Click once and it perfectly isolated the soda can. As always, you can hit Q on your keyboard and clean up any areas that it may have missed like this one. White brush to introduce, black brush to remove. Once you got your selection, we can go ahead and make a layer mask. So now I only have the C. Now, what we're going to do is save this as a work path. So commander control, click on the mask itself, right click with any of the selection tools, and then we're just going to make workpath. Alright, I'll just call this C. This is in case we need it. We may not end up using it, but it's always good to have a backup somewhere on Photoshop. All right. Now, what we're going to do is go to Base Copy and I'll call this cleanup or just clean. Using any tool of your choice, I'm going to use a Lasso tool. I'm simply going to start grabbing Alright let's click away from the path and avoid adding both of them to the selection because it may give you weird results. So I'll start with the word, right click or just hit here and put remove text. Generate, and let's see what we get. And as you can see, that's a pretty good removal process, and it even followed the reflection lines that we had on the bottle. Once again, go back to clean, and now we're going to grab the circle. Don't worry too much about the edge here because we do have that layer mask. And then we're just going to clean up anything that fell outside the edge of the can. Hold down shift if you missed the spot like I did and introduce that to your selection. Once again, remove circle in this case, and hit generate. There is our clean can. We do have options here as always, so you can just skim through. I think this looks the most natural, so I'll just upscale it. And I believe we can do the same thing here. I forgot to do that. Let's see. I think this one looks better. Enhance the detail. Too small to enhance, that's okay. We're going to blend everything together, anyway. Now, when you zoom in, you will notice some weird cut offs. So if I click away, you can see this awkward line here. We can fix that once we merge everything at one layer. Before I do that, I do notice the little logo. So let's go back to clean and get rid of this guy, too. Rest of the texts are fine because we're going to assume that our coffee can also has ingredients, so you shouldn't worry about that too much. Remove loco. So now that I have a clean surface to work on, I can go ahead and merge all the layers so that I'm only dealing with one. Let's hold down Command and Control and click on the layer mask, then grab all of the generations and original right click and merge the layers. Since I have the outline selected, I will make another mask just in case we generated something outside of the bounds. And now we have one layer. Going to call it can. And now what we're going to do is make the shape that's going to hold our design. So grab your shape tool, grab a more vibrant color, click and drag on top of your shape your can. Right click and convert that to a Smart Object, and I will call this design. So with my design layer selected, I'm going to rotate it by holding the corner and then scale it so that it's fitting the entire can. Next, we can lower the opacity, right click, hit Warp, and match the corners to the can itself. Once you're done, use the handles to further refine the curves. Recall that the longer the handle is out, the curvier it's going to be. And if you even wanted to get rid of a curve, just hold down Alter uption and click on the corner. Over here, we have to follow the line that you can probably see. So just use the handles until you are satisfied. All right. Now the reason why we're not considering this part or even bringing the shape all the way up here is because our design doesn't have a background. If you did have a background, say, you want to put a pattern on this, you would use your corners would now be over here, and then you would hold down Command or Control to make a new grid and then adjust it up here as well. But we're just going to focus on this area. Now notice that the grid is facing towards you, whereas in the original, the Pepsi logo was over here. So to match that, we can just click and drag the center and even grab the bottom to make sure it all looks good. And there we have it. Just make sure that your lines are not squished in, so you may have to grab the tops and pull them along a little bit. Once we're done, we can hit the checkmark and increase the opacity back. Table click on the Smart Object layer, high rectangle one, go to your design, grab both of them, Commander Control C, and just paste it here. I'm going to have it at the center, Commander Control S, and our design is now on top of the C. We can now change the blend mode into something else. Lighter color looks good. And now this tells me that there are some distortions that I didn't account for. So what you can do is go on your design layer, command and control team, and hit Warp again, and it has your things saved because it's a smart object. So now that I have to design, I could, like, play around with it and even change the corners. If I saw that it's going to help, which in my case, it is. So I'm going to match the corner with the edge of the ingredient list, and that is looking much better. Once we're done, we can hit the checkmark and then use the blending options on our design layer to account for the reflections on the can. Alter option, click on this triangle and remove until it's matching those highlights and the same thing with shadows, but you got to be careful so that you don't take too much from this. Something like this, click Okay once you're done. Now the next thing we have to do is blur it out because once again, the cameras focus on one particular area. Before I do that, I am going to hide this and clean up this part like we mentioned. You can grab your brush, get a nice size, lower the hardness all the way, and keep your flow at around 20%, grab one of these colors, and then simply try to draw it in. All right. Let's merge the two layers with Commander Control E. We don't need the mask anymore and blur this out a little bit. Convert it to a Smart Object. Use any of the blurs that you're familiar with. And then bring back your design. I will lower the opacity a bit from the blur itself and then hit. Now let's go on to design and do the same thing, but I do want to have that mask effect. We're actually going to duplicate the design layer and call this design blur. On design blur, we're going to add our blur. Make your layer mask, gradient tool, black to white, and just click and drag. Use the key right here to adjust the transition. I think that looks good. Now we got ourselves a good blur effect for the can. You can lower the fill just to make it a little better, and there we have it. So that concludes this particular mockup. We use the Warp tool, which we learned about already, but use it to our advantage to distort a design onto the shape of the can and also, of course, cleaning up the can of any previous design that we didn't want. So you can repeat this with any other can, any other bottle, and the procedure would be the exact same. I hope you guys enjoyed this lesson. I'll see you in the next one. 49. Metallic Logos Pt. 1: Whenever you're looking for a logo mockup, you're going to come across a lot of metallic looking logos. So that is actually called the chrome effect. And in today's lesson go and you give that effect to a logo. I'm starting with this background. This is in your resource pack. Hit Command zero to make this full screen, and before I bring my logo, I just want to stylize it and make it look a little bit darker. So let's grab a curves adjustment, clip it and make it darker. Next, I want to remove the color. So instead of making a new adjustment, we're just going to go up here to image adjustments and then go to desagurate. So now it's gray. So that's my background. Let's bring in the logo. So in this folder, we have a bunch of files. I'm going to grab the no background dot PNG. This is the logo without the background. Scale it up, position it, okay. Let's call this logo, and the first thing you want to do is to convert this to a smart object because we're going to add a lot of effects. So before we start, I'm going to show you what I mean by a metallic logo or the chrome effect. So let's go right here and write Logo chrome effect. So this is what I mean. We're going to turn our logo and have it look like this. Alright, so as you can see, a lot of them are gray, but you can turn them into colored ones later with another color overlay. So we're going to start with this effect. Later, we can add color. So grab your logo, effects color overlay. So the color that we want to put is actually like a grayish color. And I'm going to grab this one B two, B two, B two. So it's like a light gray color that I'm going to use. So set the blend mode to normal pay 100. And now let's add our first effect, which is going to give it that three d look. That effect is called Bevel and Emboss. Check it, and already you can see that it's as if our logo just got thicker and it has an edge now. So go over here and just we're going to change the way it looks. First, we're going to begin with the style. So we have many options here. The one that it's on by default just does a general thing, but you can have it go on the inside, the outside, have it go around the stroke and kind of bloated as well. So this is what it looks like as a pillow. Stroke. We don't really have a stroke so there's nothing inner bevel and outer bevel. We want inner right now and we want the technique to be smooth. We don't want it to be chiseled or anything, want it to be without that many sharp edges. Smooth is the one we need. Next, we're going to increase the depth. This is 100%. It's pretty subtle, but we're going to push it in and add quite a lot, 600, maybe 700. Now you can see that the edges are more intense. Have a direction go up. We don't want it to go down. O is better. Next, we have the size, which is one right now, but we want to make it quite large. So I'm going to go with, like, maybe 38. Then we want to soften this out by a little bit more. Next, we're going to go down to shading. So shading is going to work with the darks here. First, let's change the angle. You can see a preview here. When I change this, that thing is turning around, and you want to choose the right shading angle for the best result. So let's go with 113. That's good for me. Make sure this is checked off. We don't want a global light. Next, for the altitude, I'm going to increase it. This is five right now, but I want it to be maybe like 32. Let me check this as well. Maybe 115 degrees. Let's increase the altitude to 30. So 11530. Now let's work with the gloss contour, which is the wider part. Make sure that this is unchecked. We don't want this. Then go up here, and we want to make sure that this is linear. So it has to be this. If it's something else, then just change it into this. All right. Highlight mode. We're going to have it be on screen. The color white. And we want a bit more than what we have now. Shadows, have it on multiply and increase the opacity as well. All right, so this is the first step. You can see that it looks quite different after these settings. So now to collapse these, we're going to make the logo layer into a smart object again. So now when I go in here, double click, I still have all of these options, but not here anymore. So we're going to make another bevel and emboss style. Let's go back here actually. Double click. Layer Styles, bevel and emboss. But this time, the settings are going to be different. Now instead of inner, we're going to go to outer. It's on the outside and not on the inside. Technique is still smooth. We don't want anything strict like this. The depth is way too much, so let's reduce that to, like, this much. But on something subtle, have it be an up and not down because that's going to kind of go inside the background. The up here, the size is way too big, so let's reduce that to, like, nine or ten. Reduce the softness because this is the edge, and we want it to be sharp. Alright, now onto shading, we're going to keep the angle the same, and the altitude is going to be the same as well. So don't touch these. But the one thing that we're going to change is the contour. I'm going to change this to list so I can see the names. And these names will actually tell us a bit about how this is going to work. So I'm going to go to Ring double click once, and you can see we got that nice edge. Leave the highlight and shadows as it is, and now we're going to add some glow. Then I'll soften up the edge here a bit, actually. Okay. Go ahead and add a inner glow. Click on it here to get this panel, and we're going to first of all, change the blend mode to screen because we want it to glow. Change it to screen, increase the opacity. Have the noise be at zero, and we're going to change the color to white because the glow is really important here and leave the gradient be like this, white to 0% opacity. Now we're down to the techniques. Again, we want it to be soft and not like precise or anything. Have the source be on the edge and not in the center. Choke we want it to be something like that. It's like a little edge difference. Then we want to increase the size. So this is what we're working with, and this is what the choke looks like. So let's keep this about 11 and have the size be something reasonable. 13 pixels is good. Next, we're going to come down to quality, have the contour be linear. Just open this up. Go up and choose the first option. Linear and have the range be at 50%. Already, it's coming together. Let's add a gradient overlay. So change this to color burn and increase the opacity. So we can get that gray look. Now go onto the gradient and we're going to change this up. So go to basis, grab black to white, pull the white towards the center, make another point at the end, and make that black. So the glow is going to be in the center, the edges are going to be black. This is what you want. Hit okay. And again, linear. We don't want radio or anything. And then we want to reduce the size of this so we can get some shadows. 94% is good. Finally, we're going to add some drop shadow just to make this logo look three D. Drop shadow, have it be on multiply and increase the opacity. Use the same angle that we did use in here, 115, type it in here or use your arrogis up or down to add or remove. 115 for me, I'm going to increase the distance to somewhere like this, 29 pixels, turn the spread to zero, but increase the size. To make it softer, 18 pixels, and there we are. So it's looking pretty good. You can always go back to these. I'm going to go back to my bevel and emboss and just work with the size and soften it up a bit. Reduce my high light opacity and work with my shadow opacity. Inner glow is too much. I'm going to reduce that too, just so I don't get that ring. So play with these and see what looks best. I'm going to hit Ok, and now we got all of these effects. Now, let's make a curves adjustment on top of this clip it. And basically, what we're going to do is to intensify this metallic look. And we're going to begin with our shadow in the corner, bring this guy up, make another point, bring it down. And already you can see that we're getting that metallic look. So let me do something like this. Maybe make another point here and just keep working with it until you get a metal look. So we're almost done with our logo. In the next lesson, we're going to add the finishing touches and get ourselves a really awesome look. 50. Metallic Logos Pt. 2: So before I move forward, I'm going to just blur out my background, so the focus is on the logo. Let's go to filter, blur, caution blur and just blur this up a bit. Next, I'm going to add a winner effect, so the focus can be on my logo. Let's make a levels adjustment above your curves layer and just reduce the highlights. All right. Next, I'm going to make a circle right in the center, hold down option and shift that's out on Windows, and just drag out until you get an eye circle around this. Right click on this, make selection. Then go to your levels. Side this, delete the current layer mask and make a new mask using this Command or Control I, so the darkness goes around the logo. We can get rid of the circle now, double click on the mask and feather out the edge. Go back to your layer and reduce the opacity. So it's just a little ring that's going to help de viewers stay focused on my logo. Okay, the good thing about this is that it's a smart object. We learned about this. Do click once. You're going to get in here. Dabo click again, and this is where we get to add new stuff. I'm going to make a circle here just for demonstration. Close this Command S on this one. There it is. Command S on this one. And there's my little circle. And we already know how to make templates, so I can just save this. And every time I get a logo from a client, I just paste it in here, save the dot PSBs and then I can get the exact same look. All right, so let's delete this circle, save it, and now it's gone. Okay. So now let's make a snapshot of this. Before that, I'm going to make the side of this a little bigger, so it fits the screen. If you need to, you can change the levels, but it's okay for me. Hold down Option Command Shift E. That's Shift Control, Alt E on Windows, all at the same time, and you're basically going to make a snapshot or just like a merged layer. So they're different. Now on this, we're going to add something called a lens flare. You don't have to do this, but it's a nice touch. So go right here to filter while selecting your new layer, filter render lens flare. Alright, so notice that little light. That's what we're making here because this is a metal now. We wanted to look the part. So I'm going to go with this option. You can choose whichever you want. I'm going to go with this one and put it maybe on the most brightest area, which I will choose it to be here. Then just lower the opacity until you get something natural. Hit okay. And there is my lens flare. So now it looks like the light is actually bouncing off my metallic logo, and we're getting this. So it's a nice touch. Gonna move this down. There we go. It's a really fun way to showcase your designs to clients or put it on the Internet. It's a really popular style now. And if you go to, like, a asset website, you're going to get a lot of the similar style. So it's pretty popular nowadays, and it also looks cool. Now, let's add that color that we talked about. Maybe you want the metallic look, but you wanted to have a little tint, as well. So we're going to group the curves layer and the logo layer, Commander Control G. So on top of this, we're going to make a solid color. And we can choose whatever we want when I get a magenta color. Then we're going to clip this to the group. Option or Alt, click in between and just limit it to our logo, then simply change the blend mode to color. If it's too much, you can just reduce the fill and make it look more subtle. You can always dab a click and get another color and just make it look the way you wanted to. If you want it to be colored, then you would have to repeat the emerging and the lens flare step. So just do it before you do this one. So this was how you can get this metallic look using logos. So I hope you guys enjoy this lesson. I will see you in the next one. 51. Mockups Around You Pt. 1: Let's see how we can create a mockup out of the objects that are actually around us. So I want you guys to go out in your rooms and find two objects that you would want to turn into a mockup. This could be anything from glass cleaner, a tissue box, a snack box or anything. Take a photo with your phone, nothing fancy, bring it into Photoshop, and then we can begin. I took two photos with my phone. I didn't use a professional camera or professional lighting, my phone, snapped a picture, and now I brought it onto my computer. Let's go ahead and import our two images. So the images are right here. Going to open them up. I have this bookshelf, and I want to add a new design onto this book. We also have this side. Next is a sanitizer bottle that I just placed on my couch. So I'm going to add a new design right over here. So as you can see, it's nothing fancy, just regular items. That you can find around your house. Commander Control zero to fit to full screen. And now we can begin. So first, I want you guys to analyze the items. This right here is a rectangle, and we have a thinner one right next to it. It is a little curved, but we can just use the Warp tool to get that curve. But it's really important for your image to be edited before you add mockups to it. So I did not edit my images right now. I just got them in raw. But before we begin adding on the design, we're going to head over to filter camera raw filter. So let's begin with the easier one, which is my sanitizer spray bottle. I'm going to do the same thing. Let's begin by making this brighter by increasing the exposure slider. We need some contrast. Work with the highlights, the shadows, and I want to add more color from this couch. Alright, so now my image is looking a lot brighter. This is what it looked like before. This is after. So it's bright. The colors are popping. I'm just going to change the hue of my green. All right. So now that's looking better. And one more thing is that I want to rotate my image. It's kind of tilted. So just go to geometry and work with the horizontal line first. So the bottle is facing towards us. And in terms of rotation, just use the guides that you see right now and make sure that the bottle is straight. All right. Let's also scale this up so we can get rid of those transparent areas. All right, so there's my image before, after. It's looking a lot more bright. It got some color, and we're ready to go. Hit okay. And now you can see that my image got updated. So there's no new layers, no adjustment layers. And this way I can just keep things organized. If you want to keep your settings for camera raw, you need to change this into a smart object. So let me go in here again and maybe add some cold temperature, negative eight, okay. And now I have a camera raw filter, tapo click and I'm going to get that negative eight so I can continue from where I left off. You can also do this before you start your adjustments. I was certain of my adjustments, so I'm not going to do that, but this is how you would keep track of the stuff that you use and always be able to go back. We got this. Now let's analyze our bottle. We clearly have a rectangle which is wrapped around this bottle. We have a slight curve right here. The design cuts off here because it's wrapping around. And we also have, like, the cap, which is currently white, but I could change it into a different color if I want to. So first, let's go ahead and make our base design. Grab your rectangle tool and just make a rectangle. Make sure that the top and bottom meets the height of this label. Any color is fine, lower the opacity, convert this to a Smart Object. Commander Control T, right click, Distort. So first, I want to meet the corners of the label. So here we have a curve. And instead of making a rounded corner rectangle, we want to make a regular rectangle because later we can mask this out and get a cleaner look. So do something like this, have the edges match, but the corner can kind of peak out like this. Let's go down and repeat with this side. All right, so I got the corners in. We don't know where the other two corners are, so I'm just going to leave it like this. I can't, move this down so I can get the same line. There we go. Okay. Command or Control T, Warp and go right here where there is the Warp custom. These are some presets that you can use. And when we scroll down, we can see that we have a cylinder option. The bottom section is a cylinder, so I can just use this, move these points around and save myself the trouble. We had the corner set. I'm going to drag this guy and pull it until I meet this line. Pull this guy in closer. You don't want to stick to this, but instead have it go a little further because I want the design to get cut off just like this area. So instead of sticking, just pull it to the side and try to match the other curves. Alright, looking good. And notice these little lines in the middle. These are actually what's going to give your design that curve because right now it's almost a straight line. You're going to get a flat look. So if you hold down command, you're going to get this. Click on any area, and you can use it to create that curve for your design. So as you can see, the letters are not flat. There's a little curve. So I'm going to hold down command right here. Click and pull this down until it meets the baseline of the text. I'm going to put one more in the center, and then we will get a good look. Alright. I'm gonna check the corners one more time. Let's hold down optional alt, click on the handle and just pull it down. Like so. Pull this guy down a bit. Remember that it's better to be on the outside than to be on the inside because we can always mask out those areas. Alter option, work with the curves. Try to get something nice and even. I'm going to bring this guy a little closer just so I can get a nice even area. So this is what it looks like. We have the curves. We got the corners, and the section here is a bit larger because as I said, I wanted to get cut off. Hit the check mark once you're done. So here I actually reduce the opacity before converting it to a Smart Object. And here you can see that the opacity in the fill is 100. So don't panic because if you dab or click on this, we're going to get the exact rectangle that we made in the beginning, and I can just bring back the opacity here. Commander controls, going to check it. Looks good. And now I can go back and put my design. So in your resource pack, there are two designs, one of them for the book, and one of them for the cleaning product, which here is a disinfectant, but ours is a sanitizer bottle. So we have many options here. I just made this cover design that PNG from the given EPS file. Track this right above, alter option, and just pull it until it reaches the full screen. Okay. Command or Control S. Let's see what that looks like. So it has that curve just as we want it and things are getting distorted. We have the curve. Everything is looking good. So the design is actually a little short, and to fix it, I'm just going to use the colors that I see to make this into a full screen design. So if you want to manipulate the text and change their position, I also made a converted design.ai. Just open that, and it's the exact same thing. So I can just maybe move the text around, work with the E, and do all that. If you know how to use Illustrator, then you can do that here. So I'm going to go back to Photoshop, go into image and check my Canvas size, which is the size. Change it here. So it's about 59 by 53. With that in mind, I can go into the AI and change this right here to 59 centimeter by 53 centimeter. So it's going to change my canvas size or my artboard size, actually, and I get to scale it in here. Now, the reason why we're not scaling in Photoshop is because things are rasterized there and we're going to get a blurry look, but everything in Illustrator is vector based. So I can scale this as much as I want, and I will not get a blurry look. Grab your design with the direct selection tool. Command I'll shift, and just scale it from the center until it reaches the end. Next, I'm going to grab my background stuff, which is the last clip group. Just press this button, hold down command, and just stretch things up. There you go. So now it's fitted to my screen. Now I'm just going to grab the text. Hit V on your keyboard, Duble click until you enter the group. Double click again until you can just grab the text. Wherein layer one group, another group, and now I can just move the text around. So we had this guy we add this text, pull it up and grab these three, select one, shift, the other two. Use the align options up here to make sure that they're in the center. Let's grab this guy down and make this guy a bit bigger. Hold down shift so we do not distort it. And right. There we go. If you want to get rid of these curves, just go to your clip group, which is for your background. The top rectangle is your clipping mask. Click on the side, and you're going to see these white circles on the corners. I just pull them up until they fill up the screen. And now I have a full screen design, which is the same size as my Photoshop file. Just be sure to not put any of the text near the corners. That's a common rule with product design. Make sure everything is based in the center because the edges might get distorted and you do not want your, for example, L to be here and your M to be here. So for the text to be readable, we want to put it a little further away from the edges. I'm also going to save this illustrator file for those that don't know how to use it. So converted design.ai is this one. So you can keep it like this, but I'm just going to get rid of these top text, new 50 millimeter. I'm just going to keep my design super simple and keep the main text as well as the side text. This is optional. You can put as many texts as you want. Export this as a new converted design. So P&G, same settings. Then I can come back to my PSB file and add my new converted design. A little off. Just simply use distort to meet the edges. Alright, Commando Control S, and there is my design. So it's looking good. We can see that around here, things are getting a little distorted. That's exactly what we want, because that's what happened with the original design. Alright, so I got my design. Let me just call it this. In the next lesson, we're going to see how we can have this blend onto this mockup and how we can clean up this mockup so we get a white label. See you guys in the next part. 52. Mockups Around You Pt. 2: And now it's time to clean up the label and blend in the design. So go on your layer zero. I'm going to call this label. So duplicate your layer, command and control J, and I'm going to turn this back into a normal layer. Then using my tool of choice, which is this one, I'm going to go around the text and the graphics. Once I have my selection, I'm going to right click with the tool and just fill this content aware, 100, color adaptation, and hit this. This is not going to do an amazing job, but it will get rid of most of the stuff. And I just need to get rid of this centerpiece. So already, we got rid of a lot of things. It just needs a little bit of cleaning up. So to clean up because it's at the center, I can use any of the tools. We can try content aware fill again. Try to get this to be less dramatic. I'm going to open the panel here. We got the preview, which tells me exactly how it's going to turn out. So this is pretty good if you saw that that Photoshop is sampling from layers from areas that it shouldn't use minus and get rid of those areas. So I don't want it to sample from the liquid or the transparent area. And you can see the updated version up in there. Also, be sure to remove the area that has text, so it doesn't bring in more of those colors. Alright, so it's looking good. I have it on the following settings. I'm going to hit output to new layer just in case I need to redo this. Hit okay. Normal copy. I'll just leave it as that. Command or Control D, now we got rid of most of the problem. Alright, so I'm happy with this. I'm going to merge these merge layers. I'm going to use the Clone tool or the patch tool, whichever you prefer. I'm just going to clean this up. So I'm going to do that, and then I'll be right back. Okay, so I cleaned up my label. All that's left is the side area, and I'm going to show you guys a way in which you can fix things up without going past a line. So grab your layer, the one with the healings, get any of the selection tools and just grab your bottle. Hold down Shift to add to a selection, then alt to remove. I zoom in right here. Shift, get these areas. Then hit Q on your keyboard and just fine tune things with your white and black brush. Once you're finished, hit Q, and we're going to hit the mask button. So now what I'm going to do is to go on the bottle image and use the tool that I was using. So the Clone tool, hold down option, sample area. And now once I press on it, you can see that I'm not going past the edge of the bottle because of our mask. So just do that. Just be careful of this area because we didn't make a mask here. You just made one big mask for the entire bottle. I have my soft round brush, but if it's too soft, you can just increase the hardness. And there we go. Now I have a white label. So my white label is there. If I bring back the design, we can see that it's going to fit perfectly when I change the blending mode. Now grab the same mask, Command or Control, click, go to the design and make a mask. So now the design is also getting cut off after the edge. Now let's use the blendif options, starting with white, alteroption, click and drag. I want to bring in this highlight that the bottle actually had. And I want to bring the highlight that the bottle actually had. I okay? Now let's grab this layer, duplicate it above the design. I will call this shadows, duplicate it again. Call it highlights. So the highlight layer needs to be screen, Shadow layer needs to be multiply. Of course, they are a bit much to work with the opacity until you get something good. I'm going to start with the shadow layers just high highlights and work with the opacity here and bring in the highlights. They're supposed to work together and give us a good result. Now the problem is that the shadow and the highlight is going all over the bottle. We just want that to happen for the design. To hold down commander control, let's first delete the current mask. On both these layers, command or control on the design itself, not the mask, and then we're going to make a mask here. So it gets limited to the label alone. Scrab it again, and there we go. Let's actually clean up that area. G use the colored black and my brush, actually. Hold down shift and just go down. Same thing with shadows. Get rid of that area. Zoom in for the curves. Problem is right now is that the label is way too sharp. So if I hide everything, you can see that the items on the bottle are blurred, and that's pretty natural. Now let's examine the bottle and decide what type of blur I need. So here, everything is blurred, but around this point, things get in focus. So I'm going to need a blurring technique that will kind of give me a gradual blur. Bring back the design. Cut to filter, blur calorie and choose til chi. So that's going to give you these two lines, and here it's going to be blurry, here it's going to be sharp. I'm going to delete the current one and make a new one right here. So this is the point where everything to be in focus. I can just use this guy to blur things up. So now let's rotate this just as the bottle is blurred. You can also use the slider up here to deal with the blurriiness. I'm going to stick with nine pixels. Our layer is a smart object, so I can always come back and change it. Alright, that's looking good. Now let's zoom in here. And just make a mask for the label because we mentioned that we're leaving the corners sharp so that later we can mask it out. And here you can see how the designs turning really dark when it is outside the label. So let's just group all of these design shadows and highlights, Commander Control G. So all the designs are in this group. Call it design. Turn this off for a second, go to your layer, the normal one, and this time just grab the label. So the rest of the bottle is not important. Hold down alter option to remove and shift to add. Alright, so here is not that important because we already cleaned it up. The only important areas are the corners. Hit Q and now make a mask on your design group. And now when I zoom in, you can see that we're not getting that black line. If I disable it, this is what it looked like before. And this is what it looks like after. It's a little sharp, so let's dab a click and feather out the edges. One pigtol, repeat that onto the other mask because we're not trying to get anything to be sharp. One pixel, and finally, one pixel. Looking a lot better. This one, you don't really need to do that because it only worked with the middle section. The blur is a bit much, so let's go into the blur gallery and make it less. Strike seven and instead increase the range here. Click Okay. Now I'm just going to go back to my blending options. It's a little much. So I'm going to remove that and avoid getting those pixelated lines. I'm also going to reduce the opacity and make it a little faded. So maybe like 93. 96. And everything is looking pretty good. Now let's go ahead and bring everything together. I'm going to add a gradient map above everything, maybe a black to white. Let's switch it right here. Hit okay and change the blend mode to luminosity. So that's going to give my image some contrast, reduce the opacity, and that's looking good. Let's add another gradient map this time for color. So explore the different things that you have. I made this one myself, green to red, and then I'm going to change the blend mode to soft light, reduce the amount, and it's going to give me this warm glow going all over my image. Let's get a curves adjustment. So you can stop here, but if you want to, like, color the cap, you can do that, too. Below all the new adjustments, I'm going to make a solid color and choose the color of my cap. So let's go with, like, a dark blue. It okay? Delete the current layer mask, hold down command or control on the mask, and then make a new mask here. Next, we're just going to change the blend mode. I'm going to go with linear light. You can also go with WivD, grab it. And now I just need to remove this section. So just get rid of the opacity. Maybe keep a little bit. Get your brush with the color black and just remove this entire area. All right, I got my ring. Let's bring it back to the number that we had. Maybe I can grab the color here. Try to get something decent. Let's reduce the fill, get a light color, and just change to blend if options. So whether you have a professional camera or not, you can take a photo, add the mockup onto it and just send it over. So this was how we can add a mockup onto this shape. In the next lesson, we're going to add it onto this book. 53. Mockups Around You Pt. 3: Now let's add a design onto this book. We're going to begin with the same procedure that we did in the previous lesson, but we're going to add some new steps. So before we get started with making the shapes, I'm going to first measure my book. So grab the ruler tool right here. It's underneath the Eyedropper tool. Click and drag to the other end of the book. So that's how long it is. We're going to keep this in mind. You can write it down somewhere because later we're going to add it in. Once you're done, clear it and do the same thing with the other end until the edge of this blue section. Once you're done, repeat with the blue section. So grab your ruler, go up and down. That is the width of our shape, and then we have the height, which goes from across. Grab the taller section. We're going to fix the perspective later. So that's our number. Once you wrote those down, we can start making our shape. Grab your rectangle tool, a very vibrant color, click once, and here is where we're going to write those measurements. These measurements are in pixels, by the way, so that's why they're rather enlarge. Alright. Once we have this, I'm just going to turn the sides into zero from center, and there is my cover. We're just trying to get the right ratio for the shape. Just going to flip this over and you can see that it's basically the same. Our book is just tilted in one direction. The perspective is different, but this is pretty good. So now let's do the same thing with another shape that's going to connect to the first one. So click once and write in your measurements, and there it is. Place it right next to the first shape. It's not going to be equal, but we're just going to push it in so that it is. This is only happening because of the perspective. Or else there is no need for you to do this. Now, just like the book, I want my cover to be different from this side area, so there's no need for me to merge these. Instead, we're going to place them separately and get two separate designs. So let's convert our shape into a Smart Object, lower the opacity commander control team, distort, and just push it into the book. The corners, I mean. And make sure it's perfect. Now, the edges of the book is not actually that sharp. So just as we learned, we want to have it go a little bit above. That way, I can just mask it later. Just put it right at the tip. Check all the corners, and there we go. So the book itself has a slight curve. We can see that. I got the corners right, but we cannot fix the curves with a distorted transform. So right click again and get your Warp. I'm going to make a line here, all down Commander control and push it right here, repeat on the other side. I'm doing this so that I don't distort the stuff that's at the center. So I did that on all four corners, and now I just go to Zoom in and work with these. Just pull them forward. Work with the handles should be pretty easy. You can also stretch a handle if you saw that it's too short. All right. There is my nicely set cover. I'm going to hit Okay and bring back the opacity. Now let's check this. Double click, and I'm going to get my book cover, which is in this folder. And I'm going to scale it further because it's just patterns. Of course, you would want your design to be the same size as the book cover. This is just for practice. I got this off free pick. We're going to save this and see how it looks. So it's perfectly fit into our book. It even got the corners. It's nice. I'm going to remove this red here. And now let's change the blend mode. So with a simple blending change, I got my book to match the shadows and the colors. The only problem is that we still have the designs from the original book. So let's close this, get our background layer, and I'm just going to duplicate it. Go to call this camera raw layer. I'm going to head into Camera Raw and fix up my image. Now, if you'd like, you can change this into a smart object. But because we're going to use the Clone tool and all the other ones to clean up the design, that's not going to work. So go to filter and choose Camera Raw and just do what I'm doing. So nothing too extreme. We're just working with the lighting here and maybe a little bit with the vibrance. Now that it's better, I'm just going to hit okay, and it's just a slight change. Now let's go on to the layer. So grab your tool of choice and go around the design. Once I have this, I'm going to write click Content Aware Fill. You're going to get the preview up here and zoom in, and it did a pretty good job. So I don't want it to sample from the wall. I don't know if you guys can see, but it's sampling the texture on the wall, and that's not what I want. So I'm going to grab the minus and just remove the wall from the sampling areas. Let's get rid of the other books. And I just wanted to use the white that is currently on the book to get rid of those areas. So no walls. We don't want these textures. In the preview panel, I can see that there's no sign of the text. So I'm just going to hit Okay, output to that same layer. And there we go. Commander Control D to deselect, and now my design looks a lot better. Going to call this design. Now let's repeat the process with the side. I'm going to convert this first, reduce the opacity Commander control T, distort and fit it into the corners. Again, we're going to have to warp this. There's a slide curve, Hold down commander control and add those guides on the side. Once you're done, it okay. And now I got my block. Double click in here. I'm going to make a design myself. The background color of the book is blue. So if you remember it from the fabric lessons, if there is a base color, adding a design may be a little tricky because you have to fix the coloring. If you want to save yourself the trouble, just use this blue as your background. But if you want to go with a different color, then you would have to do some additional things just as we did in that lesson. G to keep things simple for this. So I'm just going to sample the blue. And add it onto this rectangle. There we go. Now, let's add a text, long click, and I'm going to get a vertical type. Click on. Let's get a different color. White and maybe bold. Pull it down here, put it in the center. We don't want the text to be distorted and write something, maybe new book reports, Command or Control A, go to properties, and just work with this stuff. I'm going to push the letters apart with the tracking. Let's add a second text down here. So like the author's name John Doo Commander Control A, stylize the font. Stylize the text, position it, check that and I'm just going to make a random shape in the middle. Let's get this random shape. Click all down option so it shows up from the center. There's my book side, Commander Control S, go back here and once I bring back the layer, we can see it. Let's change the blend mode. Now I'm just going to clean up this side. Grab your tool of choice, get the text. H. Let's go into the panel. Zoom right in. And as you can see, it's getting the sample from areas that it shouldn't. So remove those and just leave the blue areas. All right, so it's good. It does have that tiny area, but we can fix that with the clone tool. Output to current layer, it okay? Command and Control D. Let's zoom right in and clean up this area with the Clone tool or any other tool that you want. All right, there we go. Let's bring our design. I'm going to go with ten because we have the same base color and just some white elements that we would like to keep. You can also try a lighter color and just experiment with the different items. I I'll stick with pin light, and now I have a new design. Now, let's blur out both of these guys. Using Gaussian blur. First, I'm going to examine my main image and see exactly where things get in focus. Grab your first layer and just blur it out with a simple Gaussian blur. Let's go with 1.3. Zoom right in. There we go. You can compare it to the text below. That's looking good. So let's get the design and put the exact same so just grab the top one. And there it is. It's blurred, and it looks more natural. So that's how you can create mockups out of the items around you. I hope you guys enjoy these two lessons. Now let's move on to the next one. 54. Mockups and Geometric Screen Mockups: So we have a black iPad screen, and I want to add a design into it. I want to make it look like the subject in the photo is working on a project that I made. So this could be a good mockup idea for your next project. Before we start, we want to check the dimension of the device. Now, this device right here is an iPad, and it's an iPad ten. So I just went on the Internet and I looked for the dimensions, which is 9.87 inch by 6.85 inch. And I'm basically going to make a rectangle with that exact same size. That way we can keep the ratio when we add our design. Click once. It's going to open this panel again and just write in your dimensions. Be sure to write IN or CM, whenever measurements you're using, because if you don't, it's going to jump into pixels, and six pixels is pretty small. But I keep these zero because the edges are sharp and from center. So there is my shape. It's a little too small, but we're just looking for the ratio. Grab your shape and just make it bigger. Then we're going to change the fill color into a neutral gray. So 50% brightness, zero saturation, and zero hue. We're doing this because our screen is black, and the neutral gray is going to be perfect for this example. Commander control team and just rotate this, making sure that it covers the black screen. Hit the checkmark, convert, then commander control Team distort, reduce the opacity and you already know what to do. Let's bring it back. And what we're going to do right now is to hide this. Let me call this design. Hide the design layer, it the main layer, and we're just going to grab the hands. The hand and the pen. Should be pretty easy to grab. The rest doesn't really matter. We just want to work with whatever that's on the screen. All right. Once you've got that, go to your design, hold down alter option, click on this, and we're going to exclude that from our rectangle. It's looking pretty good so far. Now we're going to duplicate the original layer. Like so, and then clip it onto our design layer. So option, click, and now this guy is going to go inside the screen that we just made. Change the blend mode of this onto screen, and now we're getting the reflections onto whatever design we put on. So let's call this reflections. And now I'm going to convert this to a Smart Object and get a curves adjustment. So I'm going to come back to the curves later. Let's clip it and put in my design. So for the design, I have a pattern. Just go to drag it on top, alter option, scale it up, Command or Control S. So there it is looking good. And notice the role that the reflection layer is playing. It's giving us that natural look. I'm going to blur out my design. It's way too sharp. You can see that the hand is what the camera is focused on. Blur this out and we can zoom in. See exactly what's in focus. So around here is where things get sharp. So grab your layer and we're going to get the tilt shift effect. It's going to give me this line, and I need to just rotate it, like so let's increase the blur. You want the blurry area to be here and the sharp area to be exactly where the hand is. So put this ball object on her hand, and the rest can be blurred, but the blurring is way too much. So lower it into like maybe a decent amount gonna push the line here so we can get more blur across the screen. There we go. So it's all blurred up here, but it gets sharp around here. Okay. And next, I'm going to double click on the mask that we made, add about one pixel of feather. And that will give me a softer edge. So now that I have my design and we blurt it out, I can add the curves. Double click. Be sure to clip it so that it only affects the design. And I'm going to begin by making the shadows a bit more faded. Just lift this up. I now have this design on my iPad. So that was how you can make screen mockups. This technique applies to any electronic screen, so you can use it on your next project. 55. Soda Can and Gradients: So in today's lesson, we're going to take the Warp tool to another level. We learned how we can use it to add some curves onto our rectangles and how we can fit it onto a cylinder shape. But here, I have a can bottle, which is technically a cylinder, but we do have this extra area, and the whole bottle is tilted. So this is going to be a bit of an advanced work, but we're going to go through it step by step, and by the end of this lesson, you're going to have yourself a design onto this can bottle. So let's begin by making our shape. I'm going to measure the height just as we did before. It doesn't have to be perfect. I'm just trying to get an average of how tall my shape should be. All right, 25 40 and the width, we're going to just measure it 13 93. Okay, there's my shape. I'm just going to rotate it 90 degrees so that it's facing upwards. Once I have my shape, I'm going to turn it into a smart object. All right. Before I manipulate this into the can, I'm first going to make a mask out of this bottle. So Command or Control J. Let's call this mask. Then grab this layer, go to select, and choose subject. There we go. If there is some problems here, we can always grab our quick selection tool and add to the selection. Going to hit Q and make sure everything is nice and clean. Use my brush if needed. Because there's nothing else on this picture, it's going to do a pretty good job. It even got the little bubbles. So let's hit Command zero, Q, and make our mask. So now we have the bottle separated from the background. Okay, so once I have this, I'm going to start forming my rectangle into the proper shape that it needs to be. If you do the transformations before you convert it to a Smart Object, you're not going to get a PSB panel. So it's just going to be a random shape, and the Smart Object feature will not work. Just put it in like this to form the correct angle, lower the opacity, and we're going to head over straight into Warp. So no distortions here. Grab the cylinder option and just fit it where it needs to go. So put the corner around here just before this curve, and it's going to do the same thing there. Pull it like this. So don't worry too much about this curve right now because we're going to deal with that later. So pull this so that it covers the entire white section of the can. Don't worry about this. We're going to use masking for that. Gonna close this so I can see it better and try to get a nice coverage. Alright, so here, what we're going to do is to add the curve that's around here. As you recall, when we hold down command or control, we're going to get this line. And I can just make one right on this section, and then I can use it to pull things down so that the design kind of has a bump here just as the bottle does. You can do the same thing with the areas in the middle. Alright, so you might think that maybe I can grab this side and pull it in. But the problem here is that we're kind of distorting the design. Look at the grid here. Everything is nice and perfect. And then here there's this turbulence. And if that happens, our design is also going to get all crazy around this area. So we're not going to do that using Warp. We just want to make sure that the corners are set. We're covering the entire thing. And this small area, we can fix it with something else. Gonna use distort here and just push this down slightly. We just want them to be equal. So now this is what the warp looks like. It's still got the lines, and there's no distortion. Now, let's check this with a design. Let's call it that. Dabo click and add your design. So in your resource pack, we have a design here, drag that right in, pull the sides, hold down Alter option, and then click Command or Control S. And there's my bottle. All of the curve is there, and our bottle is looking good. Now, I'm just going to add a full screen design so you can see exactly how that looks. Let's first change this to multiply. Go back in here and I'm going to add a pattern. I'm going to use one of the patterns from another lesson just to show you how that bend works. Commander Control S. So there it is. Notice how our design is kind of bending over. If you look right over here, the design is bending. So that's why we use the extra line to create that bend. Okay, so I'm just going to do a combination of this pattern and this text. So on this layer, I want to get rid of the white. Let's go into select color range and use the plus, click O on the white area. So you want the text to be black and the background to be white. Hit okay, alter option, click on the mask, and now I got rid of the background. I'm also going to grab my design, go into color overlay and use a color that's more vibrant. Maybe some white. Let's also duplicate this layer. Canter Control J, call this shadows. Change the color overlay to black instead of white. Command our Control T and just kind of move it down so we get this shadowy effect. I'm using my arrow keys to move it down, then right. Now I'm just going to rasterize my bottom layer so I can blur it out and just distort it. Asturize it, apply this layer mask, and now I can add my blur. So I'm just blurring out the black parts, not the white parts. Maybe around 4.1 pixels. Now let's change the blend mode to multiply and reduce the opacity, just so I can get a subtle effect. And there we go. C minor Control? And there's my drink. Okay, so now that I have my design, let's go ahead and make it pop. Grab a curves, clip it. And using these sliders here, you can make it darker, brighter than another one for levels. Clip it. There we go. Now that I have my design and the adjustments, I can go ahead and group all three. Commander Control G, command or control on the mask to select it, then make a mask. There we go. Now we just have this problem. I'm just going to hide my design layer, my design group, actually, grab my main layer and grab this grayish area. Hit again, and we're going to make a new layer. So just have the bottle here, the top. There we go. And I'm going to drag this above my design. All right, so I got my design. Let's duplicate the mask layer, put it right above the design, not the layer one, which I'm going to call cap, and just change the blend mode to screen, lower the opacity and another one for multiply. So we can get the shadows and highlights right in. Going to increase my multiply layer and just work with the opacities. Okay, so there's my design. Now, let's say I wanted to kind of reflect this onto the floor because right now, we're just getting this shadow, and we're not getting a reflection of my design. Now, this is where gradients come in handy. They're going to be really great for situations like this. Let's group everything together. Anything regarding the design, of course. So all of those call it design. So just duplicate it. I'm going to call this reflections. And then we're going to hit Commander Control Team. Flip Vertical. Pull it down until it matches the bottom. Match the edges of your frame, use your arrow keys to just pull it down like so. So hit okay, and now I'm going to merge this group. Doesn't matter too much about the way it looks because we're going to blur this out. So go to filter. Let's first convert this to a Smart Object. Let's add our blur. All right. And now once we're done, we're going to grab the gradient tool, black to white. So we're going to make a mask. And draw this line going from black to white. So this area is black. That area is white. So notice how we just made a line. I'm going to do it from this angle, black to white, and there we go. So we're getting a really soft gradual effect from this group. Once I have that, I can just lower the opacity and get my reflection. Go to go back to Gaussian blur and blur it even more. And there we go. So gradients are really good when it comes to mockup reflections because if I were to do this with a brush, I would not get anything close to this. So that's how you can make a mockup for soda cans and how you can use gradients for reflections. You can use gradients for many other things. For example, if I were to make a mask out of my design layer, I would just make a regular one, an empty one, then grab the gradient tool, black to white. One, two. So you can see how everything is so clean because of this gradient. So because it's black to white, the first point is always going to be black. The second point will be white. But if you want the opposite, you can just go in here and just flip these two. So you get white to black, white being the visible part, black being the invisible. So now my cursor, the first point is going to be white. Second point will be black. So my design is fading towards the second point. And now with just a few clicks and selections, I added my own customized design onto this soda can. 56. Complex Shapes Pt. 1: Some of you may be wondering, Well, I learned all about these basic shapes. But what if I come across a really complex one that is neither a cube or a sphere or a diamond? Well, in today's lesson, we're going to learn how to deal with shapes that are not exactly basic and how we should look at these shapes to begin with. So this right here is pretty much the McDonald's Happy Meal box. I got this from free pick. Later on, I'm going to show you how to deal with three D Objects in Photoshop. But for now, this is just a PNG. So the first thing I want you guys to do is to analyze the object and find out exactly what shapes you're dealing with. Objects like these are usually a combination of geometric shapes. So you should be able to differentiate the shapes. And that way, it will be easier for you to work with the object. I'm going to grab the Pen tool and some vibrant color so that we can find out what shapes we're working with. So the first shape that you can probably see is a cube. It starts from here. Let me get a stroke. There we go. It starts from here, goes up to around here. That was the first cube, then we have another one here. I'm just going to use the same color to highlight this shape. There's my second cube. The next shape is rectangles. We can see that from this point, the two sides separate. So this is not part of the cube, and to get like red and highlight the rectangles. That's one. We got one in the back behind the diamond shape. So there's rectangle, the next shape are the two triangles that are really tall. So I'm going to grab green. We got one up here. And another one up here. There's also another rectangle right below, so I'm just going to get my red and draw my rectangle. So far we've got triangles and cubes that consists of two sides. The final shape is the half circles. We can see exactly what shapes we're dealing with. I broke down the object, and now I know exactly how I should progress with this effect. One shape that is not exactly a basic one is this area right here. So it's like it has a curve, but it's not exactly a circle or a cylinder. So this is just going to be a part of my cube. I'm just going to go around it. I'm color coding these for you guys to have an easier time. All right, so let's count the shapes. One, two, three, four, five. We're dealing with five shapes here. Each of them are different. Apart from the shapes, we got some whole areas like this one and the area inside the circle. So let's begin by making our base shapes. I'm just going to group these guys and call it reference. All right. Let's hide this for now and lock it so I don't move them around. So grab your rectangle. We're going to begin by measuring the side of this shape. Going to start with the one here, and then we can move on to the smaller one. So the height of this is going to start from here, push it down, and that's 909.24. And then we go one on the side, 311. So 905 311. Going to go with 0.5. I forgot the DMOs. There's my shape. Let's fill it in with a color and remove the stroke. Commander control team, right click, rotate 90 degrees so we can get it to be upright. Now I can just duplicate this shape and put it right next to it. To make this one green. So I got my first two shapes, and what's going to happen is that I'm going to use the perspective Warp tool to kind of push them up like this. Now, of course, you're wondering, well, these are not exactly connected, and they're going to get cut off at certain areas. That is true, but we're going to use a different method to get those areas in and not make a different shape. So we're just dealing with rectangles here, and we're just going to move forward using this. Before I begin, I'm going to change the color of the boxes so I don't get this dull gray. You can simply do that by making your solid color, choosing anything. Hold down alter option, clip it into the shape because this is a ping gee and then change the color. So this is my color fill. We're going to leave it like that. So because we duplicated this, we don't need to check the top and bottom because they are already aligned. Now, grab them both, right click, convert to Smart Object. Lower the opacity, and we're just going to place them above the first shape. Go to edit, perspective warp and make our layout. Make sure that your second one connects to the first one. Once we're done, we want to make sure that the edges are matching. So zoom in Once you're done, we're going to go on Warp and begin manipulating the shape. So let's start with the center right here. I go to lower the opacity again. Using the harsh shadow, not this line, I'm going to put my point here. Again, don't mind the curve. We're going to mask that out. Just focus on the side. So for this side, just try to connect it to the side here because this is a triangle now and use the harsh shadow or the edge of this section as your guide for the middle piece. And then finally, we got this guy. I'm going to match it to this side. That's basically the shape that we have. Click Okay, and now I'm just going to put something in my base. Going to call this base one. We're going to have another one here. I got this pattern that I just copied a bunch of time so that they match. One thing you want to make sure is that there's no space between these layers. You can pull them in and just try not to get a line going through the design. Now I'm going to merge all of these together and paste it onto my Smart Objects. Commander Control C. Go to your rectangle that I just changed your colors into this color. So just dap a click, copy this and paste it onto the rectangles. Now, above the rectangles, we're going to paste the design and just scale it however we like. That's looking good. So let's grab all the shapes and not the white background. Go to select Color Range and use a plus to select the whites. And once you see something like this, hit Invert. So we're going to select the shapes and not the white background. You can also work with the fuzziness here, but we want it to be somewhere like this so the doodles don't get faded. Click Okay and make your mask. So now we just have the shapes and not the background. Now I'm just going to apply this layer mask and color in my design. Go to FX, color overlay and choose the color white. I'm doing this because this looks better on the orange than those colorful looks. This is what it looks like. We have a nice design going on, and it's pretty good. You can also try other blend modes, burns it in. You can also try things like difference and just see what works for you. I actually divide, so I'm going to stick with that. So because these shapes already has that harsh shadow, there's not much for us to do. And the shapes themselves don't really have much of a highlight because this is a three D model, and it's not exactly an object that someone photographed. So right here, looking from the bottom to the top, there isn't much of a bend, so we don't have something like this. Therefore, there's no need for me to distort this line here. Same thing on the other side, it's just going flat up, and there isn't much of a distortion. So what we're going to do is to mask these areas out. So I'm just going to merge my base layer and the color, merge them up and call this base. So you can just clip your base one into the design, and you're going to get the perfect cut because this was a PNG and we didn't have to do much about it. But we do not want the design to be inside the box. So notice how the design is going there. That's not how it's supposed to be. So I am just going to grab my selection tool, grab the areas from my base. Command. Hold down shift to add, Alt to remove. So just get the areas that are on the inside of your design, and we need to mask those out. To get a cleaner look, hit Q and just clean things up. White to add, black to remove. You can use X on your keyboard to switch the colors. Don't worry too much about the edges here because we already clipped the design into our base. Hit Q once you're done and make a mask out of this. Hold down alter option and make a mask. So now it's not going on the inside of the box, and we just have it on the outside. So now that I have my basin, I'm going to continue working with the rest of my design and do the same thing for the other box. We'll continue this in the next lesson, so I will see you guys there. 57. Complex Shapes Pt. 2: Welcome back. This is where we left off. We kept our base pattern in, and we fitted the design onto the object. Now let's put the logo onto this box, and then we can move on to the next one. Try it right above. I got a doughnut Logo. Let's say this is a doughnut box. You can choose any other food, scale it down and position it on the bright area of your box. Alright. The reason why I'm not adding the design into my Smart Object is because we're using this blend mode, and it might get distorted. We have to guess where we should put the logo because the center of the Smart Object document is actually here. I find this method to be easier. Place it on this box on the brighter side and make it slightly bigger than it should be. Then right click and simply use the stored to match the corners. So it's not that hard because it's a transparent logo. And because the box is facing at an angle, you want the top one to be a little lower than the other point. Same thing for the bottom. And this way, we can ensure that it's meeting the perspective of the object. So there's my logo. That's all I want to add here. Let's move on to the second shape. These sides of these two shapes are the same, but I didn't write them down. I'm just going to redo them again. Now let's grab a field color. And for this second box, things are going to be a little complex due to the curve that we have right above. Go to place this right here, duplicate it. Alter ruption, click to the side, make sure they snap into place. Let's change the second one into a different color, and now I have my base shapes. Turn them into a smart object together. Gonna call this base two. So lower the opacity for base two, and we're going to do the same thing with the perspective warp. So just grab it here, make you layout and connect. Okay, now let's warp them into place. So just think of this shape as a cube right now. Don't worry about the top. Use the harsh shadow as your guide just as we did for the first shape. And we're going to have to guess where the edge finishes, but it's definitely going to be a little like this because it's going to the side. Pull this down, and this is only happening because of perspective. Once we're done, hit the checkmark, bring back the opacity, and I'm going to put in my design. So I'm just going to go into base one, copy this shape. Or the pattern, actually, go into base two and paste it right above. You can kind of work with it, choose a different size, maybe flip it. So it looks a little different from the first shape. Just be sure to add the same color for your rectangle, copy the hex code, and paste it into the two bottom ones. Commander control S, and there it is. Let's change the blend mode to divide just as we did before. And to bring back the blend mode first and lower the opacity. So let's try warping this. And don't worry about the corners. You're going to go back. The one thing that I want you guys to do is to hold down commander control right below this curve, so you can use this line as reference. And make a line. Make that point, right click, split warp horizontally. So we're going to split it a little below that line. Everything here is going to stay the same. So if I grab something here, you can see that this area remains untouched. So that's what we need to do. I'm going to start warping things around here. Let's make another point by holding down commander control and just kind of bend this in. So things are getting like that. You can kind of push this to go this way. It's okay if it gets distorted. That's the whole point. And I'm going to pull this down and just work with the handles until you got a decent shape. So just focus on this area. The handle is not going to have this print. So don't panic about that. Once you're done, hit the checkmark, and you can see it goes back into our perspective warp. Now I'm going to change the blend mode into divide, and you can see that the shapes are getting a little tilted towards the top. So that's what we're looking for. Nothing too major. Now I'm just going to grab this box completely. Let's go to our base shape, remove these items, select my box, shift to add, Alt to remove. So I don't want to design on the handle, hold down Alt. If you see that it's not cooperating, you can just switch to the standard mode. There we go. So now I got my box. I'm just going to go onto base two and click on the mask. Let's bring this back and everything is looking good so far. Now I'm just going to duplicate my logo and put it over there as well. You have to do some resizing here, hold down option, so you scale it from the center and position it where it needs to go. We already had the perspective going, so there wasn't much to do. We got our pattern on. We got a logo, and it wasn't as hard as we thought it would be. And like we said, because these are three D models, there isn't much to do in terms of blendifs. Maybe a little up here, but that would be regarding the design and not the logo. So grab your base layers, go to blendis. Base two is this guy, so I'm just going to move it there. Alter Option, click and drag. So it kind of fades the design out when it reaches the top. Repeat for base one. And there we go. I now made a custom design for this complex box. It wasn't that hard. We got the work done. We added a pattern and a logo. So whenever you are faced with a complex shape, just try to break it down into simpler ones, and then it will be easier for you to move forward with it. After all, every packaging is made of geometric shapes. So you just have to do some calculations, get the base workork done, and the rest is pretty easy, all things to Smart Objects. I can always save this file as a template. And the next time I get a project from a different doughnut shop that has a similar packaging, I can just go into the Smart Objects for the logos, switch them up, and I can have my new design in the exact same way. A final touch that I want to add is the reflections, just as we did in the previous lesson. So just go to your top layer. Hold down Shift Command option E, that is Shift Control E, all at the same time to make a snapshot. Command or Control T and flip it vertically. Match it with the box below. Use your rakes, just push it in like that. All right. Now let's use a transform property for skew. Kind of have it match the box. So we want the box to have a reflection. And therefore, I need it to look suitable. Just use the store to meet the bottoms together. All right, so hit that, and now I'm just going to convert this into a Smart Object. Blur it out. We have this from the previous lesson. Bring this below your base. It's a little too blurry. Let's just put it in like that. Make a regular mask and use the gradient map, black to white to fade out the design. Try that again. And we can always rotate or change this to whatever we like. I think I'll remove this section. This area also looks a bit uneven, so I'm just going to feather it out using my brush. So now I got a reflection. Let's just put a solid color underneath and bring the entire design together. If you want to add drop shadow, grab your base layer and add drop shadow. Just have it go in the direction that you want. And there we have it. We now got a drop shadow for our shape. I hope you guys enjoy this lesson. Let's move on to the next one. 58. Presentation Pt. 1: So now we know how to create mockups for most common objects. Now you might be asking yourself, why do I even need a mockup, and where am I supposed to show it? Well, in today's lesson, we're going to see exactly how you're supposed to use a mockup, and in what format are you supposed to deliver it to your client. So the whole point of a mockup is to aid the client in better envisioning your new logo onto their product. For example, if your client has a restaurant, your job as a designer is to help them envision the new logo on their menu, on their billboards, advertisements, posters, or anywhere else that they want to use it. So if you just send the mockup alone, that's not going to be enough, and it's just not the right way to do it. So let's say we have an order for a logo. We designed it, and now I have three samples to show my client for them to choose from. Again, I'm not just sending them three pictures. I want to put it into a presentation. You can create presentations easily inside Photoshop. But before I show you how, I'm going to show you an example of these logo sample presentations. So this right here is a presentation that I made for the logo samples that I wanted to present to the client. I made this in Illustrator, but later on in this lesson, I'm going to show you how to do it in Photoshop. So with the first page, you want to introduce the brand, its mission, and its introduction. Next, we have the color choices. This is choice number one, where you're showing the colors that you used in your samples. So you want to first tell them why this color set. What made you choose this yellow or this orange. Then you want to list them here with their hex code. The different values for CMYK, RGB and HSB. This is cyan magenta, yellow, black, red, green, blue, hue, saturation, and brightness. You're going to give a little explanation about each of the colors and what they're going to be used for. And that way you have given a complete introduction into this palette. You can give more than one options. So this is option number two. Again, I'm giving a quick introduction, listing the colors, their values, and what this color will be used for. So here is our first mockup. Instead of just putting a flat image of the logo, you want to present it in the best way possible. So I use the techniques that we learned so far to place the first logo sample onto these boxes. Of course, the object that you choose needs to be related to the brand. You cannot make a mockup out of a soda can when the brand's main product is cookies. So be sure to choose your object wisely, and that way, it will create less confusion. So once I have my mockup and I have kind of wowed the client with the realistic look of their new logo, I can then go ahead and give some explanation about the logo itself. So I have the flat version here. Here I'm listing down the theme of this logo overview of why it would be good for their brand. Next, we have a breakdown section where I'm telling them how I got to this logo. So what does each part mean? And what am I trying to show with all of these shapes? I also wrote an introduction onto this logo. So you want to make sure that by the end of this presentation, the client fully understands the logo samples and that there is less room for questioning. We have more mockups. Again, this is just to show them how the logo will look onto the objects that they're probably going to use. So that was logo number one. This is logo number two, and I'm just following the same format. First, we have a full screen mockup, then we have an introduction page. We have the breakdown page, and we have more mockups. So you're going to repeat that with all of the logo samples that you have and, of course, the best logos that you want to deliver to your client to choose from. Now when I say logos, I don't mean that you can send maybe ten logos to your client, five logos. You definitely want to send a small amount of logos so that they can have enough space and enough time to envision each of those logos. So if I send them five logos, they're not going to have the time to imagine each one thoroughly, and they're just going to rush into something or maybe they'll just get confused and reject them all. So the golden rule for logo samples is three. And the reason why we're giving number three is because naturally, when you get three options, you're going to get rid of one, and then you're going to think long and hard between the last two. That's just something we do normally with any set of options that we have. So think long and hard about your logos, pick three, the best three, and then present them in the best format that you can through this presentation. After that, your client is going to choose one or maybe they'll choose one and ask you to improve it. But regardless, adding three will make their choice much easier. So that was the main purpose of mockups. Another place that you would put mockups on are on websites. So when a client is launching a new product, they need a sort of imagery to help the customers envision that new product. Sometimes it's a big project that they cannot just make a prototype of, such as a robot or a car, and they will ask designers to make a three D model of that robot at the logos and just help everyone envision this new product. So most times you're going to be making mockups for these two purposes. Of course, there are more, but these are the two main reasons why you would even go for a mockup. Okay, so now let's make a presentation. I'm not going to actually make one, but I'll show you how you would do it inside Photoshop. So the most common size for presentations is 1920 by 1080 pixels. The goal here is to have an aspec ratio of 16 to nine. Sometimes you may find 16 to ten, but usually it's 16 to nine. So the dimension right here is the most common that you would use, and you would put it landscape mode. Resolution, I like to set it to 100. You don't want to make it too large so that it takes time for the client to load it. 100 is a pretty good number. And lastly, we want to make sure that this button is checked. So artboards are different canvases that you can use to make things inside Photoshop. So instead of having one canvas, you can make multiple, and those different canvases will be the pages of your presentation. So if you uncheck this, you're not going to get the artboard option. It creates. I already had one here. And let me just show you what it would look like without this option. Just create one here and see how I don't have that artboard one option. All right, so go up here to your Move tool. Long click and we get the Artboard tool. Once you grab it, you can click on this one, and you're going to notice four plus signs on all of the sides. And this is how we're going to add pages to our document. So this is my first canvas. Going to click once, and now I have another canvas. So right now my presentation has two pages. I can make one above it to the left and to the right, any direction. And we can also determine the size up here. So I'm going to make a new one, and let's say I want this to be 1920 by 600 pixels. It's going to look exactly like that. There are also some presets here. So, for example, things like web Most common Macbook Pro 15, iPad Mini, and so much Me. You can also grab the edges right here and scale it however you like. You can also make mood boards in Photoshop. It would be the same. You would just be putting different content into each one. Alright, so mine is a presentation, so I don't need a page this long. I'm going to delete this by grabbing it and then hitting the backspace button on my keyboard. And there we go. We can also change the background color to black, transparent or other. Let's try this red, and that's how easily I can do it. Now, let's take a look at our layers panel and see exactly what's going on. 59. Presentation Pt. 2: So this right here is artboard number four. If I open it up, you can see that I have no layers. So when you change your color here, it does not mean that you're creating a background layer. This is the color of your artboard. Let's just rename this that will click into red page. And just like any other layer, I can lock it, drag it hide it and maybe make a mask, adjustments, and so on. We can also change the blend mode if we want and the opacity. All right, so to actually add content inside your artboard, you're going to need to make either a shape or a layer. I'm just going to make a text layer right in the middle. Commander Control A, let's change the color into something better. Change the format and put it right in the middle of my artboard. Let's zoom right into the artboard. And let's say this is the design that I want to have on my first page. I can also add linked file to my artboards. Just go to File, Place Linked. I'm going to go back here and get my spa club package dot PSD file and place it into my artboard. And anything that's outside of your artboard is just not going to be in there. So there's no need to crop your images. So let's say I'm presenting this brand. I placed a linked file, and if you recall from a previous lesson, then a linked file allows me to always have the option to change my image design. So I just the text here. Let's add a paragraph. I'm going to go into my Sparkl package, double click, maybe hide my sentening Commander Control S, and now it's gone. So you can place linked projects when you're working with presentations as well. All right, that's looking good. And I'm just going to add a bunch of random shapes in the next two pages, just so we have full pages and not empty ones. Scrap like multiple. Actually, in this one, I'm going to add a pattern. So let's go into patterns right here. If you're not seeing it, go to Window hit patterns. Let's add this blue color. Click it once, and now the background is water. There's other options for trees, grass, and water. I'm going to try this one. And now I'm going to add a text on this too. Alright, so let's say this is my presentation, and I'm ready to send it over to whoever that needs to see it. Head over to File, Export, Export As. So you get the different artboards. We get to select them all, grab a few, and I'm just going to grab them all here. Change the format to JPEG unless you have a transparent design. But you wouldn't usually in presentations. If you want to change your image size, you can do it here, scale it down. Maybe I want it to be 25% of what it was. I can see the new size and the new width. Let's change this spec to 100. You can add this option, but you would have to enable it first, convert to SRGB, embed color profile, looking good and put it into a folder. Once I'm done, I want to close this document. Let's just open a new one. Close this off. I'm not going to save this. Then go to File automate PDF presentation. You're going to get this option, hit Browse and bring in those exported artboards. Drag them all here. They're going to be listed automatically, but you could always drag one up and have them be like this. So I think in our presentation, the order was reverse, but if you name each layer, then it would be easier for you to see. Alright, so you can either duplicate a page, remove it, sort it by name, and even add more files. You can hit this button, which will bring in the open files that you have in Photoshop. We don't have any opened, so there's no need to do that. So the difference here between multipage document and presentation is the option down below. So with a multi page document, you're just getting a PDF and you're just getting a bunch of slides right next to the other ones. But a presentation gives you an additional option for the slides to change after, let's say, 5 seconds. So it depends on what you want to do with this presentation. If you want to give a speech, while it kind of goes in the background, you would want to choose presentation. But if you just want to show it to people and skip these slides with your own pace, then you would want to choose this. So either one that you choose, you still have the options down here for background color. The font size 12 is standard, and we can also include file name, title, author, description copyright, the EXIF info, and any notes that you made. If you're choosing a presentation, you can make these slides change after 10 seconds, write them in here. And if you want the presentation to start over once you reach the last page, you can do that. We also have a transition for blind, horizontal fade uncover, and you probably are familiar with these transitions if you know editing or if you used PowerPoint. I'm going to save this twice. First, let's export it as this with all of the options. It's safe. I'm going to save it in the same folder. Then you're going to get this, which gives you options for the quality preset, a description of your presentation. You can write it in. You can enable this and of course, be sure to optimize it for fast web preview. We also have some compression options if you want to compress it. Output options, you can convert the colors and put in the profile. For security, you can ask for a password, and there's also a summary for warnings, description, and options. Once I'm finished, I'm going to hit Save. And my presentation is there. I'm also going to make one more with these same pages. There's my new presentation. But this time, we're going to make it into a presentation. Advance every 2 seconds, loop after last page, and let's get a box in transition. I'm going to leave these as they are. It's safe, call this presentation. Click Save. Now let's open the presentations. So this is my multi page document, my first page, second page, third page, and all of them. So here is the extra options that we asked for, the name of my file. And if we go up here, we have this full screen thumbnail. And the additional information would be over here. So let's get my info. We have all of the options here that we made inside Photoshop. Now let's open the other presentation. Let this second presentation play. It starts and it's going on its own. I'm not doing anything. As you recall, I set it to every 2 seconds, and it's going to loop after it finishes. So let's go back, hit Escape, and that was my presentation. So that's how easily you can make them inside Photoshop and also how you're supposed to showcase your locus samples with your mockups, inside presentations. 60. Selling your Work Pt. 1: A great option for earning passive incomes is to sell your digital assets on the Internet. Are a lot of creators out there that don't have the time to make those assets themselves, so they're going to come to you on those platforms and buy it from you. These assets could be anything from a mockup, a pattern, illustration, logo, and just anything that you can make on most Adobe programs. So whether you know how to use Photoshop, Lightroom, Illustrator, in design, there are many ways that you can sell your assets on these platforms. Now, let's stick to Photoshop because that's what we're learning in this course. And the best things that you can sell using Photoshops are mockup. They are really popular and there are a lot of demands for it. We learned all about the different ways that we can make mockups, and all you would have to do is to save an extra copy and have it prepared for these platforms. Going to walk you through how it works, and by the end of this lesson, you're going to have some options for passive income. So when you're selling something on these platforms, they are considered as stock. Of course, they are digital stock and not exactly the stock market. And basically, on these stocks, you get to sell something as either exclusive or non exclusive. When you sell something exclusively to a platform, that means that you cannot sell that same item to other platforms. However, if you sell something non exclusively, you can put it on multiple platforms at a time. It's always a good idea to search about the conditions of selling on a platform before you actually sign up and put your items out there. So let's take a look at our first platform that we are pretty familiar with, and that is freepik.com. Now on this platform, you can sell things such as photos, vectors, PSDs, and other designs. Now, before I start making an account, I should first figure out if free pig is exclusive or non exclusive. So let's do a simple search. There we go. So it's a non exclusive model. That means that I am free to upload the same content to either Microstock platforms. So this is actually really good because I don't have to make something special for FreePig. I would recommend going for these models when you're starting out, and FreePig is a great place to start because it has that model. So apart from mockups, you can also sell illustrations, photos, videos, and just about anything really. You can also sell three D models there too. And the thing about free pig is that it's going to have to test you before they actually accept your work. So they're going to take ten of your best works, whether it's a mockup, illustration or anything else, and then they're going to review your work. And if your style fits their standards, then they will let you into the platform. But if you get rejected, then you cannot sell on free pig. Make sure that you have a maximum of ten items for you to be tested. And the model here is make money per download. So when it reaches a minimum, let's say the minimum is $50, then you're able to cash out and take that money into your bank account. But if you just made maybe $2, you cannot withdraw that money. The next one is Adobe stock. If you have an Adobe account, it's pretty easy to work with. You can also sell your photographs and videos in here and do vectors, too. Now one thing to keep in mind is that you want to have each of these accounts follow a certain niche. So instead of making your account full of images, videos, three D models, logos and mockups, you should stick to one or maybe two items. So maybe your whole account on Adobe Stock can be photography. Your whole account on FreePig can be mockups. This way, you're going to show up better on the search results. And when someone goes to your profile to see if you got anything better, it will be less confusing. So dedicate one of your skills for each of the platforms, and that would be a better idea for starting out. So Adobe Stock doesn't really need to test you you can just go ahead and upload your images right away. The next platform is shutterstock.com. This is a pretty famous platform. And just like Adobe stock, you can sell images and videos as well. Shutterstock has a similar entrance test as free Pick. So you're going to have to start by uploading some of your best work, and if they like your style and you fit their standards, then they will let you create your own profile and start uploading. The next platform is Invodo elements. This is another famous platform. This platform follows a similar style to Adobe stock. You can start uploading items right away, and if they get accepted, then it will go on your profile. There's no pre test just like free pig or Shutter stock. Invodo is an exclusive platform. You see right here this is from their website and I can sell the items on other Invodo pages, but not anywhere else. So I would have to create a set of special items for Invodo and any other product page that they have. I think they got Invodo elements and place it. So if you plan on selling on multiple places, then Invado elements will not let you do that with the same item. The next platform is Creative Market. This is another popular place. And creative market has a different style. So basically, they're going to ask for your portfolio rather than your ten best items. When you press this, you're going to create an account. Later, they will ask for your current portfolio or your current shop. If you already have a shop, you can put that URL or you can put your portfolio. Based on whether or not your items meet the standards, they will let you create a shop or they will reject you. So there are some perks to creative market that the other platforms don't have. So when you create a new product, it's going to go live instantly, but they do have that portfolio check beforehand. So if you don't have a portfolio or a shop, you can just go ahead and make one using a platform like B hands or Gum Road, which I'm going to show you later, and then use that URL to get approved on Creative Market. So this is non exclusive, which is great. You can sell it with them, your own site, and anywhere else. I would recommend going for non exclusive platforms. The exclusive ones are a little bit downer because you would have to create a specific thing for them and not sell it to anyone else, which can reduce the chances of you earning a lot of money from that one item. So if you're starting out, just go for non exclusive platforms. If you're not seeing it on their page, you can just do a simple Google search. The next platform is pretty famous. It's called Gum Road. This is where a lot of creators start. So you can sell things from a tutorial, sticker pack, illustration, logo, and basically anything that has to do with digital media, you can sell it up here. For example, this person is selling Procreate brushes. If you know how to work with Procreate and have some brushes, you can come up here and sell it. It doesn't have that test where you would have to send over your best works, and it doesn't have a per product approval. So you can just start selling, post your thing. No one's going to check it, and then you would just get paid if people like your work. So I think that's a great way to allow people to get a chance. And it has a pretty strong dashboard system. So you can see how many views your products got. You can edit them whenever you want. And because no one is approving your work, you can just be free with however much you want to upload. So they have a lot of handy articles about how you can start selling. So for example, instead of selling a whole book, we can start by selling a blog post, which is less time consuming and less costly. If you scroll down, you can see the stuff that you can sell. There's things like top ten lists. So something really normal. You can sell your Emojis, cookbooks, cryptotips and literally just about anything. So it's a really big market, and people are just selling things as we speak. You can go down here to find some inspiration. For example, mockups, drawing paintings, films, even gaming, fitness Health. If there is one platform that you should start on, it should be gum road. And by the way, these are non exclusive. So whatever you sell here, you can sell on other platforms, too. The next platform is axels. So axels has some print on demand services. So if you plan on selling t shirt designs or something that needs to be physical, they will handle that for you so you can see the items that people have sold on this platform. Red bubble is another amazing place if you want to sell printed items. So you're not actually going to care about where the t shirt base comes from or where the bags are made. Red bubble will do all that for you. They have the best materials, and they're just looking for designs. So when you open your shop, you're going to put in your design files. And when people buy them, they can choose whether they want this design on a mug, t shirt, bag, and it will be delivered to them. So you're just putting your designs out there. Redbubble does not have any product approval system, so you can upload anything you want and put it immediately for sale. So let's say these are my designs, the client can just come up here, choose whatever and buy cut and buy this bottle. You don't need to go through any screening to start your red bubble shop. It has a similar style to Gumroad. So those were the platforms that you guys can list down and start selling on. Now, let's take a look at how we're supposed to save our PSD files so that we can sell them on these platforms. 61. Selling your Work Pt. 2: Here's a mockup that we downloaded a few lessons back. So the formats that you usually get is a PSD, an APS, and a JPEG. Now, TIFs are not that common, but if you did receive one, you can still open it with Photoshop. If you download a three D object, you're going to get a different extension, but you can still open that with Photoshop. Everything is labeled and group. We're not seeing 50 different layers in this layer panel. Group everything, label them, and color coding is optional, but it helps the customer better navigate through this project. To color code a layer, you can just right click. And choose a color. Now I'm just downloading a mockup file from Freepik, and then we can examine what comes into a folder when you download one. Now let's see how mockup files are supposed to be packaged. I just downloaded this from freepik by this artist. So first of all, all the items will be a ZIP file. The platforms will not accept a singular file usually unless it's a image or a video. But when it's a vector mockup illustration, it needs to be a ZIP file. Let's open it and I'm going to get a JPEG and a PSD. So you should always have a JPEG of what the design will look like and a PSD. So again, we can see the color codes and the labels. Be sure to leave everything as it is, and don't show a flat work because you want the customer to just know exactly how this works and where they should put their design. So here is where I should put my design. It's a smart object, so just double click, put your design here, save it, and it will be applied. We can also change the color here, and finally, we have our background. Oftentimes, you will find other formats in here, such as an EPS file and a TIF, which we saw previously. If you plan on selling illustrations, it would be JP, AI, and APS. So always have a JPEG and the format of your design. Once you have your folder, zip it, give it an appropriate name, and upload it to the platform for approval. And then slowly, people are going to see your designs and download them. Now, in order to get onto the search results, which usually doesn't happen when you first start out, is to have a continuous pattern for uploading content. So maybe once a week, twice a week, and be sure to continuously do this for about a month, at least a month, and then you're going to start seeing results that can be either a view, a download, a follow so don't be discouraged when you don't get a download after the first week. That's not how these platforms work. They will only show you in the search results when they find out that you are active. So I hope you guys earn the right information to start your new passive incomes, and I wish you good luck on starting your shops. 62. Patterns and Brushes Pt. 1: So now we're going to start by learning about textures and compositions inside Photoshop. Whether it's an artwork, a photo retouching, a poster, you will always find yourself in Photoshop when you want to add some textures and when you want to create compositions. In the previous chapters, we learned how to make our own custom brush inside Photoshop. After we learn how to make a brush, we're going to see how we can make a seamless pattern inside Photoshop using a design that we either made ourself or a design we got from the Internet. So in your resource pack, you will find five things. We have different textures. We got a wooden texture right here and raindrops. Then I got a white wall for us to test this out on and a wooden background to test the wooden brush. We also have a doodle folder that I'm going to use for the second lesson. Okay, so let's begin with this wooden pattern. I'm going to drag it right in. Make your squared document 1080 by 1080. I use 72 for the resolution. Then drag in your photo and we can start turning these lines that we see on wooden textures into a brush and use it in any other situation. So we're going to begin by rasterizing this image, right click Rasterize Layer. Then we're going to hit Command L on our keyboard or Control L one Windows. That's going to open the levels panel for this layer directly. Pull down the whites, so we can make them brighter and then bring you black sin, so we can make the black darker. This is going to create contrast and make those lines more visible. So this is what it looked like before. This is after. Click Okay, and now we need to get rid of the color. Go to image adjustment, desaturate, or shift command you, shift control you on Windows. It's going to turn black and white. We're going to do the level process one more time now that the color is gone. So again, pull this in and pull the blacks in. Pretty good. Now what I'm going to do is to use my white brush with the soft round. So soft round white brush, change the color here and just get rid of the edges. So just follow the lines and remove these chunks of color that you see. Once I have something like this and I don't have the design going on the edges, I can do my levels adjustment one last time and get rid of the gray areas in the center. Alright, so we're just looking for these lines and nothing else. Once we have this, we're going to go to edit define brush preset. Wooden texture brush. Click Okay. So I have the exact same texture onto my brush. Let's hide this and test it out on my layer one. Let's get the color black, and there we go. So that looks like a wooden texture, and it's just like my image. Let's hit Command Z and get rid of this. And now I can use this on any document that I want. There is a problem with the settings right now. If I click and drag, then I get something that looks more like a smoke rather than wooden texture. If I want to use it properly, I would have to do this one by one, but that's going to be really time consuming, and they're not exactly lining up with my brush motion. First, I'm going to make a new layer. Push my brush window brush settings. This is going to show up. And down here, you can see a preview of how the brush will look like. So in the first window, we want to increase the spacing. Maybe something like that. So now when I click and drag with the color black, of course, it's not going to be as close up as it was before. All right, so maybe that is too much. Let's test 39%. I think this looks better. 66. You can also go further so that they're not really touching. Just play around and see what number you prefer. I'm going to stick with 92%. Next, we're going to go into brush dynamics. Check this. Again, looking down here for your preview, increase the size jitter all the way up to 100. And now this is what we're going to get. We're going to get different sizes as we do a brush stroke. Now, this is entirely up to you. If you want to get different sizes, as you're painting, you can do this. For example, if you made a brush out of grass, this is something you would use. But for me, I don't want it to be that extreme, maybe 40% will be good for me. Then we want to go into Angle Jitter and turn that up. If you want the angle to change over time, you would increase angle jitter. So because this is wood, I would want it to be either this way or this way. But the angle jitter is going to just give me some crazy angles. So this is not that suitable for my current brush or the purpose that I make this brush for. But if I wanted to make a cool textured background, then this would do nicely. Alright, let's hit Command Z, remove this. You can also increase randomness jitter, which is going to kind of squeeze and change the height and the size of your brush over time. All right, so the only thing that I have is size jitter on 40%. Let's turn on scattering. Scatter this by a little bit. So right now they are in one line, but you can ask Photoshop to scatter the brushes. So notice how they're going everywhere. I'm going to add this just a tiny amount, I mean. I don't want it to be that extreme, maybe 13%. And if you wanted to make a different setting for each brush, you can always make your settings, go up here and create a new brush preset. So if I turn my scatter all the way up, I can say wooden texture brush with 100% scatter. This will all be in my brush library, and I can access them whenever I want. Okay, so this is my brush. I'm going to close this off. And now I'm going to bring my wooden background image. I'm going to increase this so I can get a few of these wooden planks. So let's say that I'm not happy with the amount of texture I'm getting on these planks and I want to increase them. So you don't want to go directly with your brush and maybe a brown color on this image because that's not going to look natural. Even if I change the blend mode, it still looks like someone just took a brush and decided to draw these patterns. So what you want to do is to actually create an adjustment layer and use your brush to introduce the adjustment through a mask. So we're going to make a levels adjustment above the image and just really make the image dark, increase the contrast. And get something like this. Command or Control eye on the mask to invert it. Now using my white brush and my new texture brush, going to increase the size, I can start drawing these textures. See how it's not that extreme when I'm drawing it because the darkness is coming from the actual contrast of my original image. We can also reduce the film if it's too much and get a more subtle Alright, so I'm just going to delete this for a second and make a new one. So let's do this properly. I'm going to increase my size and, like, make a stamp here. Let's go down here. You can see the size is changing as I go on. I can also right click and change the angle of my brush. So just work with the fill, and now you got yourself something that looks a lot more natural. So there was no need for me to take my brush and draw these textures. I just made a texture out of actual wood and applied it to another wooden background. This is before, this is after. Play around with the fill. You can also go to the blend mode and experiment. So I can make this wood look old by adding a color dodge or a linear dodge. I can make it like this, like this, and I can just experiment with this. All right, so this was our first example. Let's move on to the second one. Delete all of these. And now I'm going to bring this raindrops image onto my canvas. Alter option, pull from the center. And right now I have raindrops on a clear sky. So there's no clouds in a bag or people. And this is really important because it allows me to make a cleaner brush. Before I begin, I'm just going to pull the side forward. Commander control T distort so that looks like a straight line. Pull this down. There we go. Start by rasterizing your layer. Command or Control L, increase the contrast. Again, we're just looking for these lines and not anything in the background. There we go. Now I'm going to use my white brush, of course, soft round and get rid of anything that comes in the corner. Do this with the color white. So once I have this, I can go ahead and turn this into a brush. Main drops, click Okay, and there's my brush. Hydro layer. Let's get a vibrant color, and it can just make it look like it's raining on top of this white background. So let's actually test this on a image. So the image here is a white wall. You can use it to create a mixture of the wood texture and the rain texture. I'm just going to get another image that will be suitable for this rain texture. So we have this romantic image of two people behind the glass. So this is a perfect situation to add the raindrops and make it look like it's raining outside. So begin by making a new layer, and I'm just going to get the color white, increase my brush size. Click once, and then I'm going to right click, flip it the other way and make a click at the bottom. Scroll down here and do this. So right now it looks like a lot, but I'm going to make a mask out of this and use the gradient tool to introduce a little bit of fade, black to white, click and go up. Let's try a different angle. G look at the shadows here. Get a subtle decrease. Can do this multiple times, by the way. Once I have this, I'm going to change the blend mode into something a little subtle. So let me try screen. And because the raindrops are on the outside, I need to blur this out. So go to blur, Gauss and blur and blur it out. Be sure to do this on the layer and not on the mask. Try to match the blur of the items that we see in the reflection, and let's actually turn this into a smart object, so I can always edit it if I need to. Let's go with 20.4. Grab the blending of options. Go on underlying layer, Alt click and remove it from the bright areas. Click Okay. Alright. So there is the raindrops. You can experiment with the opacity if it's way too white for you. And we can always actually add an adjustment on top of this layer. So I'm going to make a levels adjustment and just lower the whites a bit. So now things look a bit more subtle. So you can really turn anything into a brush inside Photoshop. It could be snow, rain, wood, concrete, marble, and anything else. Now that we learned how to make brushes, let's jump into making patterns. 63. Patterns and Brushes Pt. 2: Welcome back. Let's start making some patterns inside Photoshop. So the first thing you need is a design. Now, you can either draw this yourself or grab it from the Internet. It doesn't really matter because the process would be the same. So in your resource pack, there is a doodle folder. We have an EPS and we have a JPEG. I'm just going to grab my JPEG straight into the document. Click Okay. And I want to turn this into a pattern. Of course, you're thinking, Well, maybe I can just duplicate it, place it right next to each other and call it a day. But the problem is that you would be creating a space between each of these patterns, and it's just not going to look as organic. So it clearly looks like we just duplicated this, and it does not look seamless. So instead of creating different cubes placed next to each other, we want to create a seamless version of this pattern. So make sure that your design is fitting the screen. If you want, you can scale it up if the design is too small. And if you're drawing it yourself, make sure that the layer is merged. If you had a background color and a layer with your brush strokes, make sure to merge them so that you get one design layer. Okay, so begin by making guides on your document. Got to view show, and make sure that smart guides are turned on. Next, hit Command or Control R to reveal the rulers. You see that. Then drag one from the side until it snaps at the center. Repeat that horizontally, and you're basically cutting your design into four pieces. Next, I'm going to rasterize my layer, and we're going to grab the rectangular marque tool. Click and drag over your design, the top half, and then hit Command or Control X. So that's going to cut your design. And now, what I want you guys to do is to grab the move tool, grab the bottom half, and just push it up. So these purple lines are the smart guides that we made sure are on. Without the Smart Guides, you're going to miss a pixel or two, and then you're not going to get a seamless pattern. Once the bottom section is up, we're going to hit Command or Control V. This is going to paste the area that we cut earlier, and now I want to move this down. Once I have this, I want to merge these two cuts. Grab them both, merge layers. This is still my design layer. Now we're going to repeat this for this side. Click and Drag, snap to the middle, Command or Control X, push this guy to the sides, Command or Control V, push this in instead. So now we just cut up the design into four pieces and switch their positions. There is some space in the middle. I'm going to use my brush tool to fill it in. Just make sure that they are merged, and you're always getting one design layer after you do the cut. So first, grab your brush, get a soft round, sample this color and fill in this spot. Click once and then hold down shift, so it goes in a straight line. We don't want any cuts to be visible. Now I'm going to sample this cream white color. Try to get the same brush size using my left and right bracket keys. And I'm just going to make some random patterns with my hard round. So it looks like the pattern is complete. Just any random design really doesn't have to be that specific. Let's try to get a plus sign here. Okay, so now it's filled in, and I'm happy with this. Let's go ahead and turn this into a pattern. So grab your layer. Let's call it the design layer. Go up to edit and this time, define pattern. Let's call this doodles. And okay. And now I'm just going to pull this down, hide it, and save it for later. Now, on top of your new layer, go into your adjustments and choose pattern. So when you open this up, you're going to find your pattern in one of these folders. You can look and see where it is. So I just laid in my pattern, and it looks just like what I had here. But the magic happens when I scale this down from 100%. So let's go with 67 and see how everything looks connected. Go even lower and you're going to get a pretty cool design. You can also change the angle if you'd like and get something cool. I'm going to turn this to zero. Let's scale it down to 50%. And now I can have a bigger pattern. So this is what we had before. This was the full screen design. I was able to make a pattern, and now I can scale it out as much as I want. So you can see that none of the shapes were cut off, and we're not getting like a duplicate version of each one. Let me bring in the design from scratch, push it down into one corner and just duplicate it with alteruption. So notice how it just doesn't look as clean as the one that we made. So this clearly looks like I just duplicated a design, but this looks more seamless, and I can just scale it as much as I want to. Because everything is connected. So that's how you can make patterns out of vector designs. Now, let's see how we can make patterns out of real things like grass, concrete, and just things you would see in real life. So I added two more images to the resource pack, and one of them is suitable for this effect while the other one is not. So let's bring both of them in. I still have my guides, and I'm going to use alter option to scale and fit them to fill up my screen. Okay, so the first one is a bunch of flowers, but they're not exactly covering the entire screen. So we got some areas where things are getting cut off and we have something that's not in every frame. So this is not going to be a good example for this effect. So what happens when we do the effect is that we're still going to get those edges because the bottom of this flower is connected to the top section. So this is going to end up somewhere else, and I can't make a pattern from it. It's just that it's going to look a bit off. So let's attempt to make a pattern out of this image and see exactly what I mean. Now let's define this pattern, hide it. Let's scale it like we did. I think we did 50%. And notice how it's not exactly that clean. And at some areas, we can notice the seam. So in patterns, anything that's sharp or the edges of the design is referred to as seam. So when we call a pattern seamless, it means that it doesn't have these guys showing up. So with the first doodle pattern, we had a seamless pattern, but this has a seam. So this will not work, but there is another example that is going to work. So we have a grass image right here and everything is leveled and equal across the entire image. I'm going to scale it up and crop out any areas that is around. So let's clear that and actually get a square right in the middle, crop it. And now when I move this around, I will not be getting those extra bits. Alright, let's start the pattern making process and see how this will work. So here's my full screen design. You can see around here that there's a little bit of hiccup, but because everything is even throughout, I can use one of my tools to fix it up. So what I'm going to do is to merge these just as we did. Next, I'm going to grab the patch tool to just repeat the side area to the center area. So just grab the sang right where you see those lines and just pull it to the side here. So the patch tool is going to repeat the pattern and make it look seamless. Let's repeat that for the other sides. And we couldn't really do this with the flower example because things were not even throughout the image. And there we go. So now everything is looking good. I'm not seeing any sharp lines. Things are pretty even. If you want, you could do, like, a levels adjustment or a curves adjustment. Just make sure everything is nice and even. So I'm going to brighten up my design and then just merge them. All right. Now let's define our pattern. Call it grass, get a new solid background, hide this, get my pattern, find my grass, scale it down. And there you go. So 78% till it's go to 50, and everything is looking pretty even throughout. You can try to different angles and see what works best for you. If you go lower, you are going to start seeing the lines, but this is something that can be fixed with a simple angle change, or you could use the patch tool and the other adjustment layers to fix up these lines. But this is the case with any other design, so it's not unique to this grass example. I'm going to stick with 45%, and now I have a full grass pattern. This was before, this is after. So if you want to use an image for your pattern, make sure that it has the elements evenly spread out throughout. Another example could be like concrete, sand, and just anything that is even. So I hope you guys enjoy this lesson on how to make patterns and brushes. We're going to be using them a lot in the following lessons when we're making compositions. 64. Weather Elements Pt. 1: Let's add weather elements to all four seasons within these images. So today, we got spring, summer, autumn and winter, and I have an image for each one. We're going to add the elements that would be present in each of these situations using overlays and some additional adjustments. So let's begin with spring. Here I have an image of cherry blossoms and what I want for this image to be more magical is the little petals just flying all the way around my image. If you open up your resource pack, there are four overlay files. Grab the first one, which is white. And this is giving me kind of an artificial looking cherry blossoms. I'm going to make a pattern out of this and not a brush because brushes will give me a flat color, and I want to keep the details inside these cherry blossoms. So let's open this in a new Photoshop layer. Photoshop project, I mean, I'm going to make maybe 500 by 500 project. And then I will add this pattern right above. Command and Control C, let's delete it here and place it right here. Use your scale to just choose the best part for your new pattern. Let it stop around here, and maybe I can duplicate this, flip it and get it to be on the bottom, as well. Something like this. I'll use some simple masking with my semi hard brush, use the color black to remove these cutoffs that are happening. I want a really nice and seamless pattern. If it's showing up at the side, be sure to remove that too, and that nothing is touching the edges of the work. Let's check this. All right. Looking good. Now we're going to merge these two layers as well as the background layer. So just flowers on top of white layers. Rastize them, then merge them. So this is my pattern. Let's define it. Cherry blossoms. It okay. Now I can go back to my image, make a new pattern, and get my cherry blossom one. So this time, I want to add to my scale and maybe use a angle, so it looks a bit more random. Click Okay, and now I have my cherry blossoms. Go on your pattern fill, blending options, current layer alteroption, and remove the white bits. Don't worry about the inside because we're going to be blurring out these petals. Now I'm going to blur this, so let's rasturize it. And I don't really need a layer mask. Let's turn this into a smart object. So I can always come back and edit things. Motion blur, increase it and choose an angle that you'd like. Okay. I'm making it look like these petals were falling from the trees. It's windy and the camera is focused on these trees. Click Okay. Now that's looking a lot better. Let's just match the color to the ones on the trees, so it looks like they belong together. Go to FX, color overlay and just grab one of the pinks, choose multiply, lower the opacity, so it looks more natural. And there we go. I now have cherry petals flying all around this landscape. If the petals are too much, you can always make a mask and delete some with your brush, so it doesn't look as crowded. Another tip is to just scale it up, Commander control team, hold down alter ruption and scale it until you get less petals. So there is the first adjustment, super simple. We didn't have to construct the elements. Now we can finish this off with curves adjustment on top of both and try to make the image look like it belongs. And there we go. So this was our first example. Now let's go onto the second one. So this right here is our second example. I'm going to call it a rainy summer, especially if you're like, in Australia or Malaysia. Rain is pretty common. So it looks like it's raining, but I'm not really seeing any raindrops. So let's go ahead and create them. Grab this image from the resource pack. Make sure it covers the screen. Now what I'm going to do is to change the blend mode into screen. Next, we're going to blur this out just like we did with the previous one. Can I get the same motion blur but choose the angle so that it's coming from above and not from the side. You can adjust the distance. Click Okay. If you want, you can work with the fill, but I like the way it is. And just like that, there is now rain on my subject. So that was pretty easy. Let's work with the other two examples. 65. Weather Elements Pt. 2: So we're left with our last two examples, which is winter, and we have an autumn landscape. I'm going to make a new document and make the same pattern that we did. Alter option, click and drag forward, maybe choose a crowded area. Then a duplicated commander control team, flip it, maybe add some extra bits on the sides. Try to crowd the image and then use mask layers to prevent them from sticking to the sides. So let's get soft round, maybe medium soft, the color black. And get rid of anything that's touching the sides. Gonna change my background color to black, as well. Alright. Now keep masking until you have a screen full of these petals. And there we go. So once I have this, I'm going to merge everything down and make my pattern. Go back to your image, at the pattern, and we can just scale it in to get something more organic. Choose a different angle if you'd like. Then click Okay, I'm going to steurize the layer and get rid of the mask. Change it to screen, and now we got these leaves flying from the sky, convert it to a smart object, at the first motion blur, from the last example, change the distance and the direction of this blur. Okay, for this one, I want it to be less blurred out because I'm trying to get the colors to pop through. Let's make a hue and saturation adjustment, clip it, maybe increase the saturation, lower the brightness, and maybe add like a orange hue. To make it blend in better. As always, we can scale and transform this pattern as much as we need to. And there is my autumn landscape. Finally, we go winter. There are actually two ways on how you can make particles that are going to end up in your snow. The first one is, of course, the overlay option that we have been doing all along. So this right here is yellow, but we're going to turn it into snow. It's a full screen thing, and there's a bottom section, so that's perfect. First begin by rasurizing this. And then we're going to desaturate it so we can get rid of that yellow. If you're also getting your resources from here, you can get them from the library just as we did before. Now, change the blend mode to screen, and already, it's looking pretty good. I'm just going to add my motion blur. It's a bit much. Let's add it again with less distance, and that is looking a lot better. So this is one method for snow snow and rain, but another method that you can use is to actually make the particles yourself. So go to this project. I'm going to make a simple black layer, get rid of that. And using my soft round brush, I'm going to head over to the brush settings. Right over here, and then I'll make a new brush preset. So go to the tip and we're going to increase the spacing quite a bit, reduce the hardness, so we get these glowy things, go to shape dynamics, size jitter, all the way up, angle jitter. We don't really need it because it's a circle and then we need scattering. Scatter it quite a lot. Once you did this, new brush preset, call it snow and rain. It okay? Get the same brush and just start drawing with the white brush. So you can see I'm getting different sizes all over. And now I can put this directly onto my image. So make a new layer. And just make a bunch of random clicks. You can even click and drag because we change the dynamics, and then we can go ahead and add those motion blur settings as well as the other things to go to Motion blur. Increase it. And now I have something a bit more organic. So this looks more like a blizzard. If you want it to be used for rain, then reduce your brush size. So it all depends on what you want. If you want, like, a slight snow, you can use one of these overlays. But if you want, like, a heavy blizzard, you can make your own brushes. And as always we can scale it up or down, adjust our brush size when we start drawing. So if I start with a smaller brush, going to get smaller particles. Let's try an even smaller size for rain. And there I am. I'm just drawing randomly let's make it even more random. I'm just clicking and dragging everywhere. Now using a lot of motion blur, I can turn these into straight lines shooting from the sky. There we go. So you can see there are little lines going all over. And I can add this on anything. There is my rain. So that's how you can make weather elements inside Photoshop. They're really easy to do, and you don't always need an overlay from the Internet. 66. Generative AI in Photoshop: Adobe has its own AI image generator, and it's called Adobe Firefly. But recently in the latest versions of Photoshop, they integrated Firefly into the application itself, and now you can directly generate images and then edit them afterwards. So I just made a new document, and you can find the button to generate images right below the toolbar. So it's the last thing you'll see. If you click on it once, you will be brought to this window. We did go over the general use of the Generate Image panel, but I did want to have this lesson to tell you how to properly prompt and get the results that you're looking for. The best place to start is the prompt inspiration bar, which is right over here. There's a long list of things you can look at. You could also go on platforms like Mid Journey, DaVinci, or even Adobe Firefly and find what prompt I've used. They all have a display, and so you can just copy it from there, paste it here, change it to something you want to do. Now let's take a look at some different styles. Let's start with photography. This has a very short prompt. So woman modeling earrings, bohemian fashion concept. That's all. The fact that it's a realistic photo came from this photo content type, but if you saw that it did not give you the result that you need, you could improve your prompt. There's also two effects here, minimalism and product photo, which already helps a lot. But let's go ahead and change this up a bit. Say ginger woman modeling earrings, vintage fashion concept. So it's the exact same thing, but a little different. I'm going to hit generate and let's see what we get. So this is looking pretty good. We got three options. As always, if you did like something, you can go on the three dots here, generate more, or even remove the background, start editing immediately. Let's generate similar and see what other variations it will create for us. So all of these came from the small prompt. But let's see what happens if I choose the same thing, which I can also just grab from here. Let's cancel, copy this, and then just go over here, paste it not as a photo, and let's not put any effects. So the only difference we can see here is that the backgrounds in these new generations are a lot more defined, whereas the last one was just a blank background. Now, if you want to do further edits, this is what you need to go for. So adding that minimalism or even product photo effect is going to help you in the future, as you don't have to work on removing the background yourself. So these options, they look pretty good, but there are some additional stuff in the back. You can do the same thing, but add some additional words to get a really hyper realistic photo and a high quality one. So ginger woman modeling earrings, vintage fashion concept, separate your words with semi columns. Let's do four K quality, hyperrealistic. And we can also have her doing a certain pose. So modeling earrings, looking at the camera. So the first one is looking a little weird, but the other two, as you can see, are very detailed. They're almost shining, got really smooth hair, and of course, the earrings are the most important thing because we said she is modeling earrings. So when it comes to generating images here, you really want to be upfront about what is it that you're looking for. So first of all, describe a subject. If it's not a woman, if it's a dog, put that there. And then what is that subject doing? Semi column, what style it is. And then what are the little details that you're looking for in the results? Now the same thing applies to things that aren't exactly photography. Let's say this one, professional ballet dancers from behind dancing on a stage in front of blurred lights. Now this one was automatically labeled as art, which makes it a two dimensional thing rather than three D here. The effects are dark light painting, but we could add some new stuff. So let me just generate this as it is, and then we can build off from there. So that's looking pretty good. But let's go ahead and add some additional effects. It's right over here. I will go to techniques. We can do some paint, maybe do some palette knife stuff, minimize that. And now we have four different effects. Same prompt. Let's generate and take a look. And that is looking a lot better. So it's still the same position of the original ballet dancers. You can kind of compare them with the ones below, but they added the palette knife and the acrylic paint effect in a very beautiful way. And these layers, by the way, you can build up, add some new effects to them, so I could just maybe change the human saturation using one of these effects. You make it black and white and just play around with it until I got what I need. Going back here, there are some stuff that doesn't involve human subjects. Let's go ahead and try this coffee muck, so a product mockup in a hand holding a cup. So if you were looking to display your designs onto a mockup, you can build up the background image just like this one, and showcase your designs that way. So instead of a cup, I'm going to just change this to a can, then we're going to generate. So that looks really good. Very realistic, so you can barely tell that this was made with AI. Using the mockup techniques that we learned, we can maybe warp a shape onto this and then add our design as a smart object. Let's go over something that's a little hard to convey with words, perhaps as one. So a neon sign of a rose over a dark ivy wall. Let's add some additional details with Christmas lights all around. All right, so it added the lights. It's not exactly Christmas lights, but it's fine for now. And one more thing, when you have a design, say, this is what you got, but you want to add an additional detail, you can do that via the Lassa tool in the same way we've been doing throughout the whole course. Now let's try to add a pair of glasses for this model. I'm going to grab the Lassa tool and select her face. Add reading glasses maybe. And now we have three options. Now, because you generated this via something outside the main window, you can upscale it and then edit it as a regular layer. It did change her original eye. So what I can do is simply remove her eyeballs from the mask using a half rounded brush, hit to replace and just bring back her original eyeballs. Gonna go with soft round and make sure it doesn't look bad around the edges of the glasses. So now our subject has glasses. It did also change her eyebrows, but we can see why because they were trying to put that glasses onto there, and then the eyebrows would have been behind. In a similar way, we can go ahead and change colors using AI two. So what I'm going to do is attempt to change her hair color, this may be a little difficult to do because it's a larger piece, but let's give it a try and see what we get. Yeah, so it ended up giving us a completely different hairstyle, but you can see it still was able to detect the head and didn't give us a weird shape at all. So I'm just going to delete this to get the original hairstyle. Now, when it comes to the lasso tool or the generative fill that's in Photoshop's workspace, there are some key terms you need to know when trying to do stuff. Whenever you're trying to remove something, be sure to include that remove word or else it's going to be hard for Photoshop to understand what you're asking for. If you want to add things, add, if you want to change it, mention change. And that way, you're going to get more accurate results. But overall, you can see how you can save yourself some time and energy by generating things directly into Photoshop and then just going off the editing process from here. I hope you guys enjoyed this lesson. I'll see you guys in the next one. 67. Textures: In today's lesson, we're going to learn all about textures inside Photoshop. We're going to learn about ways that you could use textures and different ways that you can apply them onto text, shape, and images. So we're going to begin with the simplest way to use textures, and that is in the form of an overlay. I have here an image, and I want to make it look more crunch and more artistic. So in your resource pack, you're going to find four textures, and each one of them are for a different purpose. So this is our first one. We got a cardboard fold, second one, third one, and there's one more here or the fourth one. We're going to use this one for the image because I want to give it a folded overlay look. Go to your layers, Commander Control C, then head over to your image, Commander Control V. Commander Control T, rotated 90 degrees. Hold shift, so it snaps right there and position it where you want it to. Click Okay, and the first thing you want to do with textures is to choose a blending mode. I'm going to go with multiply and notice how we're getting those dark folds on top of my image. It's a bit too much for me, so I'm going to reduce the fill and get a subtle look. So just with one texture, we make this difference. Another step that you can take is to use blending modes. Now, we're not trying to make this blend into the image. We want to make it look like this is a print on top of the subject. So we have both the sliders, and this is where you get to decide whether you want the texture to blend into the image or for the texture to remain the same, but only fade through its highlights or through its shadows. So if I grab the shadow part, you can see we're getting rid of the lines, and that's not the purpose here because this area is all the textures in your image. If you grab the white side, you're going to make it a bit brighter as we are getting rid of those grayish areas in between each of the lines. This is one technique with this slider. Of course, make sure to break it apart with alter uption so you get a cleaner look. Another option is to blend it into your image, which you would have to use the underlying layer slider for. Alter uption, click and drag and it's going to fade the texture on the bright areas of your image. The balloon highlights the arms. Similarly, if you grab the other side, you're going to remove it from the darker areas. Decide which slider you want to use. You have three option. You shouldn't use this option or else you're going to get rid of your textures. I will go with this one because I want to keep the lines as they are, get rid of those little gray areas in the center. There we go. Now that you've got your texture, you want to make sure that your image below looks the part. I said, I want to make my image look more grunge and more artistic. So what I'm going to do is to edit my image that way and just have this texture finished a look. On your image, we're going to start with a simple color lookup. There are tons of good LUTs in there that will give you a crazy look. We're not going to go for something subtle. If you did want something subtle, you would have to go with a subtle texture as well. So everything here is extreme. You can try it out with your texture. Go turn that on. Go back in here and see which one looks the best. So I will go with this one to strip dot Look. This should be in your Photoshop if you are using the latest versions. Next, I'm going to flatten my image. So get yourself a brightness and contrast slider, pull it to the side so that we flatten out the look. Finally, I'm going to add a photo filter to add some warmth to this image. If you don't want it to be warm, you can just choose the color or grab one of the filters. So maybe blue. Magenta and there are other things. I will stick with blue, adjust the density, and turn this on too because you don't want to make it darker. There we go. So this is the simplest way that you could use an overlay on your images. So this is what it looked like without the overlay. This is with the texture overlay. In the further lessons, we're going to see how we can use the similar steps to make textured compositions inside Photoshop. Now let's see how we can add these textures onto text. You could apply the same steps to shapes, but I'm going to stick with text for this lesson. I got a simple one right here, and I'm going to show you three different techniques that you can apply textures onto your text. Now let's grab our first texture. I'm going to copy it, go back to my document, paste it right above. Of course, it's way too much. Let's adjust the size here. It's a bit too big. Try to put it on your text. The background doesn't matter. Click Okay, Command zero, and you're just going to clip it onto the text. Mliuption, there we go. Change the blend mode, and this is the easiest way that you can apply textures. So instead of this white text, I now have this look. You can go one step further and rasterize your type, then add some filters on the edge. Let's add some noise. And I get a more rusty look. So you can really add more things to your text after you have sorized it and just put this guy right above. So this was the easiest method. Let's take a look at our second one. Go to delete that and get rid of this noise filter. My text is still a smart object. I just don't have anything else with it. Let's grab our second texture, Commander Control C, Commander Control V. I'm going to work with the size here. Maybe get the corner. And we're just going to clip it one more time. But this time, we're going to turn this texture into black and white, so hit Command Shift on this texture, and that's going to give us black and white. Next, we're going to use the blendi options. So use the current layer sliders because underlying, there's nothing except highlights. So it's just going to get rid of the texture. Use these two sliders to blend this in better into your text. So I can get rid of the highlights like this. And then I can get rid of the shadows, which, again, is not a good idea because that is our texture. So I'm going to get rid of the whites here, maybe use to multiply, get something like this. Now, another great technique is to add this directly to a mask. I'm going to hide this layer and get my third image. Put it right above. Let's get this rusty part, clip it, and then use the blend mode with blend div to just make this better. So there's my texture. Again, I'm going to desaturate it and get this ranch you look. Now let's take a look at our final method for applying textures onto text and shape. Now, for option three, we're going to work directly with the layer mask. So I have my text layer that has been rasterized. You can also use a logo or a shape. Just make sure that it's a PNG and there's no background. Up until now, we've been using the black and white brush to either introduce or remove part of this layer. But what if you could work with this directly? So hold down Alter option, click on the layer mask until your whole screen becomes white or black. Depends on the color that's already there. For me, it's white here, so it's going to be white here, too. So in here, I can use my black and white brush, but it's a full screen thing. Go to use the color black to draw a shape. Once I'm done, I'm going to click on D image, and let's hide to the background layer. And now you can see that the lines are going through my text. So you can actually go into your layer mask and work with how it looks. But of course, we don't want something like this. So when you're dealing with textures, you're going to use this technique. I have my texture opened here. And I just turned it into black and white. Your rasterized image command shift, and that's Control Shift you on Windows. You can also go up here to desaturate the image. Because mask only works with grayscale values and not color ones. Now, hit Command A or Control A on Windows, then Command C or Control C. We have the marching ants, which selected everything on screen. Make sure your image is also fitting the screen, or else you're going to get a sharp cut around the edge. Now go back to your text layer. Option, click on the layer mask, Command or Control V. It's going to be big, so grab your move tool and just choose the position that you want. You can also hit Commander Control T to resize your shape. I'm going to go with something like this. Once I have it, I'm going to hit Enter. And if you're seeing the marching ants, if this is what you see, hit Commander Control deep. Now, go back to your image, and there we go. Now my layer is fading according to the texture. If I hide this and get a black background, you can see how nice that looks. You can do this with any texture. And if you want the darkest areas to fade and not be gray, you can go back in here and hit Command A delete. Go back in here, Command D to deselect, hit Command L or Control L, and use the whiten black sliders to really add some contrast. So we get these black areas. Click Okay. Now Command A, Command C. Go back in here inside delayer mask, Command V or Control V. Change it if you want in terms of transition, just like we did before. Remember that your text is at the center. Once we're done, hit Enter and go back in here. It's going to turn red, but once you click on one of the visibility buttons, it's going to come back. So this is going to give me a more contrasted look. You can see that the bottom of my U is not even visible because that area is black. You can always change it by going into the layer mask again and using the move tool. So let's try to move it up. Go back in here, and now I can get a different look. You can try that with anything else. So let's try it with this Command Shift, Control Shift, select it all. Command A, Command C. Go back in here into the layer mask. Command A, backspace, Command V. Going to use my move tool to get this rusty area, go back to my layer, click away, and now I'm getting this. So that's how you can apply these textures directly onto a layer. And like I said, you can use it for shapes and pictures too. So right here, I have a PNG logo. I'm going to use one of these textures, Command A, Command C. Make a mask first, go into the mask, paste it, reposition it, go back in here, click on anywhere, and there we go. So this gives me more freedom over how my layer is going to look. And how it's going to relate to that texture that I'm using. The last exercise that we're going to do is adding a rasterized layer onto a textured background. So it's reverse here. I'm going to grab my text right here, Command C. Go into one of these going to hit Command C here a bunch of times until I get the original color. There we go. Paste it, my text. Let's resize it. Option or alt to resize from the middle. So normally you would do like a change using the plan modes. But a better way is to start with plentiff options. Moving forward with the lessons, we're going to use this panel a lot. We're going to use this panel a lot so we need to get used to them. Use the blacks because that's where the texture is on the underlying layer, pull it back until you're happy with the way they are merging. You can also experiment with the blend modes and see what you like best. You're not going to be using current layer because that's going to get rid of your text. So just use the shadows on the underlying layer, and there we go. I can even take it a step further and color my text after it's blended in. So turn this to normal. And choose any color. You can see how the texture is still within. Can I grab one of these oranges. Now my text has those lines. I can stylize it with filters and just make it look like it's a part of this design. 68. Green Screens Pt. 1: So when making compositions, you're going to come across a lot of green screen footage. You would have to extract the subject and get rid of that green screen so that you could use it in your composition. Later, you would have to use different adjustments to make that green screen image blend in with all the other assets that you got inside your project. So this is our first example. We're trying to get this camera outside of this environment. The second example is right here. We have a subject, and we're getting a rather darker green. I'm going to put two different backgrounds for these images, and later we would have to blend them in. Let's begin with this one. The first thing you want to do is to always make a duplicate of your original layer so that you could always come back and use it for other things. Commander Control J, and I'm going to head straight into select color range because we're trying to get rid of one color. Use a plus and click on in the green area. Hold down shift and add any darker areas that you can see, you should be getting something like this. The green needs to be white. I'm going to hold down the space bar and get here, and the camera needs to be black. We don't have to worry about this upper area. Once you see something like this, invert it. Everything is black, except for the camera and then we're going to grab fuzziness to make sure that the camera is fully white. And then hit Okay. Now I'm just going to hit Q while I'm seeing the marching ants to introduce these bits that were removed. So just hit Q and get rid of any area that is inside the camera. We can also get rid of the top area while we're at it. Just get a huge brush and get rid of that area. Hit Q and make a mask. So now I have my camera separated from the green screen. But the camera surface has a little bit of green in it. B zoom in, you can see that this area has green, and it's not like I can get rid of this section because it's a part of the camera. Can't do that. So the camera itself is all black. We do have some blue, but that's not that big. The main color is black and some grayish areas. So what I can do is to use another technique to get rid of the green color alone and kind of desaturate it instead of getting rid of it. Make a selective color adjustment right above and clip it onto your layer. Change colors to green, and we can just change the way that is. If you remove cyan, already you can see that we're getting rid of that green. We want to add magenta because they're the opposite colors. Remove the yellow and slowly, we can see that the green is gone. Add a little bit of black all the way, actually, and there we go. We don't have any more green bouncing off our camera. So let's zoom in. This was before, this is after. All right, so there is my camera. Now I just have to put it in its new home. There are two backgrounds in your resource bag. I kept this one for this situation, and I want to make it look like someone was filming this area. Track it underneath. I'm going to call this original, hide your original layer. We don't need it, and simply use your camera layer to just position it where you want it to go. So I guess I'll put it here. We can also play around with the background. I'm going to push the mountains down because they kind of merge in together. Go to push them in like that. Rasterize my background layer, grab the Marquee tool, select the top area, right click. Hit fill. Content Aware, 100%. Click Okay. And there we go. Command or Control D, I have more Sky. Going to group these two together so I don't move them around. Now we just have to match color. But before I do that, I need to make sure that the item in the viewfinder is the mountains. Right now, it's green, and that wouldn't make sense because I would be filming the mountains. So what we're going to do is to apply this layer mask so I can get rid of the previous things. I'm going to hide my background layer, the mountains, go to select color range, and I just want to first remove that. I just want to get rid of these areas, start with a black screen, and get my viewfinder, which I think was here. Hold down shift and add more of this greenish color that we have. This will end up grabbing the camera as well, but don't mind that. So now the viewfinder is white. We want the opposite, so hit invert. The viewfinder is black. Before I do that, I'm going to work with a fuzziness. Then we will invert it. Hit Okay, hit Q, and just use your brush to get those extra areas out. So I don't need all of this. I first get a big brush with Q, color black. And start painting over everything except that viewfinder. Go to make this a bit bigger, get rid of anything inside. Now when you reach the viewfinder, you got to be careful because we want the edges of the camera to be there. I'm just getting rid of the menu and cancel just any buttons that are part of the viewfinder. Now, don't worry too much about these little guys. We can get an overlay from the Internet because saving them will be a little hard as the image is blurry in this section. Focus on the frame and not these little guys. Once you're done, hit Q, and we're going to make a new layer out of this commander control J. So now I got the frame alone to a little faded, so I can just duplicate my new layer, merge it with the one below, merge these two. I'm going to call these rain. In the main layer, I'm going to get rid of this to hold down commander control, and I'm going to use my quick selection tool to add this green section as well. So I just want the headphones and anything else that's around there. My actually get my brush. Clean up the edge of bits. So now we have a layer for the frame and a layer for the camera. I'm going to keep these two separate. Let me just name this one. And now we can bring back the landscape. So we want to put a part of this image into the viewfinder. So it looks like the camera is actually filming what's in front. I'm going to duplicate this call this viewfinder next, I'm going to make a square behind the frame. So zoom right in and just make I guess a rectangular shape, add a random color, convert this to your Smart Object. Command and Control team, using distort, try to match the perspective of the viewfinder. So put the edges around the edge of the frame, but not exactly going in because we don't want a white space here. Alright, so this is my shape. And a copy of finder here, delete it. That will click in Rectangle one and paste the image. Command or Control T and just scale it down on the area where the camera would be filming. So I think it would be close to the mountains, like, somewhere like this. Let me save this and then test it out. So I guess this does make sense. It's kind of filming this area, and then leave it like that. And now this is our viewfinder layer. All right, so the viewfinder itself needs to be blurred out because that is what was happening with the original image. So this is a Smart Objects. I'm going to head over to Cadiublur and just add a slide blur. You can use the preview box here zoom right in. Try to blur it out slightly. Three pixels is okay. You can always zoom in and decide whether or not that's good. So I have my area. I'm just going to make a mask from my frame, hit command or control on the thumbnail, then make your mask. Table click on the mask and just feather out the sides so it doesn't look that sharp. Repeat the process with the camera layer. I'm going to apply the current layer mask, command or control on the thumbnail, make your mask and just feather out the sides. Now let's go ahead and get those viewfinder items that were on the camera itself and added onto our viewfinder rectangle. So I got this image from PNG three. It's in your resource back and just scale it up from the center, holding down optional Alt. And I'm just going to push the black bars a bit higher. Assurize the layer. Its M on your keyboard. Surround the black bar, hold down command or control until you see the scissors button, and just pull this down to where you want it to be. A little further away from the edge, repeat on the other side. Save again, and now we're going to get this effect. It's a bit to plury. Let's go with one pixel to make it look more realistic. We got our camera all set. The color is nice. Now all I got to do is to blend my image. I just grouped everything together for my camera. Let's start with a simple curves adjustment. The camera is kind of blending in because of the selective color adjustment, but you can still bring it all together with some of the adjustments that you can do. So curves was the first one. You can also add a gradient map. Then I'll go, I'll go with a simple retro look, change the blend mode to soft light, then reduce the film. Next, I'm going to add the levels adjustment just to make things a bit brighter. And add some contrast. Each one is doing a little job. Together, they will make my image look better. Finally, for my color, I'm going to add a simple color lookup. Let's go for fall colors or maybe a soft warming look. The last thing that we need to do is to blur out my background because the focus of the image is my camera. Filter blur gallery, and we're going to get field blur. So I think 15 pixels is okay. I just said this in the center, you can try other areas. And we're good with this. Click Okay. I'm just going to increase the size. There is my new image, which just placed this camera right on top and it all started with a green screen. This was before, this is after. Now let's move on to our second example and see how we're supposed to deal with human subjects. 69. Green Screens Pt. 2: Mm hmm. Now, let's work with our second example where we have a subject in front of a green screen. We're going to replace the screen with a different background and have it look as if the photographer was taking the photo in front of a different background. The process is fairly the same. Let's just duplicate this, select color range, turn this off, remove everything and start by bringing in the green area. Hold down shift and add all the dark areas until this is what you see. Invert the selection so that your subject is white and the background is black. Use the fuzziness slider to adjust the sensitivity. Make sure you are not getting a halo around your subject. Then click Okay. Hit Q on your keyboard and bring your subject's face and body into the selection. Grab the white brush and just go over it once. So now we have our subject separated from the background. Now bring in the background image, rotate it, hold down shift, then to scale it up. Place this underneath your subject, and now he's in front of a new background. But it just doesn't look like he actually was there, so we need to do some blending. First of all, the background is way too sharp. So let's go ahead and blur that using Gaussian blur. You want to go with something subtle like eight or nine pixels and click Okay. Now we're going to have our subject cast a slide shadow on the background. Let's apply this layer mask. Then we're going to head over to FX, drop shadow. Let's pull this aside. Go in here. There's my shadow right there. I'm going to work with the size D distance and the spread. So I'm going to go with this, then lower the opacity to get something really soft. Click Okay. And now we got the drop shadow. Now let's go ahead and blend this in. Grab your subject layer, go to image adjustment, match color. Make the source, the project file and match it to the image below. It's going to look a bit odd. I'm just working with the sliders here to ensure that things look pretty good. Click Okay. And once again, I can add a color lookup just to add, like, a harmonious look to the entire thing. So let's go with something subtle, then reduce the opacity. Kind of adds the same colors to both layers, and that's going to help make it look like it's a part of the same image. G to go back in here and reduce the drop shadow, the opacity just a bit, 20%. And right here, we have the option to add something in. So grab your subject layer, head over to select color range, and just choose this white watch because it's the only white thing, it should be pretty easy to choose. Click Okay, hit Q and remove any part of the highlights. Those usually end up with the white areas. Just remove them with your black brush. Hit Q and make sure there's no more marching ants in anywhere else. Command or Control J. Command or Control, click on this new layer. Go to your subject and hit backspace. So that's going to get rid of that area alone. Now you can see that we're just getting the background behind it. Okay, so I'm going to do that again. Command or Control, but this time, let's expand the selection. Let's try one. Or actually let's go with two. So I don't get like a halo around my watch. We do have this section. Let's remove that. Hit Q again. On my subject layer, hit backspace. Hide layer one, command of Control D, and now I can add anything I want in here. We're going to use the same smart object technique shape behind this layer. Convert it to a Smart Object, Commander Control T, and use the store to place the corners right where they should be. And I'm just going to go back in here to save these little highlight areas. We accidentally remove them, bring this back. Hold down luption, click on your mask and bring those areas in. Now, let's dabble click here and put anything really. I'll just add this mountain landscape, make it look like it's his screen saver. Let's add a text for the time. It's 8:06 A.M. Add it in the center. Let's make this a bit smaller and perhaps add a color on top of this image. So go to color overlay. Let's go for the color blend mode and choose something that can help make this look like a wallpaper. So I'm going to go with this orange blend mode color, then reduce Then reduce the opacity. There we go. Commander Control S. Let's check if the angle is right. So I know that I have to flip it the other way. Grab your image and this guy Commander Control T rote to 90 degrees clockwise. Just pull it up like this. Commander Control S. Let's check it now, and that's a lot better. Let's also add another text underneath. Let me grab my text first right here, right, maybe Monday 17th. Let's get a normal font and put it right below. Commander control team. I'm going to disable the tracking and get a regular font right underneath. Save this. And there we go. Let's blur this out, as you can see, every part of him is blurred, so it needs to blending. Blur, Gaussian blur. Let's add a slight bit. We should be able to read the text, but it shouldn't be this extreme, so maybe 1.6 pixels is good. Then go onto the subject, hold down commander control. Hit Q and I'm just going to remove this area with the color white. It Q again and just make a mask. Double click and soften out the edges of the mask so we don't get a sharp pixeli line. Let's check it everywhere else, and there we go. So this is how you can deal with green screens because this was a human subject, we didn't really have the color green reflecting on them. But when you're working with objects, you do need to make sure that there's no green in the reflection. For humans, you just have to make sure that there is no green on them, so they're not wearing a green shirt, a green watch because that can interfere with the process. In the further lessons, I will teach you some composition tips and how you can elevate something like this and make it look like one image. But for now, this was how you can get rid of green screens. 70. Simple Textured Poster Practice Pt. 1: Now, let's practice our skills by making a simple textured poster. I have a blank document right here and I'm going to start by putting in my subject. So here is my subject. Place it. I want her to fill up most of the screen. Later, I can decide her size. Go to select subject. And once we have that, we can just go down and make sure everything is included. If not, just use your quick selection tool to introduce these areas. Before I hit Okay, I'm going to head over to Select and Mask, so I can get a better hair separation. Come down to this option, decontaminate colors, turn that on. And I'm going to use this refined edge tool to get a better edge from my hair. Let's make the size a bit bigger and just go around any area that is rather fair. There we go. Looking good. Click Okay. And there is my subject. There is a layer mask. I'm going to keep this for layer, so just bring it down and apply this layer mask. So that's my subject. Let's call it that. And I want some other elements as well. So I'm going to move her down a bit. Let's erase that part. And then I'll add some text. I'm just going to copy it and paste it a bunch of time so that it covers my entire document. There we go. Command A and just stylize it to the way you want it to, maybe work with the size, alignment. And we can even make some of the words bigger than the others. Highlight them and just use this to make them bigger. And you can really be creative with this. Going to make this guy bigger. Maybe make one around her face smaller. And there we go. So this right now is my text. I'm going to change the color into a dark blue one. Let's make it a bit more blue. Click Okay. Now let's duplicate this text layer, Alter rupion, click down, put one underneath your subject, and one above your subject. We're going to come back for these later. So now let's go ahead and stylize our subject. Make a new gradient map adjustment right on top, click once, and we're going to go from black onto a cold color. So Duple click here, get black, and then go to the color on the right and choose your color of choice. Once you're done, click Okay. Now I'm just going to clip this onto the subject alone. Just go to clean up my subject by making a mask, using the color black to get rid of these areas that I brought in by accident. I'm going to try the color blend mode for this gradient map and then try a different blue. There we go. Now merge your subject and gradient map one by right clicking, merge layers. Call it subject, and then duplicate this layer. Command or Control J, and we're going to add a Gaussian blur effect right on top of the duplicate. Let's add a good amount, maybe eight or so. Click Okay. And turn the blend mode to lighten. So what's happening is that we're getting this glow on the subject. Looking good. Now we're going to duplicate the original one more time. Bring it above the subject copy. Gonna call this subject blur. So the original duplicated on top of subject blur. Now we're going to add a different type of blur. Go to filter blur, motion blur. So with the motion blur, we want to have zero degree angle, but the distance here is important. So it's going to go left and right, and you want to choose something around here where you could see the outline of your subject, but it's not exactly that precise. Something like this, click Okay. I'm going to call this subject motion blur. Let's call this caution blur, keep our layers tidy. Moving forward. Grab your motion blur layer and change this to lighten as well. Now what we're getting is this motion effect on the bright areas of the subject. So the design, her hair, her skin, and all of that. Now we're going to group all three of these layers, Commander Control G. Call it subject, open the, and we're going to duplicate our original one more time. Commander Control J, and this is going to be for a color effect. Bring it above your group, so it's outside and not inside. Then go to filter pixelate, color halftone. So the radius, we want to keep it around eight pixels, nothing too big. And as for the colors, we're going to keep everything as it is. So 108, 162, 90, and 45. Click Okay. This is what's going to happen. You can see that the radius wasn't that big, and we're getting these cool dot effects. Change the blend mode to soft light to get a subtle look. And now what we're going to do is to add a texture above this image. Call this color half tone. If it's too big for you, you can always make a new subject layer. As in duplicated, bring it up. And then add a amount that is less than eight. So keep everything as it is. Let's try five. So I'm going to get smaller dots, which I prefer. I'm going to keep it with five radius. This depends on your subject so experiment with different numbers and see what looks best. Now we're going to add a texture on top of the subject. So in your resource page, we have three different textures. I'm going to experiment with this one, which is a darker look, rotated, hold down shift, lption and just scale it up. Let's try to get the cleaner area. Click Okay, and we're going to change the blend mode onto screen. So I'm getting these rough looks on top of my subject. You can see that, and now this is looking pretty good. If it's too intense, we can always come back and use some darkening methods. Can also try lowering the opacity with your texture as well. I think I'll go with, like, 75. So there's my subject right now. It's looking good. One thing that I want to add is another gradient map just to give more contrast to the look. And make these two into a group. I'm also going to put the texture inside like that, command or control on the thumbnail and make a mask on your texture. So if we add a different background, it doesn't go on top of that. All right. Close this off and make another gradient map above it. Go to clip it first. And you can really choose anything, but again, I want to go with a black two colored one. So this looks nice, as well, but I prefer a colder look. Then click Okay. Now, on this subject layer, I'm going to make a layer mask and just get rid of these little areas that showed up because of the blur. They're not there by accident. Happens. Just carefully remove those using your brush. And there we go. Just be careful of the motion blur that you kept on your subject. You don't want any sharp edges. Now let's add a background behind her. I got two textures right here. I'm going to bring them both in. See which one I prefer. Alter option, click and drag, first texture, second texture. So let's see which one looks better. I think I prefer this one. I will pull the second one bring the second one above and the background stays the same. Ather reason why we're adding a texture in the background is because we want everything to look harmonious and having a flat white background is not really doing it for me. I'm going to grab this texture, go to image adjustments, work with the way it looks. A levels adjustment to increase the whites. I'm not looking for gray and pull the output levels. So we just get these little dots before, after. Click Okay. Now that we have our subject and the background, let's go ahead and work on the text. 71. Simple Textured Poster Practice Pt. 2: Welcome back. Let's get started by bringing back our text. So we have one on the front. Let me call it front text and B text. So hide your subject and your front text because we're just going to be working with the back text. So I'm going to give this text kind of like a textured ink bleed effect, which is actually pretty easy to do. Second thoughts, I want to change the way my text looks. This is something you need to do before the effect because we're going to convert this into a Smart Object. I'm going to grab the impact font. Come down here, all caps, and just type this again. Command A, textured poster, Commander Control A, let's actually decide the position and the size. Increase that. Let's see if everything is. Et's lower the space in between the two lines. Leave a little space between them, and this is the rest of the settings that I have. Command or Control C. Next line and paste this multiple times until my screen is full. And on some of these lines, you can do something different. Then I leave texture as it is, but for poster, I'm just changing the alignment. And there we go. Now, I'm just going to delete my front text and duplicate this so that my two text looks the same. That's really important. The position needs to be the same as well. So you cannot have your front text being like this and your back text being another way. Pull this up, hide it for later, convert your text into a Smart Object. And now we're going to blur this out. So go to filter blur, Gaussian blur, and you want to decide how much bleed you want. So notice how from the edges we're getting this soft look, that is going to be the bleed of your text. So I'm going to go with nine or ten. I can always come back. So let's start with this number. Next, we're going to add an adjustment layer just for this text. Go to adjustments and look for threshold. It's going to look a bit odd. Clip it onto your text. Just hit that button. And when I use the slider here, I'm going to decide how much bleed my text has to notice how it's getting different. The number that I'm going to go with is somewhere around here, 156. That's looking good and there is my threshold. If you don't like how your text is looking, you can go back to Goshen Blur and that's going to change the way your text looks. If you want them to merge in like that, increase it. If you want the letters to be more cleaned up, reduce it. I'm going to keep it the way I made it. Now what I'm going to do is to hold down command or control on my text. Then go to select Modify, expand. Let's expand this by four pixels. Maybe a bit more. So I just expanded this by 14 pixels. You can see the marching ants. Now hit let's delete this threshold mask and just make a mask on here. So it's just going to show up on the text and not on my background. All right. If you saw that the edges are a bit sharp, we can always dab or click on the mask and feather things out. But this is the purpose of threshold in this case. All right, so we have our threshold. Now we're going to change the way the edges of the text looks. So right now it's way too perfect. You can see the curves. Everything is too nice and that's not suitable for what we're doing. So grab your back text layer. And by the way, you can always color code these. You just right click and do that. I'm going to do that, so it won't be that confusing for some of you. Text is red. My textures are blue. And the adjustments, let's make them green. My subject is also orange. All right. I won't be counting the original image and the background, the white background, but this is what my layer panel looks like so far. Now grab your back text. Now go to filter, Distort, ripple. So as the name says, it's going to, like, distorted like this. Just imagine water waves. That's what's happening here. Change the size to medium to get a more accurate result and then work with the amount. You definitely don't want something like this. So let's try to dial that down. Into something more chi 139. Click Okay. And now you can see that the edges are not that perfect. So this is a bit much. I'm going to go back in here, double click. Let's try 90%. And I think this looks better. I'm going to make another blur effect. Go to filter blur. Let's try Gaussian blur, just a tiny amount. Like that. Make sure your second Gagenbler is above ripple and not below. Just pull it up. Right. This is how the bleeding looks. It's looking good so far. What I'm going to do now is to add a texture for my text. Grab your second one and I'm going to make a separate document for it. Let's first see how big this document is. Ten by 819.2. Let's do the same thing. Drag the texture right on, and it should fit perfectly. I can delete it from this document. Now we're going to save this document onto our desktop. I'm going to keep it open just in case I want to work with the texture. Now, grab your text one last time, and we're going to add a displacement map. So filter, distort, displace. Ten by ten, the following settings, click Okay, and there's my PSE. And there we go. It's looking a lot better, looking pretty intense. This was before, this is after. Now, if you don't like the way it looks, you can always go back to any of these and adjust it adjust the numbers, I mean, so that you get a subtle look. But I like this. It's pretty grunch and I got that ink bleed that I was looking for. All right, so I have this. Let's go ahead and bring in our front text. It's still in the same position. What I'm going to do right now is to convert this into a smart object just as we did. But this time, what I'm going to do is to add a stroke effect. So stroke maybe with the color white, you can adjust the size. I'm going to go with one pixel, center, normal, 100%. Fill type, make it color, then click Okay. Now you're just going to reduce the fill all the way to zero. So we're just getting this outline effect, the stroke effect, and not the actual fill. So this is going to work out great when we bring in the subject. Bring the subject and notice how the text is behind, but these lines are going above. Let's limit the stroke on top of the subject alone by going in here, command or control on the mask so we get the subject alone and just make a mask on front text. So we just want things to be visible inside the subject and not outside. So there is my poster looking good. You can add a final texture above. I'm just going to use this one, commando controls, bring it back above everything, and change the blend mode. Let's go with screen, lower the fill. You can also try multiply if you want, a more contrasted look going to change the fill to like 15%. Duplicate my texture and this time, change it to screen so I can get that slight faded look all over my design. Okay, so I got my subject and a text. Now I just want to add some stuff to fill in these white spots. So right click asteize layer. You can also right click asturize layer style. Now I'm free to just remove these halo effects with a hard round brush, of course. Hold down shift to just go in a straight line. So I'm going to make lines in these areas. You can make stars, circles, anything you like. Hold down shift to make a straight line. Let's go in the settings here, change the cap to around, and just make it look good. Then we're going to hold down Option or Alt and duplicate this a bunch of times. I'm going to go with three lines here and then duplicate this merge onto the other side. Merge them all. Actually going to keep one duplicate and merge the rest. Let's hide the top one. I'm going to use it later. Now on the horizontal lines converted to a Smart Object, I'm just going to add a ripple effect right above. Filter, distorted ripple, just to get a line that is not perfect. 82% is what I used. Next, I'm going to blur it out. Let's try Agan Blur. Add, 4.1 and bring gaussian blur below ripple. So we can get that ripple effect right above. Finish this off by adding some cross effects. Commander control team. Hold down shift, stylize this to any way that you like. Merge to shapes and add the same effects. I'm going to add some mini texts in between these lines. Convert it. Select the text and make a mask out of it. 15 pixels. Do this layer mask and make a new one, so it doesn't go out like that. I like this effect, soft light, commander, control zero. So this is my poster. It was really simple. We just added some texture onto text and our subject. In the next few lessons, we're going to go a level higher and make more complicated poster designs. 72. Channel Separation Styles Pt. 1: Let's see how we can get this effect inside Photoshop. When it comes to compositions, you really want to make sure that your images are not ordinary. You want to make them look eye catching so that the subject can be attracted to your poster and then they can read the text on your poster and understand the advertisement. The purpose of images on your composition, especially when they're humans, is to attract the eyes of passerby. That is why on a lot of advertisements and posters, you will always find a human subject, even if the advertisement is not really about humans. So it could be about maybe saving the planet, but there will be a human subject on that poster because that is guaranteed to attract the human eye. It's just how our eyes work. When we see another human, we get attracted to it. So instead of just grabbing a regular image like this and putting it on your posters and advertisements, I'm going to show you an option that you can use to spice up your images, and that is called channel separation. So as you know, each image digitally is made of three colors, RGB, which stands for red, green, and blue. We're talking about digital images here and not really prints. You may not see the red, green or blue in this image, but they all play a part to make sure that your images look like this. If I just go to channels real quick, if you're not seeing channels, just head over here. We have RGB, red, green, blue. Let me just turn off red. We have green and blue. If I put red and green, I get the yellow, and you get the point. It's just a bunch of colors put on together for our image to look like this. We're going to go over three different styles, and I will show you with both black and white images and colored ones. So let's start with the easiest effect. I have my main layer here. There's no effect on it. Now I'm just going to duplicate it two more times. Commander Control J twice. Let's call the top layer red. Second one green, and last one blue. So R GB. I'm going to double click on red so I can get my layer style. In blending options, if you come down to Advanced blending, you can find the channels right here, red, green, and blue. For red, we just want to keep red. Unchecked the blue and the green. This is what the red looks like in our current image. Click Okay. Right now, you're not going to see anything, but just repeat the process with green and blue. For the green layer, we're going to keep the green and for blue, we're going to keep the blue. It still looks the same, but what I've done here is to separate each color onto each layer. This is all blue, all green, all red. Now what happens when I put them all together, I get my original image. But now what I want to do is to move each one and nudge him a little bit to the side. Let's grab the blue layer, Commander control team. Use your rake to slightly push it away, and you're going to see I'm revealing the blue, and I'm also getting some yellow because as you know, blue and yellow is green. That's happening right now. I can push it further, and this is already a cool effect. Go to leave it around here. Let's repeat with the green layer, commander control team. Going to push this up, and now I'm getting magenta. So. Click Okay. Finally, we have the red channel, move that to the side, and I'm revealing the green. I'm going to pull it down so we don't mix up all the different directions. Can you even push it a bit forward and experiment with the positionings so you can see how things will change as soon as they line up on one of the other layers. Then I keep mine like this. Now this is how I'm able to separate the channels in an image. I don't want to see this area, so I'm just going to merge all of these layers. Since we're not using a blending mode, there's no problem. Now just grab the Marquee tool, the section. Right click, fill. Okay. And there we go. Command or Control D, if needed, you can use the Clone tool to just clean things up here. Just going to do that real quick. And there we have it. Now I can add my text, advertise whatever it is, and just post this advertisement. So this is how we can separate channels inside Photoshop. Now we're going to take things a bit further and see how we can use this concept to make other designs. So let's open our next image. Right here, I have a black and white, again, but this time, the background is dark. Instead of working with the images channel, I want to introduce some RGB lighting onto my subject. Kind of make it look like when they were taking this photo, there was maybe a magenta light coming from here, casting onto her highlights, and a blue light coming on and casting on her shadows. So we cannot really do that with RGB separation, but we can use another method to cast those colors. The first thing I want you to do is to make sure that your background is almost black. So here it's a bit gray. Let's make a levels adjustment right above. Grab the left slider here and just pull it to the side. Should be pretty easy to do. My subject should be the only thing shining through. Now, what we're going to do is to make a gradient map for each of these colors that we need. So go to your adjustments and choose the gradient option. This is different from gradient maps. Click O on the gradient, so we can choose the color. On the bottom left, you want to choose your real color. Like we said, I'm going to go with magenta. We can always come back and change it. This is what I want for now. Then go on the right slider and just delete it. So I just want magenta and no whites. Now using the top sliders, you can decide how intense this color is, and the closer you bring these two together, the sharper things will be. So we don't want that, these two sliders. Going to play around with this. I think I like this better. Click Okay. Let's add zero degrees for the angle. We wanted it to be on the highlights, so 180, not zero. Now I can work with these again to make sure that I get a gradual magenta look. I think that's pretty good. Click Okay. These are the settings. And now I'm going to duplicate this one more time. Command or Control J, double click, turn the angle into zero, click on the gradient, and now down here, choose your second color. Then I'll go with blue. Like we said, you can also go for any other color really. But these two look nice. Again, use the sliders to have it cast on the area that you wanted to. Click Okay. And now we just need to change the blend mode of each one into color. So it's that simple, and now we're getting this really organic color cast on my subject. Once you have changed the blending mode, you can always go back. I think we should add a little bit of an angle. So we get a little bit of casting on her arm. Let's repeat with the color blue. And click Okay. So there we go. I just made this lighting using two different gradient fills and it did not take me long at all. Now, if I remove the levels adjustment, you can see what's going to happen here, which isn't a problem, but something like this looks more professional, kind of gives it a studio look. So work with your levels adjustment and see what you like best. I'm going to stick with something like so. Alright, now let's move on to our last effect. 73. Channel Separation Styles Pt. 2: M Let's jump right into this effect using Photoshop. So here I have a colored image. And again, I have someone's face, a human subject, and I want to use the channel separation effect on it. But here's what we're going to do. We're going to add another image on top of this and have a dabble exposure effect. So in your resource pack, you're going to find another image that's not black and white. Put it right above. Then click Okay. Dabo click on Image one and separate the channels. Already, you can see that I'm able to see my second image right underneath. But I have the first image there too. First image will be red, the channel. For the second one, let's go with green. I think that looks cool. Click Okay. Then use your move tool to just separate the faces so you can see both at the same time. Something like this. Maybe make it a bit bigger and push it up, like so. There we go. Looking good. So I have these two faces, but I'm getting this sharp line from image two. The same thing is happening with Image one because we're getting this effect. So for Image one, it's pretty easy. I just need to rasterize this, grab a marquee tool and just grab this empty spot. Right click, fill, click Okay. Now, don't worry if it's not realistic because the second image is covering up that spot. We just want to make sure that we're getting an extension of the background color or the red color in this case, so it doesn't look like it's been cut off. Now go on image two. Going to bring it above Image one. Nothing's changed because we're working with channels and not blending modes. So I can use a simple masking to get rid of these areas and just keep the head. You can keep these if you want. But I want the purpose of this poster to be like this dual face look. Before that, I'm just going to add a levels adjustment clipped to my layer Image two. And using these sliders, I can just bring in or take out any area that I don't necessarily need. So you can see as I'm moving these sliders, I'm going to get a different look. I'm going to add some contrast to my image just so these two can look good together, and now we're going to make our mask. Simply by using a black brush, I'm going to get rid of these because I increase the contrast, there is a visible black line here, and that will make this look more organic. Repeat on the edges here, And, yeah, I think I like this better. So you can keep the snakes on her head or take them out like I did, and just be creative with your look. We can also scale it up again to kind of have the size be about the same. Gonna do that. Let's bring in this area. All right, so I got this right now. I'm going to grab my Image one, duplicate it Commander Control J. Call it Image one, blue. Double click. And instead of red, we're going to get blue. Command or Control T. And since we have a little space here, I'm just going to push this to another side just to get this purply look onto my subject. So you can see as I'm moving this, I'm getting the subjects highlights. So we're not bringing green because this is green, and the whole thing will look weird. So I'm going to keep mine like this. This is a composition that I made using channel separation. You can also add a texture like we did in the previous lesson to kind of bring the whole thing together. I'm going to bring a texture from the previous lesson, put it right above and just change the blend mode into something like this. You can also go for, like, a darker look, something like that. But I prefer color Dutch. I'm just going to reduce the fill. And just get a subtle textured look. This is before, this is after. That's looking good. Additionally, you can kind of work with the images directly after you have separated the channels. So what I mean is that Image one, you want to merge it with whatever other channel you made, going to group my second image. We're just going to be working with the first one, so it doesn't matter what we do with the second. Underneath your texture, I'm going to just make another duplicate of this image. And what I'm going to do is to just kind of fill up her eyes with either black or white. I think white will look better. So I'm going to just grab my Eyedropper tool and get the whites of her own image, which is kind of red at the moment. Now, grab the Pen tool, the regular Pen tool and go around her eyes. The most important part is the people because we're trying to get rid of that. Just let go around it, so you can stop here. The image is pretty dark. Remove the stroke. We're going to go on the duplicate with the Pen tool, right click. Make selection. Let's go with two feather radius. Right click with your selection tool, content aware fill. It's going to open up a whole new window, and this is your preview. So this is a nice look. You can keep it. I'm going to zoom out and see what it looks like. I think that looks pretty nice. Hold down command or control on the layer. Let's call it I right. Make a mask, double click on the mask, and just feather out the edges. Something like that. I'm just going to go on my layer, hit S on your keyboard for the clone tool, Alteruption to sample and just fill in this little area. Now let's repeat with the other I. Let's go around the eye like so. Make sure to keep the curves, and this is where the eye ends. So don't go there. And we can end the tear, get rid of the stroke. Right, click Make Selection. Two feather radius. Click Okay. Grab your selection tool. Right click, go on your image. Right click content to wear fill. Now it's going to do something similar. Not quite sure where it's sampling from, but if it looks odd, if it looks odd, it could be because it's sampling from the hair, and that's not what we need because the hair is pretty sharp. Get rid of the hair and the eyebrows so that we don't get these lines inside the selection. I wanted to sample from either the skin or the other eyeball. So this is pretty good for me. I removed the hair in this area. Once you're done, you layer. Okay. When you still have the selection, make a mask, dabble click and feather it out. And you can always go in with the brush to clean up the way your mask looks with the black brush. Just go around the edge like this, get something more subtle. And there we go. I have this monster effect that I made using channel separation and some additional color fill effect. Now let's go on to our final image. So we're going to repeat the same process, but I just brought in a black and white image to show you that it doesn't really matter what image you have. G to grab my second image, which is this one. We used this before. But I want the two subjects to kind of turn away from each other, and that will give me a dramatic look. Alright, so again, dabble click layer styles. Let's get this guy to be red and blue. We can do combinations as well. Go on this one, Dabble click. S like blue and green, maybe, and click Okay. So we're getting this effect right now. I'm going to pull the images on top of each other so I don't get this line separation. We move her here, and I'm just going to fill in this area like we have been doing this whole time. Notice how all the images that I used were in front of a backdrop, because that's a lot easier to fill in compared to a busy and filled up background. So that's why I'm using images like this to save myself the trouble. Let's fill in that area. Put this guy on, and there we go. Can do the same thing with this. You need to rasterize it, grab this section, fill it in. And this time, instead of using one channel, we used two for each image. And now that the images are filled in, I can kind of experiment and see what color I like best. So let me try red alone, and I think this looks better. For the bottom one, let's doable click. Let's try red and blue. Or RGB. I'm just experimenting here. I think I like this better green and blue, and the top one is just red. So I just combined a bunch of channels to get myself this look. Let's scale them up a bit, Alter option, just so I can get a filled screen and not something faded. Second thoughts, I'll just go with blue and red. All right, so this guy is red. This guy is blue and red. Blue red, red. All right. You can also add a third image have this here and this could be a perfect poster for a music band or something else. It's really easy to make. Try green, there we go. The sky is green. Pull it up. G make her face a bit bigger than the other two. So maybe these are members of the band, and I'm just making a poster for them. Let's go back in here and experiment with the other options. It's looking good. If you saw that things are disturbing the other two subjects, you can always make a levels adjustment. Clip it, you can introduce some contrast to your image, and it's going to look more organic. Making a mask is also a good idea to get rid of these sharp lines. Just be sure to do it with a soft round. I don't want her hear on this subject, so let's get rid of that. Or on the other subject. Going to make my brush bigger. Command C, lower the flow. Just click a bunch of times to get a softer decrease in our subject. Now, let's go back to levels and brighten up her face, which is the highlights. Then I'm going back, and I'm just fading out her face. Now, this is just a sample. So I'm going to write a text here and you can kind of get the idea of how this poster would work. It's right. Increase the size of not to be just for dramatic purposes. Alright. Now you can blend in the text however you like. We already know what to do when it comes to an opportunity like this. Finally, a texture to bring it all together. I'm using the textures from the previous lesson. They are in your resource pack. Bring it above everything and just choose which blending mode you prefer. Think Color Dodge is the best one because I'm not trying to get things to become darker. Let's put a date for this concert Sunday 27th. March. Get a different font here and advertise the band, pull it underneath your texture, and stylize it. There we go. So this is how I can make a poster using texture, text, and channel separation. Pretty easy, but it gives me a really cool effect. So I hope you guys enjoyed these tips, and I hope that you will use them in your next project. 74. Face Manipulations Pt. 1: Face manipulations are a great way to bring some creativity onto your compositions. Sometimes they can be really fun, other times they can be a little creepy. So in today's lesson, we're going to learn about four different ways that you can manipulate faces inside Photoshop. Let's begin with the easiest one, which is sapping faces. This can be a really fun thing to do, especially if you want to add a celebrity's face onto a different body or vice versa. So here I have this image of this subject, and I want to put this face onto this. Now, before we start editing, there's one thing that I want to point out, and that is the phase angle. You want to make sure that both of your images have the same phase angle, they're both looking in one direction. I'm not talking about the head tilt, but I'm talking about the eye direction where the nose is headed right now, and this is going to be important when we blend the two things. I'm going to grab the line tool right here and just show you what I mean. So her eyes and her nose are looking this way, right? So it's not looking straight ahead. There's a slight angle, and that's exactly what I'm talking about. So maybe this is the angle that she's looking at, and the same thing is happening in this image, although she is tilting her head. So she's not looking directly at us, but there's a slight angle. Both of these images share this pose, and that's why I can merge the two and swap their faces. But if I had a completely different angle, then it would not work. So this subject is looking a bit too far and the face angle is not the same as my base image. So if your subject is looking at the side or a little too far away or even straight at the camera, you want to make sure that your other image is sharing the exact same angle. Doesn't have to be exact, but close enough for us to fix with a little bit of tweaking. Alright, so let's go ahead and examine the images. Apart from phase angles, you want to kind of look at the structure of the images. Sometimes images can be really retouched. And especially if they look like this, the subject pace is going to be pretty much flat and unrealistic, whereas some other images are a bit more candid. So here you can see we have a lot of textures. And the editor didn't manipulate anything. We got the wrinkles and all that. This is a pretty realistic image. But in my second image, it's pretty unrealistic. And this is common in fashion magazines. So when you have these two different textures, there are a couple of things that you can do. The first thing is to flatten out your, your subject's face in the original image. So I would kind of be retouching this and making her face look super smooth. The second option is to just grab the subjects features and not the skin. So depending on the situation, you can use either one, but I'm going to do a mixture of both. The first thing you want to do is to go to your original image, duplicate it, Command or Control J. Then we're going to invert it. Command or Control I. It's going to look weird. Change the blend mode into vivid light, and this just completely flattens out everything. So we can see a slight highlight, but everything else is pretty much flat. Next, we're going to go to filter, other I pass. This is going to bring out the sharp details and make everything else flat. So you can see her eyes, her lips, nostrils. They're all kind of brought out apart from the other stuff. Going to stick with, like, 8.2, click Okay. And now her face has been flattened. Let's blur things out so we get rid of those tiny dots. Gosh blur blur it with a really small radius. Click. Okay. Now, make a mask, hold down alter option, click, and we're going to introduce this flattened effect onto the areas that need to be flat. So we're kind of trying to recreate this onto this, of course, in a less professional manner, and just something that can get us started. Opacity to 51%, grab your brush, soft round, get the right size. With the color white, it eggs to switch. We're going to introduce that softness onto her skin. So we're getting rid of any texture that her face has. So there we go. It's not that extreme, but you can see with the before and after, let me zoom right in. Things are looking a lot more flat. All right. Now that I have this, I'm going to go to my second image, grab my tool of choice. Going to grab this one. You can grab the Lasso tool as well, and just go around her main features. So we're not really going for, like, the forehead, the chin or anything. We're just trying to get her eyebrows, eyes, nose, and lips. The rest is not that important, so just go around. Once we have this, let me actually add some. I'm holding down Shift to add a little bit of her skin on this side. There we go. Now, hold down Commander Control C to copy, Commander Control V to paste it. Once you going to merge these two, let's make a duplicate of the original image for later and merge these. Let's call this phase one base, called the new copy Phase two. This is my face too, lower the opacity and just place it onto her face. So because she is tilting her head, I need to hold down command and control T and just rotate it slightly. The face is pretty fit. Every face is different. Just focus on the placement of the eye and the center of the nose. Don't worry about the lips or the eyebrows because that is different for every subject. There we go. Click Okay. Bring back the opacity. Now I want to get rid of any areas that I don't want Photoshop to blend. If we hide phase two, you can see that there's some hair coming on top of her face, and we got a little bit of hair here. I'm just hiding this. Then I'm going to go to phase one base and grab her hair only. Quick Selection tool. Let's just grab it real quick. Go to grab a bit more, hold down shift, and repeat on this side as well. Hold down option or alt to remove from the selection. Then go to select and mask. Then grab your brush here to just get rid of these vaguer areas so that we just get the hair. We don't want anything else. Let's get it to a new layer with layer mask. Call this hair, and now I have the hair separated. Bring that above your phase two, we're going to use this later. All right, now bring back phase two. Using the eraser tool with a hard round 100%. We're going to get rid of the areas that the hair is on. You can lower the opacity and just get rid of those areas. If there's anything extra that's going near the edge, we want to get rid of that, too. So nothing should be going there. If your phase two is extending here, you need to get rid of that. Bring back the opacity. Now grab Phase one base, and we're going to hold down Command on phase two thumbnail. We're going to get this selection. Now, on this layer, go to select, modify, contract. Contract it by five to eight pixels. Click Okay, and we're basically making the selection smaller. This will give Photoshop some wiggle room when it's trying to blend the layers. Command or Control zero. And now on this layer with the marching ants, it's back space. So now what we did was to get rid of the selection in the phase one base layer. Let's go back. Now, grab this one with the selection. Command to grab the other one or control. So I have both my layers selected and the selection is active. Once we have the selection, go to edit Autobln layers, panorama with these two options selected. Click Okay. And there we go. Commander Control D, did a pretty good job, actually. Bring back the hair layer, and we're getting that effect. It just needs a little bit of cleaning up, and then we're good to go. So here on the hair layer, I brought out a bit of the eyebrows from the previous layer. Grab your black brush with a medium soft. And get your brush so we can get rid of this extra areas that we brought in. I'm also going to go on my face two merged to use my healing tools and get rid of these. Well, they're not harsh lines, but I'm sure you can see there's a bit of a difference here. So that's why it gave us a merged layer. So it gave us two mask and a merged layer. G to grab my clone tool right here on this layer. Swim right in, alter option and just let's get a smaller size. Now let's just grab the levels adjustment. And I'm going to make a duplicate of phase two. Hold down commander control on the phase two original layer. Make a mask, clip the levels adjustment onto this. Double click, and I'm just affecting this area. So we can see that it's a bit too faded. I need to darken things up just a bit and make things a little bit flat. Go back here on the layer, use a soft round brush to clean up these lines. The reason why there were hard lines is because of our first selection. Grab that out. Now we can finish off this effect with an overall curves adjustment. Let's just do some basic editing here, nothing too fancy. Maybe a gradient map. And an overall levels adjustment. There we go. On the levels adjustment, I want to reduce some of the contrast. Let's delete this mask, make a new one, invert it. Commander control I get my white brush soft around and just apply it to the eyes. I feel like they're way too sharp. I mean, contrasted. Then we can go back and just work with the amount. There we go. Another thing that you can do is to hold down Command Option Shift E, that's Control Alt Shift E on Windows, to make a merged layer of everything we did. On this new layer, we can convert it and use the camera raw filter to just edit it like it's a normal image. So maybe add some temperature, some tones, contrast, deal with the highlights, the shadows, little exposure here, clarity, dehaze, perhaps add some vibrant and just edit it as you'd like. And there we go. So there is my face Swap. We took this image, and we kept it on her face. You can repeat this with any other image as long as we keep in mind the points that I talked about in the first part of the lesson. So now we know how to swap faces. Let's learn about how we can swap heads. 75. Face Manipulations Pt. 2: Now we're going to swap heads. Right here, I have an image of this person. I have two images. This is my first one. This is my second one. I'm going to place his head onto his body. Now, the faces are looking in the same direction, and that's really important. Don't worry about the tilt of the head because we can fix that with a simple rotation. So the first thing I want you guys to do is to go to your second image. Grab your selection tool, select subject. Once we have that, click Q on your keyboard to enter the standard mode. Use your black brush with a little bit of hardness to just get rid of the body. We only want the neck. Be careful around those edges. Use a smaller brush if needed. Once we're done, click Q, and you should only have the head. Now we're going to hit Commander Control C and paste it onto here. Commander Control T to just match the position and have it look the same as the original image. You can't really see the eyes here, so I'm going to use the chin and the mouth as my guide. Let's test it, bring it back. I think this is good, maybe a little bigger. We want the head to be a good size for the body. Once we're done, we're going to go onto layer one. Let's call it head two. Lower the flow, let's bring back the opacity, soft round, make a mask and use your brush, not the eraser, with the color black to get rid of these areas. Especially since our subject, the second subject has some change. We don't want that new composition. My brush wasn't soft around, so I just made it that way. You can see how we're gradually removing the area. We're not really forcing it. And now the neck is looking pretty blended. Zoom right in and just get rid of this one section, and there we go. We're going to hide head two, grab the layer zero, Command or Control J and call this head one. Now we're going to make some space for the new head. Hide that head one, lasso tool to get rid of it. So go around it and cut it off where the T shirt isn't there. Right click content aware fill. Look in your preview panel, and it should get rid of the head. Going to zoom right in because I can't really see. I think it did a pretty good job. Don't worry about here, focus on this. And I'm going to output this to current layer. There we go. Commander Control Dan. And now I just got to kind of get rid of these tiny areas. If I bring my head two back, it should kind of fit on, which is not happening at the moment. So go to head two, then we're going to liquefy these areas in. Let's let us zoom right in. On the first section, grab this push tool and kind of push it in centrally. I'm not working with, like, the beard or anything. It's just this neck area. Increase the pressure if needed. Then we're going to click Okay. So now the neck has been pushed in onto the second head. The first head, sorry, head one. Looking good so far. If needed, you can use the clone tool to get rid of these extra areas. So I'm going to do that alter uption. And I'm going to get rid of the area where the side of the neck is showing. I don't want like any skin tones to be flying around over here, so just grab your clone tool and just click away. Don't worry about here because it's going to be covered with a new head. Just go right to the edge. I needed, make your brush a little hard and make it easier for yourself. Let's bring this back. Add a little bit of wiggle room, but we can use our low flow brush on the mask to get rid of this area. All right, so it's looking good. Now I just have to make it look the part. So it's a little too contrasted for this image, and I just need to use a simple curves adjustment. Clip it onto your head too, grab the midtones brush. Then go right here, double click and use a neutral tone from your original image. So around here would be a neutral tone. I think we're on the mask. Go on here. Double click. So you should be getting colors here. Grab your color and choose a neutral area. Click Okay and now choose a neutral area on your face too. So this area is the highlights. These are the shadows. Neutral would be somewhere around here. It became blue because that's the opposite of the red that we had before. So now what we're going to do is to lower the opacity. Just dial it down way down. Now you can see that it looks way better than this. This is before, this is after. I cooled down the image and made it fit the part. You can always experiment with the opacity slider, think this is pretty good. G to leave it like this. Now we're going to use another method for color balance. So color balance deals with the different colors on your image. So if my head is way too blue or way too red, I can use this slider. So right now it's a bit too green. The original image has some purple in it. So I will go right here and introduce some magenta, pull it to the left, now you can see that it's looking a lot better. Just be sure to have this checked on. And like we said, if it was too red, you would have to add some cyan. Fill was too yellow, add some blue. So these are the opposite colors, and when you add either one, you're going to get rid of the other one. If it's too can by adding some red, I can get rid of that can. So this was before this is after became a little bit more purply. And of course, clip this onto the head head number two. So far, everything is good. The last problem that I have is for the contrast of head two. Simply grab a levels adjustment, clip it, and get rid of some of that contrast. So I use this slider to flatten out some of the blacks, which is going to give me less contrast. Use this to kind of dial down the highlights, a little bit here to add to the brightest areas, and I move this to the left to reduce the contrast. Practice with these sliders and see what looks best. It's all experimenting and there's no equation for me to give you. Go back here. And like any other composition to bring it all together, we need to add some overall adjustments. Let's add a simple color lookup on top of everything. Let's try something like soft warming look kind of looks similar to the original image, and just lower the opacity. We can also get some curves, no clipping on the entire image, and just edit this like it's a normal image. Let's add a gradient map, black to white, change this to luminosity. Lower the opacity, and this will give me contrast for the whole image. Now, I'm just going to go back to my head too and I can see that I kind of softened out his beard. So let's bring that back. Fix things up over here. So now I have this face effect. It's mostly about the adjustments. We can always go back here and fix things up. So experiments maybe come back to your composition after a little break so you can see it with fresh eyes. Now let's move on to the next lesson and see how we can make our subject have no face. 76. Face Manipulations Pt. 3: I have an image right here of someone just looking straight into the camera. We're going to get rid of all of her face features and then add some text right above. So start by duplicating your layer. It's called this base. And the first thing we want to do is to grab our Lasso tool, whichever you prefer, and start getting rid of each feature individually. So I'm going to start with her lips. Right, click Content and Ware fill. You should be getting a nice preview. If you saw that it's a little bit woppy, grab the minus and get rid of areas where Photoshop is not supposed to sample. So if you get one area right, we can fix the other area. I'm going to click Okay, output to current layer. Commander Control D, zoom right in, use any tool of choice to fix it. I'm going to use the healing brush tool. Let's increase the size, soft round, a good size and just click away. So it's going to do a good job. Try to sample from the area above it. So don't worry too much about her face looking flat. That's kind of the point here. We are going to blur everything out in the end. So just focus on getting rid of the features for now, where you're going to deal with the highlights and the shadows later. So that was the first bit for the nose, again, grab your tool of choice, grab a large area. And get rid of it. The reason why I'm doing it one by one is so that Photoshop can calculate things better. Usually, we would just grab the whole face, but you can see that her eyes and the eyebrows are kind of meeting the edge of her hair. So I want to do this gradually to get a cleaner look. So this is okay. Output to current layer every time. Commander Control D, then use the healing brush to get rid of any extra areas that show up. Now we're going to start with the hardest parts, which is her eyes and eyebrows. Before we start, I'm going to grab her hair just as we did before. Quick selection tool, hold down shift to add to your selection. Hold down option to remove. We don't want her eyes and eyebrows. Hit Que on your keyboard and just get rid of any areas that shouldn't be there. Que again, go back to your selection tool, select and mask. Now using the refine edge brush, I'm going to refine the edges. Let's decontaminate the colors, get a smaller size from my brush, and lightly go over the edge. Focus on the areas where there are features like this area and this. Here, it's not that big of a deal, so I'm just going to leave it be. Output to new layer with layer mask. Let's call this hair. Hide hair. And now we can get rid of the eyes. Spring back base. Your tool of choice, just repeat the whole process. Be careful around the edges here. It's going to be a little tough, but we can do it. So here it's sampling the hair. Remove that with the minus brush. It should only sample from the face. Gonna do this side, too, and then I'll come back for the cleaning. Here we can go a little bit further into the hair because we have a new selection. Now grab your tool of choice, healing brush, patch tool, clone stamp tool, anything you like, and just get rid of these bits. If she has, like, any molds or pimples, get rid of those, too, because we're trying to go for a supernatural look here. Et's bring the hair and clean things up here, maybe lower the hardness and get the edges in the best way that you can. Now I'm just going to feather the edge of my mask just so that it looks more natural. So now we got rid of the features. Let's make everything smooth and flat. Now we're going to duplicate base, call us base blur. Now, blur this out with caution blur. Focus on the face. It's okay if there's, like, little bumps, but we're just trying to make things look a bit more smooth. Aluption click on the mask. Use your white brush with soft round on the mask to introduce these areas. Basically areas of the face. I'm going to go to my hair and just bring back a little bit from this top area. Be careful of the eyebrow, something soft like that. Alright, so my face is there. It's looking a little wobbly. We can go back to our gaussian blur effect and play around with it until it looks pretty smooth. So that's looking good. I have a blurry face. Now what I'm going to do is to just create some shadows and highlights just like any other face would have. To do that underneath the hair layer, I'm going to make a levels adjustment. Using the contrast lighter, I'm going to darken things up. So I'm using the subject real skin tone to create the shadows. Go to your layers, command or control I to invert the mask. Now I'm just going to grab my brush, white, soft round, and go around where the shadows would be. Just use the original image as your guide, you can see that there's some residue of where the shadows should be. You want to go in a straight line and not go like this because there's no lips for it to create shadows. So just focus on the curve of the subject space a little bit on this area because she has hair. Use the black brush to soften things out. I eggs to switch your colors. We don't want anything on the hair. Next, I'm going to dabble click and feather out the selection quite a bit. So now we have the shadows looking good so far. We can also lower the opacity and get a more subtle result. I'm going to make another levels adjustment and try to go for something a bit neutral. So maybe we can just use the contrast lighter alone. And tone down the highlights. Again, Command or Control I go to call the first one shadows. Second one, I guess, can be midtones. White brush, soft round, and just go around the areas where there wouldn't be that much highlights, reduce the opacity, so we can get a softer look. Finally, we're going to do the opposite, and that is to brighten up the highlights. So just pull that one slider. Call this highlights, white brush and go on the areas where there are highlights. It's gonna be her forehead, her chin, and a little bit on this area. Do an upside down triangle. Lower the opacity, Dauble click on your mask to feather things out. Repeat the same thing with mid tones, you got to do that and play around with the different opacities. So you should be getting a face, basically. Now I'm going to add an overall adjustment. Let's group base blur and all these different levels. Call it base again. Don't touch the hair, we can lock it, and we're going to get a curves adjustment. Clip it onto the group and just use your curves to flatten out everything, and that's going to use all the different things that we made, but bring them together. Pull this up until you see something that's better. We can also grab this 12 so now my face is looking better. This is what it looked like before. This is after. If it's too much, lower the opacity and get a subtle look. Now if you bring some texture onto our face, we're going to make a displacement map. In your resource pack, there is a skin that JPEG. Just open that up in Photoshop. You see we get a slight texture. I'm not going to go for something too crazy. We're going to save this as A PSD. Click Okay, grab my base. And before I merge it, I'm just going to make a duplicate in case we need it. Let's hide that, bring it down there, and merge this group. Clip the curves onto it. Now go on base copy, filter, distored, displaced. Ten, ten, grab the PSD and put it right above. And now we got that texture. It's really subtle, but it can help us make it better. Additionally, you can just drag the skin just to make the effect more visible underneath the hair of course, and we're just going to clip it onto base. Now using the blending options, we're going to just blend it in underlying layer, get that looking all nice. So remove from the shadows, remove from the highlights slightly. And change the blend mode into something else. Overlay. Going to make a mask and get rid of these areas that are going on the hair. Lower the opacity and we get a slight texture. So now my subject has no face. We got the base workork done. Let's go ahead and add something onto the face. 77. Face Manipulations Pt. 4: So I want to add some text. Gonna grab my text tool and just write something. Commander Control team, work with the sizing. Click Okay and bring it on her face. You can scale it now, hold down alter option, and I want it to kind of fade out in certain areas. All right. Click Okay. Once you're done stylizing it, we can go ahead and rasterize the type. Commander control team, Warp, and we're going to try to match the structure of the face. So the forehead is going to be a little bit round. So try to duplicate the way the face would be. It's kind of like coming forward, there's a bump. So we create that bump. Don't worry about the edges. We can just pull them in slightly, but the masking will take care of that. So you can, like, try to match the curve, pull it down if necessary. Stretch out the sides. Just be creative with it. Once you're done, click Okay, multiply, and I'm going to make a mask. My black brush, get rid of these areas where I don't need the text. You want a semi hard brush, use the colored black to get rid of the areas that the text shouldn't be on. Pull it underneath hair. That already does some of the work for us. This is going to be the other side. Once you're done, we're going to blur this out. So go to filter, blur, Gaudium blur, a slight blurring, not too extreme because it's supposed to bleed onto the face. Let's do that. And we can actually kind of stylize it further. Going to go to distort Ripple and add a slight ripple effect. So maybe something like that. Before I do that, let's convert this to a Smart Object so that I could always come back and change the number. Ripple, let's go for like 180. Click Okay. This is too much. Let's go back. And I can add other things. I think Ripple is enough. Go to blending options and remove it slightly from the highlights. Very slight blends in, as you would with any other elements. You can also lower the opacity here and get a more realistic look. Go to try some different things here. Let's try adding some noise and make it look like it's a part of the face. Just make sure that this is monochromatic and we're not bringing different colors onto the face. I'm going to blur it out one more time. By around one point 5.5 Gaussian blur above noise and ripple. Let's try a little bit more now that I got the blur. Alright. So now my subject has no face, and she has, like, a text on her face too. You can add anything onto the face once you got rid of the features. It could be a logo, an image, a pattern, or just about anything. One last step is to put an overall adjustment. This is really important for compositions. You got to kind of make the whole thing look like it was there from the beginning. So I'm going to add some contrast to my image. So it just brings it all together. It's a slight effect. I like to add some vibrans and maybe some color looks. I think I'll go with two strip to give it a weird look, and there we go. Now let's move on to our fourth and final phase manipulation effect. 78. Face Manipulations Pt. 5: Our fourth effect is a little bit more complex than all the other things that we learned so far. We're going to basically put a text through the subject's face, basically making it look like she never had a phase and it's hollow inside. So we're going to start by getting rid of the features just as we did before. Duplicate your layer. Call it base. Let's hide the original. We're going to start by grabbing the face. And to use a Pen tool this time with Path. Click and drag to make curves. You don't have to be too precise about it because it's going to be gone anyway. Now, one thing that you should keep in mind is that this outline is going to be how your face hollows. So try to get, like, a nice curve around it, something like that. So when you extend the handles, you're going to get a smoother curve. So work with that, maybe extend their position and try to get something decent. So once I have my path, I'm going to make a selection, right click Make Selection. Make sure it's zero radius. Click Okay. We're going to get the marching ants, and now I'm going to use the background to hollow her face. Grab the clone brush, clone stamp tool. Se your hardness, larger size. So now I need to invert the selection. Let's go to select Inverse selection. When we first did that, it got the background. When we inverse it, we're just going to get the face. Grab your clone stamp tool, alter option on the background, and fill in the face. So we're basically showing the other side that's going to be visible through her face. Once you're done, Commander Control D. So you can see that my curves are pretty nice. If I had a lot of points, it's it would have ended up looking really sharp. So now I'm going to create her skin on the inside, so we're kind of passing through her head, and there should be a bit of skin here. So I'm going to hit Command C and get my selection again. Hit Commander Control J. This is just for the outline. I'm going to save this later. Go back on your base, grab your Pen tool. Hide that. And we're going to make a shape with a vibrant color for now, going from the inside to the edge of her skin here. So zoom right in and began going around her face the first outline you did. Once you're done, you want to stop about halfway. Bring on a hold down alter option, click on the last point, and make a sharp turn back. So we're going backwards and just create like a tiny brim around her face. And it's supposed to get bigger as we go back to the first place. So you can see it's pretty thin here, but slowly it should build up. And then it should be thin here. Now go back to the points and fix the way they look by working with the handles. Once you're done, we're going to grab the fill color and choose a neutral area. Maybe your chin, click Okay, click away. That's the first area. Duplicate your base layer, command or control on the outline, alter uption and make a mask. Basically, we have this hollow effect, but in our base original, we have the background. Drag your shape one underneath, and if needed, extend the points. I think we do need to do that, and just pull them to the side so we don't get like this white space. Hold down command while you do that. Just pull them down. So instead of having it on the edge here, just pull it out. So we get a nice curve. Of course, just that one point and not the whole thing. And there we go. So now we have the first edge of our hollow face. Now we're going to create the depth. So there should be something going in like that. We're going to make a similar shape. Underneath base copy, let me just call this frame. So underneath your frame layer, I'm going to grab a vibrant color to show you guys. We're going to just make a really rounded shape. Going on the inside, close it off here. Bring this underneath your frame. Now we're going to grab the same color. Let's bring it underneath shape one. Grab the same color that we did before, go in here and just make it darker. Way darker. I think that's too much. Let's sample this again and just pull it down slightly so we get something like that. There's my face. We can maybe try to pull it out to the side. Like so. So this right here is going to be called the depth, and I'm going to call shape one the rim layer. So the rim layer is this thin line that we made. The depth is going to be the bigger one. All right, so now we're going to make a new layer on top of the depth layer. Then we're going to clip it and with the color black, soft round. We're going to just add some shadows. Make your brush really big so we can get a softer results. So just go around the top like that and on the bottom. Move your brush over here and slightly go over the edges. Try to follow the curve of your face. Now we're going to change the blend mode to overlay. Let's actually try soft light. There we go. So it's going to go on top of our shadow layer, but in a softer way. And now we're going to do the same thing again. It's called the shadows. But the other layer is the highlights. Now I'm going to grab white at eggs to switch and go in the middle section. So lower your brush if you need to. We forgot to clip this, clip it down and just go in the center area where you didn't add your shadow. Again, we're going to make this into soft light. We can go back and forth with this and just make it good. Go to make my brush really big. Do one click here, one click here. Do the same thing with my white color just so I can get a softer edge. So now that I have this, we're going to repeat with the rim layer, shadows and highlights. First layer, clip it, call it shadows. And now I'm going to use the faces shadows to determine where I should go. So the color black, and this is where the shadows were. So just go around here and a little bit here. Make another layer, fill in the other areas with white. So hit X, add your white wherever the face had highlights. Turn both of these into sop lights, and it's pretty good. Going to go back to my shape here and perhaps choose a brighter color. There needs to be a clear contrast between this rim and the depth, so we're going to just make another layer for the depth. Call it. Call it black shadows. Clip it, get the color black. But this time, we're really going to be harsh with it. So go around the edges, a few clicks. On the bottom and on the top. A very slight click on these areas. So you can see my brushes all the way here. I am letting the feathering do the work. Change the blend mode to soft light. So that's going to just add even more depth. All right, so we got this. Now the problem is that it's looking way too sharp. We're going to go onto rim, rasturize it. Same thing with depth. Grab your depth layer, filter, blur, Cassim blur. Not the shadows and highlights because we already did that. So blur this out. Let's actually make this into a smart object. Forget to do that. Gagen blur, let's try 8.5. Do the same thing with rim, convert it, filter, blur, Gaujmblur. 8.5 is way too much for this. I'm going to go with 2.3 and then go on frame, table click on the mask to feather out the edges. We're going to make this look like that. It's going to reveal the base layer. So I just need to go on rim and perhaps scale up the size. So that it goes past the frame. Perhaps we can contract this, go to select, modify, contract, five pixels. It's going to go further back. I'm going to delete this layer mask and make a new one. So that's going to give me this look. And so far, everything is good. I'm going to go back on my blur for the rim layer and extend things. Next, I'm going to add a levels adjustment to brighten things up slightly. Go back to your highlights for your rim layer and add more highlights. I'm going to expand the rim layer one more time. Use my arrow keys here, place it nicely, then feather out my frame layer. So it kind of goes in. I'm going to go to my base layer here and make another duplicate, blur it out slightly. Kind of blurred out that harsh cut that we had before. So first, we got the rim adjustments. This was the rim. Then we got the depth adjustments. This is the depth. We had the frame, which is just keeping everything nice and tidy. Now let's add something to go inside the hollow face. 79. Face Manipulations Pt. 6: Grab your text or shape. Gonna call this hollow face effect. Click Okay. Bring it in, Command or Control T, and try to match the hollow face. I'm going to add a more vibrant color, maybe to match her nails. Once we're done, I'm going to head back to my original layer. Let's hide everything here so we get the original image. Select Subject. Now go back to your text layer, and we're gonna make a mask. Invert it, then bring back every other layer. Now duplicate this text, and we're going to make it go inside this hollow area. So Dultlayer mask, commander control on the frame, and make another mask. So it's basically going to pass through the face. We need to do some cleaning up over here, which is pretty simple. Just grab a white brush, go over this area. The most important part is this. So this is for inside face this is our outside face. We can merge these two. Let's first rasterize them. Then we can merge them, and I got my layer. You can also add some drop shadow effect just so it can cast a shadow on the inside. I'm going to duplicate it first, add my drop shadow effect. I don't want it to cast a shadow on the background, so just focus here. Maybe lower the opacity, work with the distance, the angle. Once you're done, click Okay, and just remove the fill from this top layer that has the drop shadow. So text drop shadow. I'm just going to make another mask, get rid of it from areas where I don't want the effect. Now we don't have the drop shadow on the outside. Looking good so far, let's finish this off with some overall adjustments. First one is curves. Use your points. Since this is a creepy effect, I'm going to make it a bit colder. So let's go to color lookup for a simple look crisp winter. Lower that opacity. Get another look. Let's try Photoflter deep blue, preserve luminosity and get a creepy look for my image. Levels I'm also going to go in with my pen tool and try to recreate the hair that got cut off here. So on top of your text, not your adjustments, grab your pen tool with a really tiny fill. Grab the darkest area of the hair. No fill. Get like a really tiny amount, maybe 0.7. Let's test this out. It's way too small. Let's try 0.5 pixels. And I'm going to try to match the curves that we had. So it's a really tiny hair effect. Just want to make everything look like it belonged in one place. We can go over this a bunch of times 'cause it's going to get faded in the actual hair. Click away. We got some hair, repeat this as many times as you need. Obviously, it's not going to look identical, but it's going to help with the effect looking better. Group the shapes, merge them, blur them out slightly. And this concludes our face manipulation lessons. 80. Slice Effects Pt. 1: I'm going to show you these two slice effects that you can do easily inside Photoshop. So let's start with this image. I have a headshot, and I'm going to basically take her head, make it into different slices, and stack them on top. We're going to start by selecting her head. So just go ahead and unlock your layer, duplicate it for later reference. And then we're going to go to select subject. Once we have this, I'm just going to go into select and mask to grab any small detail that I might have missed. Decontaminate colors, and I'm just going to use the refined edge brush around these finer areas. Once you're done, click Okay into new layer with layer mask. So over here, you have two options. You can either get rid of her body and just have the head or you can keep the body. So I'm going to make the effect with the body and without it, so you guys can choose which one you want. So I'm going to call this with body, duplicate it. Comanj. Call the second one without body. The process is the same, so it's just a matter of the first selection for the body. So in the without body layer, I'm going to remove the body. Go on the mask, black brush, and get rid of it. When you reach the area around her neck, you want to switch to the pent tool. And I'm going to start from here. I took these areas in by accident. I can use the Pen tool to just get a cleaner selection. Click and Drag to make your curves and just make a rounded curve it right below her chin and then carefully go around her chin so we don't get her shirt inside the selection. There it is. Let's just close it up like so. Alright, click Make Selection. I'm going to apply the current layer mask and make a new one while holding down alter option. So now we just have her head. There's any little areas you can use your brush to get rid of it. I also need to do some cleaning up here. This effect is going to be completely black and white. The only part that is going to be colored are the inside of her head. Let's check the other side. Make sure we don't have any bumps like this. It's going to look weird with the effect. Also, be careful about this area where we had her shirt. Once you're done, we're going to apply this layer mask as well. And now we got without body with body. Fix up this layer as well. Since we have the original layer mask, I can use my brush to get a better result. So I can bring back with the color white, and we couldn't do that in the previous without body layer because we applied the layer mask. So I'm just going to clean this up and then I'll be right back. Okay, so I cleaned this up. I also got rid of this one hair strand because it would be easier for me. I use the Clone tool to get rid of it on her jacket and the black brush to get rid of it here. All right. Let's begin by making our selections. I'm going to delete Shape one that we use for her neck. Now we're going to begin by making shapes for each slice. Just bring any of these layers now, grab your pen tool and start by making your first cut. I'm going to start my first one a little bit below her ear, click and drag so we get a nice and curved cut. Maybe go under the lip and do that. Then I'm just going to connect it upwards because we have the rest of the body. Do that. Let's call the first shape, cut one. All right. So cut one is going to be here. Let's make the second cut above her ear. So again, going in with a nice curve coming down because she's tilting her head, I wanted to kind of go according to the angle. So let's do something like that. And then we just close it off. Cut three and going to start here, make my curves, maybe go below her eye. I'm using command to edit these points. Then close it off. Now, the final one says cut three. Cut four, you want it to just be the forehead. So just make a nice curved thing around her forehead. This is going to be like the cap. Cut four. Hide all your cuts, and I'm going to apply the W body mask. You should be left with a transparent selection, whether it's with the body or without. Same thing here. Now you're going to get cut one, Commander control, click on the thumbnail to make a selection, hide it. Go to with body, Command or Control X. That's going to remove the selection. Now make a new layer, Commander control. There's my head. I'm going to pull it up like that. So now we have a cut like this. And try to align it here, call the real cut one. Now let's bring cut two, which is like that. Commander control on cut two, go to cut one and do Commander Control X. So now cut one is just this little slice. Make a new layer, call it. Cut two, Commander Control V. Try to align it the best you can. A to hide cut two here. Try to align the layer. It doesn't have to be perfect because we made our selections quite big. Now, grab cuts three, Commander control, Commander Control X on cut two. New layer, Commander Control V. Try to align it. Call this. Cut three. Grab cut four, the shape, commander control, commander Control X on cut three. And then we're just going to paste it on the cut for layer. Now, get rid of all the shapes, and we're left with different cuts. So you can create as many slices as you want. Now, if you're doing just body, it would be the same. So the only thing here is that we're getting the chin and the neck. So I'm just going to hide with body for a second, get the layers aligned, and make a neck cut for the without body selection. And now when we bring back without body, it should be in the same spot. So now we're going to get cut one, command or control it. With the cut one selection, I'm going to make a mask. So this is what without body looks like. Just invert the mask and use your black brush to get rid of the top half. The bottom half is what we needed. So if I bring back all my other cuts, I have a full head. Without body is just the neck, with body is the body. Going to apply this layer mask. Without body is basically just neck. So now what we want to do is to desaturate all of these layers. So grab your body, command shift you, and repeat Command shift you or Control shift you on each of the cuts. Even on the neck. There we go. So now we're going to separate the slices and begin making the cuts or basically what's going to be behind these slices. Just pull them up like that. So this right here is our first one. 81. Slice Effects Pt. 2: Grab your pen tool and behind this behind with body or with neck, we're going to make our Pen tool selection. Start from the corner here, zoom out, and just make a curve around it. It could follow the shape slightly. And then you can just connect it here. Now, to fill this in, we're going to add a gradient fill. Decide the angle. It should be white to black essentially. Let's do a little rotation here, so white to black. Then use the slider to work with the way it looks. All right. Now take your black color, double click and choose a vibrant one. So maybe red, or I'm going to go with purple here. Something like that, click Okay and actually make it darker or dark purple. Your white color should be your main color. I would recommend bringing in a color palette so everything is nice and harmonious. There's a color palette in your resource bag. Just bring it up. Put it aside, and we're going to extract the colors. So go on your shape one. I'm going to call this slice one. Cut one slice one. These areas are the slices. Go to your fill, double click on the darker end and choose the darker color. Then double click on the lighter end and choose the brighter color. So we're going to get a nice gradual effect. We can always come back and decide where we want the angle to be. This depends on how we place the slices. So for now, I'm just going to go with 90 degrees, which was the default value. So this is our first cut. Let's bring this guy down and make our second cut. So underneath cut one, so above with body, we're going to grab a Pen tool and just repeat the same process, starting from the corner, clicking and dragging to make a nice curve. You could follow the direction of the current cut, or you could just make a big circle depends on you. Just be careful about the corners because they are quite short and then just connect it like you would with the first one. Go to your fill gradient fill, and I'm going to open it up here darker color. Choose maybe this blue, brighter color. The brighter blue. Like so. I'm just going to repeat this with all the different cuts and maybe adjust the colors a bit. So this is what it looks like so far. I arranged the colors and I made my shapes. I just color coded my layers so that it's easier to understand. Currently, we have four slice layers and four cut layers. So now what I want to do is to group each of these slices with their cut. So slice two is for cut one. Slice one is for the neck here, the body, so we're not going to touch that. Pair these two together, Kaman Gee and this is what I mean. So let's call this Cut one. Slice three with cut two. Command G. Cut two. Repeat. Cut three, and this one is just on its own. Gonna color code these again. So now what I want to do is to use the transform properties to just move my cuts in a more creative way. Before I do that, I'm just going to maybe increase my canvas size. Let's lock the width and a high told down shift and just make the image a bit bigger. So I have some wiggle room. Below my layers, I'm going to make a black solid color. Put it right underneath. Alright. Now, grab your cuts Command T, and we're just going to place them in, like, a funner way, so maybe rotate some of them and rotate this one like that. And this is what I meant earlier that the cuts are going to decide your shadows. So the darker gradient part is actually the shadow for that cut. Let's move cut four aside for cut two. I want it to go the other way. So slightly going up like that. Use your arrow keys if you want a more precise selection, and then bring cut three. Just go to place it like that. And the head can just go anywhere. I think maybe cut one is way too lifted, so let's pull that down. You can also kind of dislocate them and have them go on different alignments. Because in the end, we can see that this is a phase due to the closeness of all the cuts. Let's put the cap on like that. There we go. Once I'm done with each of the placements, I just need to work with the angle of my gradient maps. So this one is okay. Maybe it could be a little bit tilted, so go to your fill and use this guide to just change the direction of your linear gradient. It's V on the second one to select your gradient or your shape. And just work with the way it looks. One additional thing that you can do is to add shadow layers underneath each one. So go into each slice, make a new layer above it, clip it, Alter option, get your brush with a color black with a really soft round. Get a nice size here and just go over the area where the top slices. So something like that. This is in addition to the gradient that we did. So as you can see, this gives it a lot more depth. And you also want to add a tiny amount on the ridge here. So have your brush somewhere far away and go on the edges like that. It's going to give you a really slight black color, and that's going to make it look like it's actually three D. This is what it looks like without the layer with the layer. Really helpful. Repeat this with all the other cuts the slices, I mean, slice two layer above, clip it, super soft brush with a color black. Go on the area where the top cut is taking place. For example, you don't need to go here, just want to go on anywhere that's overlapping. Then go around the edge of your subjects face. A and now I can close off all of my groups. So this is what it would look like with the body. You could also kind of merge the whole thing at some contrast to work with the way the black and white looks and be done with your adjustment. Now, if you wanted to do without the body, the first thing you want to do is to choose a brighter background, choose white, it's height with body and bring back the without body neck. So you can see it's not that hard, which is switching the bottom. Command shift on the without body to get rid of the color. Now the only additional thing that you would have to do is to get a circle shape, start from here, alter option, and just pull it to the side. We're making a shadow with a color black. Then we're going to rasturize this layer. Filter blur, motion blur. Zero angle and just increase the distance. Then go to filter blur Gaon blur. Lower the opacity of your shadow layer. Alright, so it would look something like this. We can now kind of group everything together, pull it to, like, one side, write my text, add it on a poster composition, and be done with it. So this is our first slice effect. The process was simple. It was just time consuming for us to get the shadows right and make them pop out. Now let's move on to the second effect. 82. Slice Effects Pt. 3: So the second effect is a lot more easier, but it still looks cool. I have an image here of a person. I'm going to basically enlarge their eyes and make it look like it was a piece of puzzle coming out and towards us as the audience. So start by editing your image the way you like it. I like to keep my images black and white when I do these type of compositions, just because it makes them look more dramatic and majestic. You could, of course, keep the colors. It's completely up to you. Shift Command A to bring the camera raw panel and just edit as you like. Once you're done, click Okay. I'm also going to make an adjustment to make her eyes pop because that's one of the main parts of this composition. Brightness and contrast, increase it all the way. The brightness. Command I or control I on the mask, zoom right in, lower the opacity. Maybe 26, 30, get your brush, soft round, color white, and introduce that brightness onto her eyes. So now it looks more like enchanting. And there we go. 20% is what I'm going to do. You can also change the bend mode to screen to get a more highlighted look, merge your layers once you're done. And I will call this base. We're going to make our cut with the Pen tool. Imagine a shard of glass. So there are no curves in this selection. I will go with a simple triangle. Going like that. I'm holding down Command to get my points moving. Click twice to work with one at a time. Let's try to get both the eyes. So I just have this triangle, make sure you don't bring any of the background in, extend it where it needs to go. And now we're going to make a selection. Zero feather, Command or Control J, delete the shape, and now I just have this. So on this, we're going to do a few adjustments. First one is to go to effXs and add a really thin stroke. So one pixel with the color white, change the fill type to gradient. I'm just going to make it bigger so I can see the gradient. Let's go on this side, bring this in. And you want to basically decide the direction of light here. So just dapple click here, get rid of the black, go on this top area and remove the opacity. We basically have white to nothing. Pull that down. So this is the direction of light, 29 degrees, have it be white to nothing. And now we can lower the size. Three pixels. Next, I want you guys to just hit Command or Control team to scale this up, like so. Something like this, you could go even bigger to, like, cover her face. But I'm going to keep it around this big. I held down alter option to scale from the center, so I don't have to readjust it. Click Okay. And now when we zoom in, you can see that there's this white line going around the edge, but it only shows up on the highlights and not on the other end. So that is why we use the gradient. Okay, now what we're going to do is to add some shadow underneath this. We could add a drop shadow effect, but the problem with that is that it's going to go all the way around. We only want the shadow to be on the face. So simply make a new layer underneath your cut, get your brush, soft round, the color black, make it bigger and start doing this. I'm drawing here, but it's going to give me a really light shadow effect behind my cut. Go everywhere that has that cut. We're going to delete this part later. And kind of make the shadows more intense as they reach the darker area of your subject. So here we're going to go in a little bit closer and the same thing there. When you reach the tip, lower your brush size and go around it very gently. There we go. Now grab the eraser on the same shadow layer and delete this area. We don't want anything to be outside of the face. Now go to filter blur, Gaussian blur to make it even softer. G to go with 44, then change the blend mode to multiply. We can then reduce the opacity and get that shadow effect. Now I'm just going to make a soft overlay on top of this cut. So go over here, color overlay and choose the color white. Change the blend mode into something a bit subtle and work with the opacity. So now you could stop here, but what I want to do is to create a different effect underneath this cut because right now everything looks too chill, and then we suddenly get this cut. So this is what we're going to do. Let's hide shadow and cut, grab the base, duplicate it three times. So we're going to use the channel separation effect that we did in the previous lesson. RGB, and we just have the base for later use. Dabble click, grab red, green, and blue. Move their position just as we did in the previous lesson. So see what you like best, hide that layer so you get to move the other two. Okay, so I just did this. Let's try it with the cut and see if we like the amount of disturbance. I think this is better, click Okay. Now, to create a glitch effect, we're going to merge all of these RGB layers, so we get one layer alone. It's going to look like that. We can fill in the sides later. But what I'm going to do is to grab the Marquee tool, make small selections, then hold down Commander Control until you see a scissor on your cursor, click and drag it to one side. Commander Control D, repeat this with a bunch of random spaces. The eyes are not that important because we're getting this above it. Maybe get some bigger chunks. Get some down here and just make it look like it's glitching. The more random it is the better. Once we're done, we're going to grab this layer, which I'm going to call glitch. On this new layer, we're going to make a blur adjustment, motion blur, until you get something like this, then change the blend mode to lighten. Okay, so in your resource pack, I kept a few items. The first one is a scan line effect. Bring that above, rotate it, hold down shift, ulterruption, and just scale it from the center. Has to be this way, actually, horizontn lines. Make sure there's zero degrees here. You can type it as well, then place it. Once you're done with the blend mode, reduce the opacity. The second thing that we have is like a broken glass image. Do that, scale it up, change the blend mode to screen. So we're getting a pretty distorted composition here. Once you have this, we can blur this out, the glass image just slightly so that it's not As sharp, 2.5. And now we can bring in the top image. So bring your cut and shadow layer underneath the two overlays that we just applied, the scan line and the glass shards here. So with the cut, what I want to do is to also give it kind of a disruption effect. So first, let's convert this into a Smart Object and then get our motion blur. So it needs to be in a way that we can still see the eyes. Maybe 50 pixels or so. Click Okay. I can also repeat this cut effect for other parts of our body. Let's hide these for a second, get our original layer. Get this lasso tool and grab some random sharp cuts from your subject. Commander Control J, and this will be our second cut. Commander Control T, and just repeat all that we did. I'm going to do one last one around her arm to finish this off. Get a random shape here. Commander Control J, bring it above. Call this shard four. Scale it up, maybe get a little distortion effect. Then add the same motion blur effect. Now, go back to your shadow layer, grab your brush, and just as we did apply a tiny bit of shadow underneath. A bigger brush will give you a cleaner result. And you just need to do this on the parts where your subject is, so not on the background. Let's do something like that. We can also duplicate the overlay, maybe flip it so that we can get some cuts on the top end as well. I'm just going to scale it up so that it doesn't look identical. And now I'm getting like a broken glitch effect for my subject. Now, let's group everything together, except base Commander control gene and kind of scale it up so I don't have to fill in those areas. And now we're free to add any text logos to decorate our composition, and there we have it. Let's move on to the next lesson. 83. Slice Effects Pt. 4: All right, so I got my layers. Now I'm going to add a simple text. Write your text underneath the scan line layer, these little lines. So write your text, work with the alignment and the way that it looks. I'm just going to hide these overlays for a second so I can get the text all done, and then I can return to them. Now, you can also grab and change the alignments, like stone, maybe start with all of them in the center, push glitch to the side and get a really random look. All right, so this is what I want. I'm going to put it right here. Change the font and anything else that you need, then convert your text. All right. Now we're going to head into liquefy. And let's actually hide everything underneath. I'm going to make a random solid background color so I can see my distortions better, then we're going to delete this. Filter liquefy on your text layer, grab your brush. Let's hide the backdrop. Grab this, adjust your pressure and your size, and I'm creating this wiggle effect. Like that. Now, for the in Photoshop, I'm just going to pull them down. Let's increase the pressure to quite a bit and make them kind of melt down onto the rest of the design. So I'm just pulling them down, nothing too fancy. Just make sure that the top is pretty intact so that people can still read the effect. Pull down some of them, leave some up. Pretty random effect. Once you're done, click Okay. Now using the black backdrop, I can see if I like this or not. This is good for me. I'm going to get rid of this color fill. Grab a color overlay effect on my text. Let's try to sample the purple. Turn it into normal opacity 100. Duplicate it one more time. This time, make your color overlay this green. Then use your move tool to kind of create this depth effect. I'm going to duplicate this one more time with the color white. I got a purple shadow, a green shadow all underneath my white shadow. Command zero, group all of your text layers so we can keep things organized. Text, flatten out this group Smart Object and use some blur effects on it. Now when I bring back my effects, it's going to look like it's a part of the whole thing. I'm just going to bring it above the scan line just to kind of separate it from what is happening. Let's add a normal text down here. Diversity is really important in Photoshop compositions. So sometimes adding an element that is completely different is going to help make your posters or compositions more attractive. So here we have distortion. I'm going to add a regular text. Drag it down, maybe duplicate it and make a smaller text next to it. Change the alignment. And there we go. We got our text effect. I think I will kind of burn my original text into this a bit better. So try different blend modes, see what you like. I think I'll go with ten. And with the top text, I'll try to see what works. Olay looks nice. We can still read it, but it kind of burns into the poster. This poster is completely distorted. We use different methods. In the next lesson, we're going to learn about a different type of compositions that we can do by using slices. 84. Slice Effects Pt. 5: M m. Let's learn how to add a pattern onto skin and then later create this sliced and push in effect. So when you're choosing your image, I have this one in the resource pack, but for later, you should always make sure that there is space between the hair and the eyes. So if you had an image where she's looking to the side, then this effect will not work as well. I also made sure that parts of my subject's skin is visible so that I can show that the pattern is a part of her and she's wearing the clothes on top. So these are the two things that you can consider when you're choosing your images. In your resource pack, there's also a pattern, and this is what I'm going to put on top of her face and her neck. Let's rename our layers. So the first thing I want you guys to do is to select your subject. Duplicate your layer, select subject. Once we have the selection, we're just going to get rid of the clothing area and the hair, so we just want her skin. You can use the quick selection or the brush, hold down alter ruption and just push until it finds a new edge of the clothing. Okay, so around the areas where things get a little bit soft, you want to switch to your brushes. So use your brush with a soft round and lightly remove these areas because we want the pattern to kind of fade into the hair, and you can even keep a bit of it in for that effect. So I'm not going all the way to the edge, leaving a little bit behind so that it could blend in better. You can also clean up these areas and get a softer look. H. Once you're done with the hair, we can come down to the face. Just going to go down here and get rid of that white bit. All the face, we're going to just remove the eye whites for now because the pattern cannot go on them. You could get rid of the eyebrows or have them go in to the pattern. I'm going to try that and see if I like it. The only part that I'm trying to get rid of right now is the eyes and the lips. And there we go. I'm also going to get rid of the hair areas that kind of poked out. So make your mask, and essentially we just have the face. That will click on your mask and increase the feather. Just try one pixel. You can also come back in here and fix up any areas that you missed. I'm going to name this face mask because that's what it is. Now the next thing that I want you guys to do is to add a lot of clarity onto the face mask layer. So this is the original. I'm going to hit Command Shift A on my image, not the mask. It's going to open up camera raw, just head down to clarity and just add lot to that. The reason why we're doing this is because we want the shadows and the highlights to be well separated and for the other features to be sharp enough to kind of poke out from the design. Click Okay, and now we have this effect. But because there's a mask, it's just on the face or the skin. Now I'm going to intensify the highlights and the shadows using a different technique. Make a new layer, call it shadows. Another one. Call it highlights. Clip both of them to your face mask. Grab your shadows layer, the brush tool, the color black and get a good size. Now, just go over the areas that are already black and add more shadows. Do the same thing with highlights, but this time with the color white. So we're now working with the midtones. Just go over the areas that you see and the areas that are brighter. Go to add, like, a thing here. There's no highlights there, but this whole area is pretty dark. But sometimes you can add additional areas. So once I have something like this, we're going to change their blend mode. For shadows, we're going to come down to soft light, highlights, we're going to go into screen. Next turn each one into a Smart Object and blur them out using Gaussian blur. So this is the shadow layer, increase the amount. We want a really soft look. There we go. Repeat with highlights. Next, we can work with the opacity to get something less intense. There we go. Alright, so now we have this completely new phase. It's way darker, way more dramatic. And that's perfect for me to add my pattern. So when I bring my pattern and change the blend mode to multiply, you can see how those dark areas are helping us out. Without them, we're going to just have something rather flat. So this is why we added all of these dramatic effects just to make it look like the pattern is actually a part of her face. Okay, so let's hide this for a second. Now I'm going to put the pattern on her face and body, but we're going to do it in two different ways, as in you have two different options. The first option is to hide all of these, get your base layer, save it as a PSD, so that later we can use that as a displacement map. But you can use the liquefy effect to kind of push the pattern into the curves that our subject has. So you can decide which one you like and get started with that. I will go with the liquefy effect because it gives me more room to adjust compared to the displacement map. This is how you would do it if you wanted to use liquefy. First duplicate your pattern. The first one is pattern face. Go above. Second one is pattern body. Because there's a separation here, we cannot have the pattern going in one way because there should be a depth difference here. The chin is further away from the neck. So what we're going to do is to grab the face. So for the face, I'm going to pull the top part in or the body, we can start from somewhere in the center. Markey the extra bits, Alterruption, make a mask. This is the body section, repeat with the face. I think that's good. So the face doesn't really need a mask. So when you bring them back, there's clearly a hiccup. You can see the pattern is not seamless. We brought in the seam. Now, hide your patterns for now, and I'm just going to get rid of the background here so that the focus of the composition could be on my subject. Make a new black solid, delete the current mask, select the subject from base. Just go up here. And then make a mask. So there's my selection. And now when I bring back my face mask layer, you're going to see this halo effect. But don't worry about that because this is a part of the top layer, and we can kind of deal with it later. So once I have this, I can now begin putting on my pattern, bring them back, make a smart object from both of them. Let's call it pattern. We were just trying to get this hiccup that we got right now. Now go to filter liquefy. Let's hide these face layers. I'm going to make a group out of them. Go to call it skin, and then we have our subject layer. Let's put the base below just in case we may use it. But for now, we just have our background, subject layer, and skin. Grab your pattern, filter liquefy. You're going to get this really long thing. Show back drop, use layer subject. And then put it behind. Lower the opacity. Let's zoom right in and begin from her skin, her face, and then we can move on to body. Grab the forward work tool, your size, let's lower the pressure of it. So it kind of slightly pushes it in and not by a large amount. It's actually a good idea to have a bigger brush and kind of use that to push in the design onto the edge of your subject's face. So not the hair but the face. If you can't see your subject, then lower the opacity down here. Do the same thing for the forehead, push it in. Especially when there's a curve, you want to add more of that warp effect. Now the chin is where things get a bit different. Push these up. Let's say her cheeks are coming out and for her chin, we're going to skip it and go onto body. Don't worry about the areas here because we added the shadows on the highlights, but instead push you design onto her chin. So that they're kind of getting distorted and brought into this direction, which is her neck. That's what we want. Do that. And then at the same time, go up and push it down a bit. This is what we're doing. Click Okay. This is a Smart Objects, so we can always go back to it. Now, change the blend mode. So this is what we're getting. Now, open up the skin group. Let's bring face mask and clip it onto the skin group. So it's going to look like this. And now you can go back to your face mask and clean up the selection, as we talked about. So with the black and white brush, go over the areas. Try to make this as natural as possible. We also need to get rid of the nostrils, which are really faint here, but it helps to add that tiny detail. Bring back a bit of that opacity, black brush and go over this few dots areas. Bring this back, go back on the eyes, and then get it out of the inside of her eyes because it's not possible to have a pattern in your eye. So here, this is what it looks like with the pattern. I think the eyebrows are okay. You could, of course, get rid of it, but I'm going to leave the eyebrows in. I just want to have my eyes separated. The eyelashes will kind of separate themselves because they are all black. So I didn't have to pull the eyebrows away. Now, get a bigger brush and go around the edges of her hair one last time. Do this so that the feathering is doing the job and not the actual brush. Down here, we're good to go. There's nothing out of the ordinary. And, yeah. So there's the design. So I'm going to clean up this area with my face mask mask. Now that the pattern is on there, I know exactly what part I need to get rid of and what part needs cleaning. So I will do that, and then I'll be right back so we can continue with the rest of the lesson. 85. Slice Effects Pt. 6: Okay, so I cleaned up the edges, and if you do see a line here, you should just get rid of the area on your subject mask. So you can see, this is what it looks like. We just took the mask here to create that background or else we don't really need it to go over the same areas that we went over on the face mask layer. So if I grab the black brush, you can see that it's just going to get rid of the ellipse. So just go over that area so we don't get a halo effect. And now that I saw this, I think black lips would look nice on her with this effect going on, of course. So let's do that. On top of the subject layer, create a black solid, turn the layer into multiply, cooled lips, multiply, then change the blend mode, the blending options. So alter option and get rid of it on the highlights. Slightly until you see that and a little bit from the shadows. So we see that line in the center. Now she has black lips. Just grab the mask, invert the mask and just apply the color on her lips. There we go. Simple. We can also lower the opacity to get a natural result. Okay, so we're going to begin the process of cutting her face and pushing it in. Grab your pen tool, no fill and no stroke and simply make a curved selection from her face. Start around here. So try to make a few points, not that many. This will give us a better curve. I'm not going too intensely. Follow the natural points of the face. Just to check what it looks like, I'm going to add a film, bring it above skin, above pattern. Now I can see that this side is not even. Grab command, click once and work with the way your selection looks. You can also use rulers to ensure that the points are equal. I'm going to call this as shape. We might use this later. So duplicate your skin layer, Command or Control J, and I just push the pattern onto each one. So one pattern here, Command or Control J. And put the copy in the second group, clip it. Now we have two groups that have a pattern, highlights, shadows and face mask layer. Let's color code these. So this one, we're going to call it skin outside. Top one, skin inside. What we're going to do is to hold down Commander control on phase shape and make a mask on this and then do the same thing, Commander control, make a mask here while holding down alter option. If I hide skin inside, we're not going to get anything on the inside. Show outside, and we're not going to get anything around here. So this is for the outside. This is for the inside. Both of them have the highlights and the shadows. When we look at it like this, nothing seems different. All right, now hide, skin inside, and we're going to grab this subject. Because we have a black background, there's no need for us to heal the selection. So now on the subject layer, we're going to duplicate it. Colin features the duplicate. Delete the layer mask, alter uption on the layer again and just bring out her features. So her eyes, eyebrows, nose, and lips. Grab the feature layer and pull it into the skin inside group. So below everything below face mask, and just bring the lips above it too. So basically, this layer counts for everything on the inside. And if I hide my subject layer, you can see that there's nothing, and we're just getting the inside. Now I want to make sure the rest of our body is there on the outside layer. Bring back subject and just get rid of the face features. Color black, and just pull this out. Once you're done, grab subject and pull it underneath skin outside group. So under face mask, let's change the blend mode. And now we got the outside and the inside. Let's bring them back. Now, underneath the outside, above background, we're going to make a new layer. Let me just get rid of the pattern for now, hide it so I can see her original skin color. Make a new solid above the black background and grab one of the shadowy areas. So in this case, it's gray, but that's okay. Now, invert this and just bring the color on the area that is currently empty. The color white, just go in like that. Let's call this inside hole, the color, and this is the background. Now, on top of this inside hole, we're going to make a new layer. Clip it inside. Call the shadows. Get your brush, soft round, the color black. Make the size pretty big. And we're basically going to go in here and create a dark hollow look, pay attention to the let me hide this, the shadow of the original image. I guess this side would be the shadow, follow that and bring them all back here. Start from one side and go in like that. Make it soft around this side and try to make a circle thing. Then go to filter, Gagen blur. Click Okay. Now we're going to make a shape with a pen tool and create a thin layer of skin. 86. Slice Effects Pt. 7: Wrap the shape, make a new layer, call this high light rim, bring this guy above shadows, get your pen tool, and just pull him down and work with the current adjustment that we have. Now we're going to add a stroke using one of the highlights. So grab this area on her forehead and get a rather big stroke. Go over here, and we're just going to change the alignment to outside. So now we're getting this rim around her face, Hight face shape. So on my subject layer, I ended up creating this halo effect. I'm going in with my white brush and just going around that area. We're still on the skin outside. Now for the highlight rim, I think it's better if we add a solid color. So let's do that. Solid color. Let's grab let's hide the pattern. Let's grab one of our highlights like we did before, delete the current layer mask, control or command on the highlight rim shape, and make a mask right here. Command or Control E. And using your black brush, just get rid of all this extra area. You don't need to be careful around the hair because that's another layer. So the reason why I did this is because if I ever wanted to scale up my rim, I can do it without worrying because previously, we had a stroke layer, and strokes can only get so big. So with a color fill, I have the option to, like, bring back some of the selection, make it go as big as I want. And it's just a better idea. Highlight rim, and we're going to add some shadow onto the rim too. New layer clippt alter option, call it shadows, color black, and again, pay attention to the shadow of your original image. Make it bigger and draw a few points like that. There's no need to go here. Then just add some Gagen blur to get a softer look. So it's looking good so far. I'm going to copy my pattern from the outside skin. Call it pattern inside. Drag this outside of this group. Try to do that here. All right. So bring it outside of your group pattern inside, change the color and we're just going to bring it down here. It's going to go inside the face, as the name says, change the plan mode to multiply. Can try other things. I think overlay is better. So choose overlay, and it should kind of get rid of the black parts on its own. Alright, now bring back your skin outside pattern. You should be getting something like this and now bring back skin inside. Hit Command or Control T on skin inside, lruption and we'll push this inwards until you get something like this. Bring this underneath highlight trim. There we go. Now, to make it look like this has been pushed in, we're going to make a layer above it, clip it, brush, soft round, color black. Just go in like that to create some depth for the subject. Go darker around this area. H the shadows and blur it out. There we go. On the highlight trim, make another layer. Clip it to color white. And make points. And I'm just going to change this into screen and reduce the opacity. There we have it. We now have our subject with her face kind of pushed in. I can go ahead and do some final adjustments just as we do for each of the compositions. Maybe add a photo filter, a curves adjustment. I'm going to make this darker, just to make the whole thing more dramatic. We can get rid of face shape. Don't need that anymore. I'm gonna go on highlights rim and try a colored. That's a bit reddish. And I think we can kind of feather out the edge of this mask. And there we go. So it's going to be feathered on the inside and sharp on the outside. So I hope you guys enjoy these three slice composition ideas. And now let's move on to the next lesson. 87. Coming Up with Composition Ideas: In the following lessons, we're going to learn about how we can make Photoshop compositions. I'm going to give you guys some images, and we're going to put them together, place them, blend them, and then get ourselves a really cool landscape using our imagination and, of course, Photoshop. So first, let's learn a little bit about how we can get to that idea. What are some ways that you can get inspired? And how are you supposed to imagine what your composition is going to look like? So, regardless of whether or not you are a beginner, you need some inspiration. My favorite place for finding inspiration is Pentras. I'm sure most of you know about this platform. If you search Photoshop compositions, you're going to see how people add random things and put them all together. We can easily get some ideas. These are the three images that they used, and this is basically what we're going to do in the following lessons. I have two separate examples, one of them being for daytime and one of them being for nighttime because the lighting can be different. Let's say I have an idea about underwater compositions. So I'm going to search Photoshop compositions underwater and basically get some inspiration. I can add jellyfishes, mermaids, skeleton and maybe save a bunch of these into my boards and get my sketchbook, sketch something out, then head over to Photoshop. Pintras is a great place for anything, really. And if you're starting a conversion, be sure to check it out. Now, what if you have the idea, but you just don't know how you're supposed to picture it? If I have an idea of, let's say, a frog dancing on a teacup, I can't really get a visualization here. Let's search it. A frog dancing on a teacup. I'm getting a bunch of frog things, but none of them are dancing on a teacup. This is where AI tools come in handy. They can help you visualize something and basically give you a framework to work on. Here I can go ahead and write my idea. Alright, so this is going to give me some visualization aid. I can get some ideas and maybe add more prompts. So a painting of a frog dancing on a teacup in a vintage room. Let's go with, like, an oil painting. Maybe this is closer to what I have in mind. And everything that you make is going to be saved here so you can bring them into Photoshop and create a mood board. Of course, you need to make your account. It's free and everything will be saved. So this is another way that you can come up with a composition idea when you have the idea in your head, but you just don't know where to start. So let's say I want to make something like this. From this, I can see that I need a frog. I need a teacup, I need a box, a windage room, and I can get those resources from stock platform. Okay. I have splash here. They have a lot of free and paid resources. We went over a bunch of other ones so you can use whichever you prefer. I would then begin searching for each of those elements that I mentioned, frog, a teacup, and just download them, put them into Photoshop, start with my composition. Now, what I like to do and how I come up with compositions is by simply looking at an image. Of course, this ability will come over time, but I'm sure most of you can picture a composition coming from a regular image. So let's say I have no idea where to start. I'm just on the on splash main page. Scroll down, and you're going to find the popular downloads. And for example, I can look at this and picture a whale here, some starfishes, maybe an underwater creature. So I'm going to think of the angles and the way that I would be making this composition. And then once I decide that this image is perfect, I can download it and get started. So you can just skip the Pinterest and dolly method, if you can imagine a composition like this. Angles are really important, too. If you plan on adding a creature or a human being in your composition, you want to make sure that there is a nice placement for that subject. So if I have this image and I want to add someone maybe walking by, I need to make sure that the floor is suitable for the picture that I have. So if my person is walking towards the camera, then it's not going to work with this image. So download your images, put them side by side, and then try to imagine how the blending will look. It's really important to make things easier for yourself before moving into Photoshop. So I already got some images for the two examples that we're going to go over. One last thing that I wanted to show you guys is Photoshop composition styles. Especially when it comes to posters, there's going to be a lot of different styles and sometimes can be hard for you to search for something that you see on the Internet. Let's search Photoshop poster styles. Immediately, you can see a lot of different things. We have a minimal look here. We got a three D look here, Sci Fi. We did a bunch of grunge things in a previous lesson. These are simple things. And let me show you guys grunge, which is what we did in the previous lessons. This is what grunge poster designs look like. So as you can see, there's a lot of textures, as we learned, thresholds, and a lot of vibrant colors. We also have, like, ink bleeds and just all the other stuff that we learned about. We have minimal posters. Which as the name says, uses minimal amounts of assets. So we got a few colors. Usually, there is one image inside these type of posters and maybe some overlays. But there is a lot of white space, and this can kind of make your work look more elegant and chic. We have, like retroposters, which as the name says, kind of has this old school look. There's a lot of saturated colors in there and a lot of, like, vintage things. You can see that. We then have futuristic posters. Yeah uses a lot of neon colors, and there's a lot of relations to robots and technology. So we've got a lot of glitch effects, a lot of neon stuff, glueing items. And there's also cyberpunk, which I'll show you right now. Cyberpunk posters are quite similar. There's a lot of genta in these and Cyan. So this is a poster style that you can explore. We then have comic posters, which should be familiar to most of you and it's basically like comics. So you can use Pintras for getting ideas about the style that you want to use. There are tons of resources out there, and you can also get tutorials on how to create that style. So find your style like this. Look for some inspiration, make your board, make a sketch, use Dolly if needed. And now we can get started with our Photoshop compositions. 88. Composition Practice Exercise 1 Pt. 1: In this composition, we're going to make it look like the dogs have dropped their toy inside this cave and they found a mini human. So we're starting off with this image. I just searched for Adventurer on Unsplash, and I downloaded this one. So looking at this image, I know that I need a low angle shot of a dog. Low angle shots are basically where the camera is down, and you're kind of getting the subject above it. This is also a low angle shot, so that's why we need something similar for the dog. So you have the following images in the resource pack. I downloaded this image from Adobe Stock. Let's scale it up, alter option, and notice how this is a low angle shot, and I can kind of make it look like the dog is trying to sniff this human. Increase the size like that, and we're going to select subject. Once we have this, make a mask, and I will call this dog. So the first step in any composition is to isolate your subject in each of the images. So here I have my isolated dog. Let's hide it and bring the other stuff. I also have another dog that I want them to kind of be behind the first dog, make it look like their pals, and they are both looking for the toy. Scale this up, subject. Make a mask. Call this dog, too, hide it. And now I can bring in the toy, which is what the dogs are searching for. Apart from these, I also have this flour that I'm going to use around here. This is just to help bring the whole thing come together, and I'll show you how you can use it and select it like all the other layers. Actually bring it here so I can see the edge. And there we go. All I have all my selections. This one is not that clean. Let's try a different method. Go on your image and use color range when you're trying to get rid of one color. Click Okay, make your mask. There we go. Now we don't have those white areas. Let me check all my other ones. This is good. This is okay. This one, it's a little bit messy around here, but I just need his head, so it's all right. Okay, so when you're working with your main image, you want to see what parts you want separated because currently this image is flat and everything is stuck to each other. So I know that I want my toy to go behind this boulder here. Let's first resize and place it. It's a giant toy, so it needs to kind of sit on the ground. Something like that. Pull it up. The rest will be hidden behind this boulder. I'm going to bring my dogs in and see if the size of the toy is relevant. If not, just scale it down and get something good. So now I want my dog to both the dogs to go behind this boulder. Grab your main layer. The selection tool.'s duplicate it first. Call it Rock and grab the sky. Try to get all the clouds, hit Q to check. And I know that I'm missing out this one cloud down here. Then make your mask, alter uption so we get everything but the sky. Now the dog is going to go right there, going to pull this above dog, both the dogs, and now this guy is just sitting there. Let's bring him a little closer to this boulder and I want his mouth to poke in, bring it lower. Second dog, let's bring it underneath and put it like this. So it's kind of trying to figure out what this guy is looking for. Grab your dog mask and introduce the areas that we need inside. I have to do that with my rock layer. So grab your black brush and remove the areas where you want your dog to kind of poke in. I'm using a soft round. Bring back areas that should be there. Let's get like 85%. Lower the opacity so we can see better. Alright, I want one of his ears out and the other one in. So again, minus and bring this ear in. Alright. So the dog's head is inside. It's looking good. I'm getting a little hiccup here with the clouds. It's really important to make clean selections, or else it's gonna look weird when we do the blending. Check the rest of your selections, especially when there's something in contact. Alright. So my first dog, there's a little bit of the sky out of it. It's kind of poking out. Grab your brush and fix that. There we go. Now, my second dog, the mask isn't perfect. Let's delete that, bring it above, and use the color range selection option. Hold down shift to introduce more of this pink. Work with the fuzziness. The most important part is the head, so don't worry about the paws. Click Okay. Make your mask, and now it's cleaner. Bring it behind dog one or just dog, and now it's looking better. So I'm going to clean up my selections. We do have another hiccup here, and then I'll be right back so we can continue. Okay, so I fix up my selections. I clean them up. Now let's separate the boulder right here. So let's hide all of these new layers and go back to the original. I'm also going to separate my subject just in case I wanted to change the size of my toy. Call that boulder and this one subject, and layer zero is just out base. Okay, let's hide boulder for now and grab the subject using quick selection because he's really small and we mainly want the top of his body not the bottom. Grab the top, make a mask, and now we just have the subject. Hide that, get the boulder layer and grab the boulder. We want these greens as well, so just pull them all together. I try to grab these. Now, the toy is going to be down here, so this green is the most important. There's no need to grab the rest. Okay, so before making your mask, go to select and mask up here and we're just going to clean this up. Click Refine hair, and that's going to refine the edges. We can then go right in and use global refinements to as in contrast, smooth out the selection. Just a bit and feather it out. I think this is too much. You might not even need it. Just feather it out and get some contrast. Remember the edges are what we're working with and not the rest. I'm adding contrast to get rid of those little lines that we had before decontaminate colors and reduce the amount. 30%. Okay, once we're done, new layer with layer mask, we can just do that. There we go. I'm going to delete bolder since we got this new layer. Now, grab this layer above the toy and bring back all the other layers. So now that guy should be in there, and I think we should kind of rotate the toy so we get to see a bit from the top, something like that. There's my toy, there's my human looking good. Perhaps we can kind of stretch out the toy, so it goes behind the subject, as well. Command or Control team, let's distort it and kind of stretch it out like that. Click Okay, bring our subject above the toy. So now everything is looking like it belongs. Going to distort it this way as well, so we get the original dimensions. Click Okay. So we're done with the placement of our work. If you want to bring any other elements, you should do it now because the next step is to start blending in the whole thing. We're just going to go into image adjustments and perhaps work with the hue and saturation. I want the sky to be a little bit more cyan, just to make the whole thing fun, and we can kind of work with the rest of the things. So I think I'm okay with the color of the boulder and the grass and all that. If you want to edit your base image, you should do that before we start. So edit your image and then bring in these layers. Now, I applied the human saturation effect. Let me just hit Command Z. Go in there again, human saturation, put the number in negative 15, and I guess that's good. I should remember negative 15 because I have my rock layer. Do the same adjustments on rock, command you to get the human saturation, type in negative 15. Do the same thing with the bolder layer, command you, negative 15, and the subject layer. So everything looks like it belongs in that one image. All right. So now I'm going to blend in the items with the background. I'm going to work with the lighting first, and then we can move on to the colors. So first, we're going to rasterize the images so that we can apply the layer mask and then turn it back into a smart object. There's no need to do that for bolder subject, but the layers that were new images like the toy, the dogs, and all that, we want to get a smart object with no mask. And there we go. So now everything is a smart object, except for these new images. I'm going to make the new images orange. And the new mask green. So the green ones are from our base layer. The orange layers are new. Okay, so let's begin with our plant, which is the closest. Head over to layer adjustments levels or Command L, and we're just going to work with the lighting. So it's a bit too bright, lower the opacity, increase the contrast because it's in the shadow area and not the light area. Something like this, get more. We can always come back here. I'm going to let it be like this, then click Okay. Now I can go to image adjustments, U and saturation. Try to match the coloring that we had. Something like that. Go to your toy, command. Let's work with the way that it looks. Now, the toy could be a bit out of place because it is supposed to be vibrant for the dogs. You can simply just work with the levels to command L. Add some contrast and kind of increase the dark areas. Now for the dogs, they need to be brighter than the rest because they're on the outside and not in the cave. G to start with levels, Command or Control L. Let's reduce some of that contrast and make the dog a bit brighter. We're going to add these shadows around here later. And we can't really make the dog, like, pinkish, so just levels. Same thing for the other dog. The other dog needs to be a little bit more brighter because it's not poking its head into this dark cave. So make it a bit brighter. Click Okay. Okay, so now I got my lighting done. I'm gonna pull this up a bit so it goes over my human just slightly. Maybe we can even get rid of the flour. So it's less distracting. Alright, so this is it for now for part one. We placed our images, we made mask layers from them, and we adjusted the levels. In the next lesson, we're going to plant them in and continue with this composition. 89. Composition Practice Exercise 1 Pt. 2: Okay, welcome back. This is where we left off. We placed our images, extracted the subject, and worked with the brightness of our images. So now, one thing that we want to do to check how well we adjusted the brightness is to create a black and white layer and temporarily get rid of all the colors. So go to adjustments right here and we're going to get black and white. Click once, it's going to get rid of all the colors. And now we can decide how well we worked with the colors. So I can see right here that the toy is a bit too dark. It's blending into this whole scene. I'm just going to go to my toy layer levels and work with it until it's kind of poking out. So my toy needed to be a little bit less dark. Click Okay. And my main dog, I can see that it's a bit too bright. So let's add some shadows here and darken up the whites. All right? My other dog is a bit too bright. And the reason why we added this black and white layer is because it's going to take all the colors and can make the whole thing look a little less distracting. Grab the rock layer. Let's add a levels adjustment, convert this first. Commander Control L. So the rock is too bright, add some contrast in there. And perhaps add a little bit to the brightness. Next is my flower, which we had around here. Okay, so I did all that. If we hide black and white, you can see that the brightness is looking way different. Now, once I have this, I can delete this. We don't need black and white. I'm just going to go over the hue and saturation slider. The plant is okay, but I feel like the rock is a bit too red. So I will grab it at a hue and saturation slider, reduce the saturation a bit. And work with the colors. Let's clip this onto rock, alter uption. Do that. Then on second thoughts, we can do it here, so our layer is a bit more organized. Lower desaturation, add some cool colors, reduce the brightness. Okay, so there it is. It's looking a lot better already. Now, we're going to start with adding some shadows on our objects. The first thing that needs shadows is the plant. I'm going to start from the things that are closer to us. Kind of move towards the end. So grab your plant, make a new layer. On top, clip it on there. Call it shadows. Get your brush, soft round, color black, and I basically want to add some shadows that we can't really achieve with adjustment layers. So add some black right here. You can see that I'm going back and forth and keep in mind that the direction of light is from this area. So here needs to be right. The bottom bits need to be dark. Once we're done, we're going to change the blend mode to soft light. And now I have some shadows. Lower the opacity to get a softer look. We can also blur this out. By maybe ten pixels. Click Okay. So that's our plant. Let's move on to the next item, which is the boulder. New layer, clip it shadows and go on the boulder. Because the dog is above the boulder, the shadow area needs to be here. Try to think of the dog as right above this. Go on it like that. Maybe this is the nose. Once we're done, change the blend mode to soft light and just go up here to Gaussian blur. So it's going to add ten pixels. Sometimes that's not enough. So let's try to add more. 64 pixels. Lower the opacity, and now there's the shadow. Next is the subject, which again, has this giant creature above it. So just a little bit for the head like that. Soft light. Blur it out. Since the subject is smaller, we need to add less blur. Alright, now we're onto toy. The toy is the closest thing to the dog, so it needs to have more shadows. All right that and get a bigger brush. So go over it like this, and also we have this boulder in front of it, so we need some shadows from the side as well. Something soft on the edge here and something really harsh underneath the dog. Soft light. I'm going to go with multiply for this one. Let's blur it out and lower the opacity. Then we have the rock layer, and I want to create a Vinier effect for this because the focus of the composition is the dogs. So we want to get rid of any distractions around the edge. Therefore, we need a big brush and just go around the corners. Then around here, we want to kind of go crazy with the number. Feather this out quite a bit, then change the blend mode. Soft light, reduce the opacity. Now, I got some of this on my boulder. I'm going to use an eraser to just get rid of that. So now I'm giving the impression that, like, the human was hiding here and the dogs found it. And then finally for the dog, I just need to add a little bit shadow on the areas that are inside the cave. Call the shadows again, get my black brush. So, for example, this area is not going to be a part of it, but this area is because his ear is kind of inside. And that's pretty good. We can add a little bit of shadows around the mouth area. Just do it very softly, like so blur this out. Let's lower the amount. I'm going to go with overlay. Now we forgot to add a little shadow on this area, so go back in there and add that amount. Go to make another one with just black. G call this dog shadow because his head is pretty close to the rock, we are going to need a separate layer. Blur it out slightly. Click Okay. I'm just going to add the same levels adjustment to the base image so we don't get this. Let's double click and just remember the numbers. 0.62 to 44. All right, we also had a human saturation four plus ten, negative 14, negative six. Now I can go onto the base because this is a part of the base now. Clip it shadows and add a rather harsh shadow on where the dog's ear is going. So it's going to cast a shadow like this. Change it to multiply and reduce the opacity. Go to get rid of this section by using my eraser tool. Hard round because it's a rough edge. Right. You don't have it anywhere else, and my shadows are looking good. Alright, next I'm going to start with the blurring of the items. Of course, our image is looking a lot more three dimensional, and we cannot have it looking this flat. Everything is a smart object, so I can always come back to it. Let's start with our plant, which is the first item. This is the closest to the camera, but it's not in focus. So grab plant and we're going to use simple gaussian blur because the plant is pretty still. So make this pretty blurred out. We want to get a soft Click Okay. The next is the environment here, which I'm going to blend in a different way. Just grab your toy. Blur it out slightly. It's close to the dog, so it cannot be that blurry. Maybe 9.7. Grab your dogs. The first dog needs to be pretty sharp. The second dog is in the back. So blur that out with Gaussian blur. Not too much, but he's not in focus. So something like that. Alright, already, it's coming together. Now I'm just going to grab my the whole layers actually Command Shift option E, that's Control Alt Shift E on Windows. I'm going to call this overall blur. Now, because we have different sections in our original image, we have the human selection. We have the boulder and we have the rock, I cannot add blur the same way that I did to the stuff because they're connected. And for example, if we blur out the boulder, we're going to get this cut around the area where the mask was finished. So that's why we're doing this. Convert to Smart Object. Let's go to field blur and add a point right on the dog's nose and another down here. Basically a little close to the human being. Add some blur to the bottom and remove the blur from the top completely. Add another point up here and add like a basic amount of blur. Can come back to this and reduce it a bit. So you can see we're getting a blur like this for the subject. Click Okay. And there we have it. This is going to blur out the bottom and I'm just going to get rid of the top half because I want to blur the rock differently. Remove it with black. Make sure you have soft round, and just close it where the rock is. So the effect is still visible, but down here, if it was too much, you can always reduce the opacity or dapple click here. Now, go back here and bring back the edges of the rock. So just take the dog out. You could use this edge effect. And I'm going to add a little bit more to the top of the dog's head. So not the eye and just anything else in between. Going to go back in here and perhaps bring this down slightly. Quick okay. We worked with the lighting, the colors, the blurring, and the shadows. In the next lesson, we're going to just finish this off with some overall adjustments. 90. Composition Practice Exercise 1 Pt. 3: Welcome back to the final part of this composition. And now let's add the final adjustments. I'm going to group everything here so I can start with a clean plate, Command or Control G, call it composition. Now, above this, I'm going to start with a simple curves adjustment. Now, everything is going to work together. We already set the numbers, and now I can make everything harmonious. So bring it in like that. That's my curves. Let's add a hue and saturation, maybe saturate it a bit more, and lower the ness. Vibrance. It's a bit much. Lower it a bit. Another one for a gradient map. I'm gonna explore a bunch of these. I want a warm color, so check each one out. Then I'll go with this one and then change the blend mode. Soft light and reduce the opacity quite a bit. This is going to give us a rosy effect, which works well with what's happening here. Let's go back in here and I want to blur out the dogs here with overall blur and add some to this. We go in here and add some points of blur. 15 pixels is okay. So everything is blurry except this area where the dog is coming in. I'm going to make the blur a bit soft down here, so get a really big brush, reduce the flow of it and make a few points with the black brush. So it's not going to get rid of it completely. And if I hold down option, you can see how it's softer. While I'm here, I'm going to add white to this. So everything should be white except for where the dog is and the areas around it needs to be a little soft. Alright. Looking good. Let's go up here and add a color balance. It's a bit too red. I'm going to balance it by adding a tiny bit of cyan. Let's add a little green. And make the image a little cooler. So before or after, this works well with the gradients map by the way. If you want it to look a bit scary, you can remove this gradients map, but I'm going to keep it this way. I'm also going to remove a bit more from the toy. Make it visible. It's come down to toy as well. Go for a less intense number because it's pretty close to the dog. The final thing that I want to do is to grab a elliptical marquee tool, alter uption on the nose, and then drag out till you get ovoi shape, like, so make sure that the human and the other dog is in it. Make a solid color with a color black, invert the selection. Command or Control A, Dapple click, feather it out quite a bit. Like so, change the blind mode to multiply and reduce the amount. So this was the overall wig that we talked about. It's going to bring the attention of the audience onto the dog, and then later they can figure out that there's a bone here, and there's also a human. Go to go on top of overall blur, clip this, and kind of work with the way decontrast is. So this is my composition. I'm going to stop right here. We got all these adjustments and, of course, our base layer. So any composition that is for the daytime is relatively easier compared to nighttime compositions. The reason for that is because every image that you grab from the Internet will be shot in daytime, and you're basically taking them, putting them in Photoshop. And just changing their color and lighting drastically. Here, we didn't really do that because the base image was shot in daytime, and so was the others. So in the next lesson, we're going to learn about how to take day images and combine them into a night composition. 91. Composition Practice Exercise 2 Pt. 1: So let's start with our second composition which takes place underwater. We're going to begin by dragging in all of our images. But before that, I want to isolate the subject. Command or Control J, call it subject, and just grab it like so. Once we have that, I'm going to use my selection here to just get rid of any areas that I don't need. Let's zoom right in and bring areas that we do need. Then go to Select and Mask, refine hair, so we can get those smaller areas. And let's check this. They contaminate colors. So that's going to give me the little bits of hair and just any additional areas. Click Okay, new layer with layer mask, go to call this subject and use the layer below it to grab the cave opening. So I'm going to grab this guy, hold down shift to add to a selection, and then make my mask. So now we have the cave opening and the subject. I'm just going to go in and bring out the extra layers, the extra areas down below. With the white brush. The most important part is this area, the floor isn't that important because the magic is going to take place up here. So once I have these three layers separated, I can begin bringing in the additional images. So in your resource pack, we got the stuff from the previous lesson, but there are some images for whales. So let's bring the first one in, scale it up to what we think is a good size. Click Okay, Rename, select your subject. Should be pretty easy. Make your mask. Hide whale, get our next image, which is the moon. Gonna use the same method. And I got some additional overlays that we're going to put on near the end of the lesson. So these two are the overlays. We also got this guy. I have another whale image. Let's see which one we brought in. So there are two whale images. This is the second one. The whale is kind of going the other way. You could add as many whales as you want. You can even go for, like, dolphins or any underwater creature. Wheel two. We also have this image, drag it in, adjust the size, and I want this to go in between the boulders here. So there's my subject, which is the coral reef. I put it here, name it. Now I got all of these isolated things. So what we're going to do is to place them where we think would be right. At this stage, if you want to edit your original image, you should do it now and then make these selections from it. I was okay with this image because I got enough contrast, and the sky is pretty good. But if you want to do more, you should do it now. Later on, we are going to add some blue and some darkness to it. But I just mean in terms of other things. The whole thing is going to end up being a little blue. All right, bring back the layers. Let's start putting them in where they belong. I'm going to start with the moon, lower the size, of course, and perhaps put it here. Click Okay. I'm going to have the first wheel, the second one, go behind the subject, and the sky to kind of first of all, flip the other way and go in, like, so we can see the nose. And I guess I can move the moon somewhere here. There's the why the coral reef. I think I'll put it behind this cave opening. We would have to make another one here. So let's do that. Grab the base or layer zero and grab this darker section. Make a new layer and put this guy behind it. Just put it in nicely, have it touch the ground, and this is going to be the placement of my image. Have both of the whales be underneath your subject layer because we're kind of making it look like she's about to enter this magical world. So subject layer is really important. Whales will make them yellow. The moon is on its own, and we got these extra bits for the original layer. This sky's the coral reef. Let's make the rest orange. Okay, so I got the placements, grab both of your whale layers and the moon, bring them below cave opening because that's where they're supposed to go. Now, behind this, you can decide where you want the final placements to be. So I want the eye to be here and kind of have this I meet our subject. So maybe they had eye contact, and I'm going to have the moon go below one of these whales. Like so. Alright, so that's looking good. I am also going to add, like a tail like just flying around. I'm going to call it whale tail. Underneath cave opening. Kind of have it there. So once I got this, we can now move on to the brightness of each of these elements. Let me just name this one rock section. On top of all of your layers, make a new black and white adjustment, and we can immediately see what's too bright and what's too dark. So we're going to first apply all of these selections, rasterize your layers. Because we definitely don't want the backgrounds from the original images. Just like last lesson, leave the selections from the original image B, we do want a mask. But for the rest, we can apply layer mask. So all the whale layers, the moon, the coral reef, they should all not have a mask. Next, we're going to grab them all one by one, of course, and convert them into a smart object. I All right. So now everything is a smart object. I'm going to make them all green just to show that these are the layers that are not part of our original base image. There's no need to work with the moon for now because it's pretty standard, but we're going to start with what's brighter, and that is this guy. So before I begin, I'm going to go into blending options. Let's first zoom in so I can see it. And you can see I'm getting a bit of white around the edges. So go right here currently or alter option and just remove that. Once we're done, we can click Okay, and I'm going to hit Command or Control L to get my levels. It's going to open up here because this is a smart object. So it's way too bright. Let's lower the brightness here, increase the contrast. It's in the dark cave, so it should look the part. And, of course, add to the shadows. So it's almost hard to see it, but that's kind of the point. So if I turn it off, you can see that it's starting to look like it's a part of this dark thing. I didn't put it here because it would have been black, but when you put it a step forward, it should look a little bit brighter, and then here should be the brightest part. Turn this back on. Later, I do have to make a mask and get rid of this. I should have done that before, but I'll do that before moving on to the next lesson. There is the reef. Let's get the first wheel. Command L, increase the contrast. Next wheel, Commandel. Let's see which one it is. Increase the contrast. It's a bit too dark. I'm going to flatten it out a bit and reduce the highlights. Do the same thing with the final wheel, and then we can move on. And I think for the moon, we can add a little bit of contrast just to have it poke out so that we see the details. All right, so now as a black and white image, things are looking good. Once I hide black and white, we now have the problem of different colors. Delete this, and we're going to work with hue and saturation. So start with this again, command or Control. Let's desaturate it, darken it up, and just let it be. We're desaturating it because there isn't much light to show that color. Next one is whale tail, command or control, saturate it, and darken up the lightness. We two, same thing. Let's see which one it is. Increase the saturation, and I kind of want them to look like they're in one step. So I need to follow this blue and make it my guide. It could, of course, make them look like this sky or the sky. So I'm just going to grab the hue slider and add some blue. Increase the saturation, decrease the brightness, the lightness. So now it's somewhat closer. Click Okay. Third wheel. Let's increase that and add some blue to it. I'm gonna go back here. I'm going to go with this blue, purplish color. Alright. Looking good so far, let's grab the moon, and there isn't much color in it, but I do want to kind of colorize it. So click this and give it like a bright blue color. Then click. Now let's go to our subject. Before I make it into a Smart Object, check everything. Make sure I don't get any weird bits, which I am getting right now. Before I convert it, I'm going to clean this up with my mask. And repeat that process for the cave opening layer, which currently has this ho going around it. So I'm going to do that for all of these layers. And by all, I just mean the rocks, the subject, and this guy. And then in the next lesson, we're going to begin adding shadows and working with the colors a bit more. 92. Composition Practice Exercise 2 Pt. 2: So I cleaned up my selections, and currently this is what we have going on. We have our subject layer, the rock section, the coral reef, the cave opening, the tail of the whale, the other two whales, and finally, the moon in the background. So let's go ahead and place that blue hue that we talked about, and using that, I'm going to change up a few things. So go on that solid color, get a nice blue color. And change the blend mode. I'm going to go with soft light for now later, I will change it. So now with this, I can see that there's a blue on everything except for the sky. So the sky is a part of our base layer, and I'm just going to make a human saturation adjustment above it, clip it, use this sky to add some blue. You can even colorize it so that it looks apart. The add some saturation. Let's make it a little darker. Like so, because we're saying that past this point, it's all water, so it needs to look blue and dark. So for the darkness, I'm going to use A levels adjustment. At some contrast in there, and already we can see how the moon is shining through. And the whales are still visible. So that's important. In this example, we have a lot more overlays than we did in the first one. If you open your resource bag, you can see that I left a bunch of things that are not exactly objects. This is the first thing that I have. It's basically an underwater image. And I want you guys to just place this like this. Bring this above your whales, but below the cave opening. Now simply change the blend mode. So what this is going to do is add like a ray coming from above, which should be the water surface coming down and darkening as we go here. So that's exactly what we need. Now we got this glow. And it's looking good. The second overlay is this motion blur effect, which I'm just adding to add a magical touch. Put this below cave opening and change the blend mode to screen. So once I have this, I'm going to change the blending options. I don't want it to go over my whales, so let's increase the darker area and get an effect like this. So this looks more magical, which is the whole point of this composition. I want to make it look like she has just entered or is about to enter a magical underwater world. So that's how our water is looking like. Let's add some shadows on top of the whales as they are kind of stacked on top of each other. So not the first whale. Grab the second whale, new layer, clip it, get your black brush, soft round. And we're just going to draw on the areas where the top whale is. So it's going to be something like this and then fade it out near this area. So you're kind of going like this, not in a straight line. Add some more here, you can also do clicks. So there's a gradual decrease of shadows. Change the blend mode to multiply and reduce the opacity. Repeat the same thing with the other whale, which is up here, clip it, and we all need it on this area. So we got the shadows. Multi go to add some shadow right where the whale is going. So that's our second whale, and we would have to do it on the background layer. To make a layer black and just follow where the whale is. Let's delete that. This is the ground and I can't have a circle like this. Click and track first right, click, click and drag this top area to get this squished up circle effect. This is great for floors because we can't really have something circle like. All right. Let's do that, multiply, multiply and reduce the opacity. Alright. Let's bring this back to a regular circle. Okay, so our subject needs to be dark, too, because the light source is here and she's standing right against it. So head up to your subject copy layer. Just call it subject. And I'm going to convert this into a Smart Object. Hit Command or Control L, first we're going to add some contrast, and then we're going to just darken it. Something like that. Next, we're going to add a glowing blue effect on this area and right underneath her. Get a new layer and sample one of the bright parts from the moon or the water. Going to grab this part and using a really soft brush, we're going to add a glow on the surrounding areas. I think that's a bit too light, let's grab this guy, a bigger brush, and then just start drawing on areas where there would be a glue on the rocks. So not here, but bit on the floor, bit on these walls, and then we can change the blend mode to overlay. I'm going to make a selection of cave opening, commander control, and make a mask on this new layer, so it doesn't go on top of my wheels. And now on top of this, I want to add something that's going to glue to grab a brighter one and just go over the edges. I go in here, select a mask, and I think we need to kind of contract it or shift the edge little inside. I'm going to go back to my subject layer, and I think we need to make her black and white. Let's go to adjustments, get black and white. Then tint her into a bluish color. Reduce the saturation. Now just looking more the part. On the cave opening layer, we do have a little problem. I'm just going to grab my brush with a black, just black and soft round. I'm going to go over the areas where there is the water. It's kind of glowing. Just draw over it like that. It's starting to come together. Let's add our next items. Before I do that, I do want the moon to glow. It's looking a bit normal right now. Duplicate it, go to filter, go to Gagen blur and increase it to this amount. 94, bring it underneath the original and then change the blend mode to screen. Repeat with the original moon. I'm just going to make one more duplicate where it is overlay. So it's looking more like a moon, and I'm going to call this moon main moon blur two. And moon blur one, which we need to add to blur. So go into Gagen blur and add a nice amount until you can see it glow. You can go for more or less, and that's going to give us a glowing effect. Let's group all of these moon layers, Command Gene. Now, underneath all of these moons, I'm going to make a regular layer. Okay, my brush like that nice and big. Grab, this whitish area from the moon and make one click. So that's going to give it this glowy effect, and I'm just going to change the plant mode one more time. Let's grab all the wheels. I'm just grouping things so that my layer panel looks more organized. And we have the subject. This is the rock section. I call it cave, the overlays and the background. Alright, so now we want to create some sort of dimension within our work. That means that we need to blur some things out and leave other things normal. 93. Composition Practice Exercise 2 Pt. 3: So let's start with the whales because the moon is already blurred out. Head over to the group. We got the tail, which I want to be the furthest away. The closest thing to the subject is this one. So the rest needs to be blurred out. Let's start with that. God Caden blur. Lyre it out like that. 9.1 is good. Will number one, L that out as well, a little less than the first one because we're getting closer to the camera. So maybe 4.8, 4.4. Let me just change the name real quick. So whale one is the one that's closest to us. The rest of the wheels are further away. Now we're going to just blur out the coral reef, which is not even in focus. It's just there to bring the pieces together. It's an arcave layer. Let's grab it. Filter blur, Goshen blur. So I'm going to have one of them here, and I want to add another coral reef to kind of be the closest to us as the audience. So it's something we did with the flower in the previous example. I like to do this because it gives me it kind of shows that this whole thing just happened and I didn't make it in Photoshop. Let's get eraser and fix this up. So let me show you what I mean, duplicate it. Commander Control Let's flip it so it looks a bit different. Scale it up to add some dimension to this whole thing. So it doesn't have to be here, but somewhere like this where it goes slightly over your new items and bring this above subject. And that's what it looks like. So it kind of creates a parallax effect, which I recommend that you guys do with something that is relevant to the setting. So here it's this coral reef. In the previous example, it was, like, a piece of plant. So let's increase the blur for this one as it's further away, something like this. Now let's add the rest of our overlays, and then we're going to be one step closer to finishing this look. We have these two, which I actually brought so I can create a portal here, a portal effect, make it look like she's about to enter this water world. I am implying that this area in the cave is completely dry, but in that area, it's going to be wet and she needs to enter the portal in order for that to happen. Let's grab these two layers, put them right above. Make sure it covers decave opening, repeat with the other one. Let's change the blend mode of this one, and of course, the other one. All right, so let's bring these below the cave layer and adjust their opacity. So I think the second one, I'm going to leave it full. The first one is a bit too intense. Let's try a different blend mode. I color burn is nice. Lower the opacity as well. Try to, like, if you see that it's blocking your whale's eye, we can kind of move it around. Let's flip it so the intense part is on the other side. Things are looking good. Let's blur both of them out. I go to bring this up to 37%. Now, the moon is looking a bit faded. I want a little bit more of that definition on there. So duplicate it and simply change the blend mode. And there we go. If it's too much, we can just reduce the opacity. I'm just trying to get these dark bits in there. I think the gaussian blur is too much here. Let's reduce it. And do that. Alright. Everything is coming together. So in the next lesson, we're going to just finish this off with some additional blurring and color adjustments. I'll see you guys in the next lesson. 94. Composition Practice Exercise 2 Pt. 4: Let's finish our composition. This is where we left off. Now I'm going to add some glow on top of the whales because the moon is right there. So head down to your whales group. Start with your whale tail. Clip it onto that layer. Make a new layer, clip it to your tail, and get a bright blue which I currently had on my brush. But if you're not seeing it, you can go in your swatches and find them. This is how you can get your swatches panel. Now, using the moon as your light source, we're going to make a few clicks on where the moon would reach the Who. So it would be like this for this tail, change the blend mode to screen. For whale number two, it's going to be a little bit around the edges. Make sure to change the bond modes. And everything looks pretty nice. Now, the whales eyes are kind of getting mixed up in this whole thing. So what I'm going to do is to make a adjustment above every layer in the whales group. Brightness and contrast, increase the brightness quite a bit until you're seeing the eyes. Next, we're going to invert the mask, Commander control I, Zoom right in with your white brush, sof round. Make it smaller X to switch your colors and bring some of that brightness onto your subjects I, which is a whale in this case. Now the eyes are more visible. This is before, this is after. Let's step click and feather the edges of the mask so that it looks more natural. Alright. I'm gonna go onto my moon de multiply layer, and feather it out or blur it out just lightly. So try to make it relevant to the whales. It's behind all of them, so it needs to be, like, pretty blurred. Like, so I'm going to go back to one of my overlays. I think something is going to go to this overlay, the ray, the underwater one, which we added in the beginning, lower the opacity. It was a bit much. Now go to your subject layer. Let me actually group all of these and call them overlays. Make overlays red, the cave layers yellow, and the whales green. We also got the moon here. Make that blue, and the background is gray. Now, grab your subject, and behind it or underneath it, we want to add the same blue color. So get a nice brush, soft round. And actually, we need to clip it to clip it onto your subject and go lightly around the edges of your subject. Change the blend mode to color dodge, so we get this blue effect and start over with a smaller brush. Get a smaller brush and gently go around the edges. We can even lower the flow. So use the edge of your brush to add some brightness. Because she's standing right in front of the light source, she needs to get these glowing edge effects all over. Once you're done, blur this out, and then lower the opacity. So it's just a slight color effect on the edge. Next head into the cave layer, cave opening. And what I'm going to do is to remove more from this mask but with a low flow brush. So bring down your flow, get the color black, a bigger soft round brush, and go on the edges really gently. Just so that things look more blended. So the rock here was kind of removed. Let's add the rock back. All right. Looking good. On top of the cave opening, we're also going to add a solid color, colored blue, and just change the blend mode to color. Now I'm going to go onto this color. That will click and copy the hex code. Go in here, paste it, then lower the opacity. So we get this blue color all over our work that go on decoral reef layers, and we're going to just get rid of their color, Command Shift, Control Shift you. Let's see where the other guy is things in here. Yep. Shift command you, get rid of that color, and everything is starting to look good. Gonna go in here. I think our second whale has a bit too much blurring. We can barely see it. Scrap it right here. Dabo Click and Gaussian blur. This is why we make them into Smart Objects. Lower the radius until it's slightly blurred out compared to this one, but the other guy is completely out of the way. So maybe these two are looking at our subject. Click Okay. And the overlays are looking a bit weird. Let's change your position. Do something like that. Use the blending F options. Let's go on here and kind of reduce it from the wheels because I don't want them to get mixed in into this whole thing. And the brightness, we can do the same. All right. Looking better, and perhaps I can move the position, as well. Let's blur out our subject. Alright, and blur out the cave opening. Let's make it into a smart object. I'm going to hit Commander control on the mask. Smart Object, and then make that mask again. All right. Now on the Smart Object, we're going to blur it out just as we did with all the other layers. Five pixels. Click Okay. I think our subject is way too blurry. I'm just going to hide my subject and all the stuff that's going above this area, and I'm going to make a selection, a tide cave, above overlays, Command Option Shift E, Control Alt Shift E. So that's going to make a selection of everything below the following items. And on this, I want to add a slight ripple effect. We can actually go to Filter Gallery, and there's a lot of cool items here. Zoom out to look at the main area. Let's go to Ocean Ripple inside distort. It's going to give us this, increase the ripple size, and reduce the magnitude. So that's going to give us a watery look. You can even try a smaller size. There's also glass. Let's try that and see which one looks better. And just think of water when you do this. Something you have to eyeball. I'm going to go with the current settings, then click Okay. So now it's looking more water like. If it's too much, we can just reduce the opacity to get like a softer ripple effect. And now it looks like everything is underwater. Gonna call this layer ripple effect. Okay, so the final thing that we need to do is to just blur everything in one rate and just choose the focus of this whole thing. So we're going to merge everything with Command Option Shift E, control Alt Shift E, all at the same time. And I'm going to call this final merge. So on the final merge, we're going to go to Filter Blur, Blur Gallery and get iris blur. It's going to give us this ball thing. I want it to be on this whale's eye. I adjusted everything for that purpose. Increase the edges here and then work with this middle section. Now let's blur it out so you can see everything is blurry up until this point. Okay. We also have some bouquet options. I'm not going to add that because we already added a lot of glue. Click Okay. And when I zoom in, you can see the difference. And now I can kind of edit my image as I like with the curves and levels, and anything else. So just think of this as a regular image. You can also deal with the amount of blue and the hue that the blue has. I will go for a cyan style, increase the opacity, and just darken it All right. That's pretty good for me. Gonna close this, and there we have it. We got this underwater world effect, and this was different in terms of lighting, but we were able to do it anyway. Now, these two examples were rather easy. We just had to blend things in. We had a bunch of images, added some overlays, some masking, and we got the following results. In the next lesson, I'm going to make things a bit harder, but I'm sure you guys can follow along. And in the end, we're all going to have this really awesome composition that not only has different images, masking, blending and coloring, but it has some additional distortion effects and texture effects that you can only do inside Photoshop. So we're going to take it a step further and create something awesome? Let's move on to the next lesson. 95. Complex Practice Pt. 1: So we're going to begin with our complex composition. I started off with a plank document, and I'm going to bring things in one by one. So these are the things that we have in our resource pack. This image is going to be your background, so let's bring it in and place it. I made my document 1920 by 1080, go to adjust it with the crop tool. So this right here is our background. We can get rid of the color underneath. And we have our subject here. So I want to make my subject into a mountain, and her hair is going to be the grass, her body will be the mountain. And from her eyes, I'm going to make, like, waterfalls come out. So she is a part of this nature scene. I'm going to call this subject, and the first thing we want to do is to mask out our subject. Grab your selection tool of choice, select subject, select and mask, refine hair. Once we're done, click Okay, and then make your mask. I'm going to duplicate this I'm going to delete this layer mask and just get the hair this time. Decontaminate colors. Let's go into new layer with layer mask. Click Okay. So this is the hair right now and we can get rid of this. So when you put them together, nothing should look different, we're just getting this extra bits for the hair. Next, let's bring our other subject, which is like an explorer who came across this mountain. Scale him up. Put the right above, subject to. Again select subject. It should be pretty easy. Mask it out and put him where you want it to go. We also have this bush image. I'm going to select this object too, but this time with the Quick Selection tool. So I don't want the ground or the sky. I am going to get rid of the darker green bits right here. Once we're done, we can mask this, and this is going to be the hair. I call it grass hair for now and hide it. I'm going to make a grass brush for this lesson. I got this image right here. Let's hide it all. I meant to leave, actually. And I'm going to rotate it. I hit every other layer, rotate it, make a decent size, then click Okay. I'm gonna use the magic eraser tool to get rid of the background. Grab your Marquee tool. And we're going to make a new brush. Let's call it leaf. All right, so there's my leaf S command, and it's going to look like that. So I will be using this thing to bring in more of my grass later on, of course. So let's delete this. And I do want to make a different preset for this. So let's actually go to brush settings, and we're going to, first of all, increase the spacing and then we're going to give it a slight angle. Shape Dynamics. Go and add some jitter, angle jitter and roundness jitter. So things should be different when we're writing this. And of course, size, so I can get different sizes whenever I draw. Increase scatter just slightly, and we can add two counts to this. And now when I draw something, we get like a green here. I'm going to get something more natural. And when the size is smaller, you can see how it blends in into this whole thing. Alright, so I got my custom brush, closes off, and we can begin working with these selections. So bring your background layer, and I want my subject to go behind this boulder. Once we're done, we're going to make a mask. I'm going to call this front rock. Front rocks, place this above your subject, and then bring them back. Let's grab our subject and place it somewhere. Somewhere like that, bring our second subject and make sure that he's looking in her direction. Alright. Looking good. Let's check down here and I'm going to add this section to this mask. So just use your brush with a medium hardness. And just go over that area. There we go. And then we got our grasp. So our selections are like this. We do have another selection for a waterfall. I have two images here. We're going to test it out and see which one works. For starters, I'm going to grab this one, use my selection tool to get the waterfall. The bottom is not that important. We're going to distort it. The top is where you need to pay attention. To call it waterfall. There we go. So these are my selections. Right now, it's looking a bit too crazy, but we're going to just make this work with some advanced techniques. So let's start with our subject, hide everything. And there we have her. First, I want you guys to apply the subject layer mask. Rasterize it, apply layer mask. Now I'm going to convert this into a smart object. So let's hide the hair for now, and we're going to begin by heading over into camera raw. Command Shift A, all at the same time until you see this panel. So we're going to just completely get rid of the colors that she has, make it black and white, increase the contrast, then head down to color grading and kind of make her brown. So have a mountain in mind and try to get her to look the same way. So the hair, we're actually going to use something else, but for now, just leave it to be like a little brown. Midtones, we're going to make her give her, like, a brownish color and the same thing for highlights. All right. Once we're done, we're going to head down here and click Okay. That's what it looks like. Her hair is looking normal right now, but we're going to just add a hue and saturation effect. So go on your image, command you, and we're going to colorize the hair into something greenish. Let's darken it up, add some saturation. That way, the hair can blend in with this. I think I'm going to read you that and try to get it to be something like this grass. Colorize like this is good. There we go. So this is better. Let's command or Control T on the grass and kind of flip it cut and kind of flip it like this. Put it on the hair. So what we're going to do is to just grab the grass hair, and clip it onto this hair. So it's going to look like this. Right now it's looking way too perfect. So let's head over to liquefy, which is our first distortion tool. Let me first apply this layer mask. Then convert it into a smart object. Now we can head over to liquefy, show backdrop, use hair, and put it behind. Grab your push brush and kind of push this into the hair. So not all the way into the corners. You just want to create some distortion with all that grass. Something like this. Click Okay once you're done, and now it's not looking as perfect. Clip it on, and there we go. Now we're going to go into here, the mask, grab our white brush, and use that grass brush that we just made to get more of this grass in, especially near the corners. Things are not looking as perfect. You get your white brush. And start introducing that grass. The smaller the size, the better, you can see that the grass in the original image is not exactly perfect. So try to use that to go around. Go over the edges, so I think we can start from here and just draw her hair. Have it go above her shirt as well, which will soon be the mountain. And of course, her forehead. I do want to create more dimension in the hair. We're going to make a new layer above grass hair, gets a dark green from here and go over the edges one more time. Then we can change the blend mode with overlay. Do this again with the new blend mode. Let's see. Around the edges I want some darkness. No. Let's go for a smaller brush and try to get this to be pretty natural. The smaller the brush, the better. Next, we're going to go in with another layer, but with a brighter color. Change the blend mode to screen and try to add some highlights in there. Just follow the highlights from the original image, go over it a bunch of times. And this way, we're adding some dimension to this grass hair thing so that it's not that flat. I'm going to go back in here and introduce some darkness around this area. Some fine details that will bring the whole thing together. You go in with this darker brush on the multiply layer to add some depth in there. Alright. Now grab both of the layers and work with their opacity. So this was before, this is after. We made it more fluffy, which should be the case for hair, and we kind of made it go over the edges, which did not happen with the original selection. Alright, now let's group all of these, call it hair. Later, we will come back for the coloring and the lightness. 96. Complex Practice Pt. 2: Now we're going to head over to our subject and work with the way she looks. Now let's go over here on top of subject and get hue and saturation. Clip it, colorize her, and get a brownish color. Like, so it's going to take away that red, which is perfect. Now, on top of subject, we're going to add a dirt overlay, which I just had here. So flip it over, do that. Clip it to your subject and change the blind mode. So for now, we're going to go with multiply. Later, we can work with the lightness. So she shouldn't have that much details because she's a piece of earth right now. She's a mountain. So we're kind of getting rid of all the clothing detail, her neck, and her face. The face, we want to keep it a bit because we're going to add the waterfall, but try to flatten out anything down here. Now, to make this kind of molded onto her face, we're going to once again use liquefy. Use your subject layer behind, lower the opacity, zoom right in and get your push brush. Lower the sides a bit and push this in on her body. Especially when there's, like, a fold. We want to push everything in to recreate that curve. We do not want anything to look flat in this composition. Now, the face is pretty important. Let's zoom right in. Grab the brush. And again, if there's a curve like the edge here, we need to push things in. Follow the subject's natural contour and fix things up. So like here where there's a dent, you want to kind of follow that curve. Once we're done, click Okay. And now it's kind of molded into her face. Head over to blending options, and we're going to fix things up a bit. So on her highlights, we want to remove this just slightly. So the dark areas are what we need. I'm also going to make a levels adjustment on this. So Command L, increase the contrast and the darkness so we can get a deeper cut on her face. Then click Okay. All right, so we have this. Now we're going to add even more texture onto her face with filter gallery. Head over to subject, filter, filter gallery. We went here in the previous lesson. We had the water effects going on. But now, let me zoom in here. Now I want something different. So go down here in texture and find this one. This is going to give it that earthy look, reduce the crack spacing and the depth. You can make it a bit brighter, add more to the spacing, it looks like her face is cracked. Maybe darken up the cracks, looking good. If you want it to be deeper, you can go further like that. That's exactly what I want. I have crack depth at 1078 for spacing, zero for brightness. If you make it bright, it's going to look like that. Going to go with I think five, so some of them can be slightly brighter. Click Okay. And now she's looking more mountain like. This is before, this is after. She is basically a stone. Gonna go in here one more time, filter gallery. Zoom right in. And we have other things here. So you can add some grain. Let's go with some film grain. She's going to give us these little dots. You can increase it or decrease it however much you like. Then click Okay. Alright, so we're gonna stop here for this lesson when I bring back my other layers, you can see how she's starting to look like the stones. Of course, it is not finished, and we have a lot more to do. So we're going to continue this indi next lesson. 97. Complex Practice Pt. 3: Putting her next to the mountains, I can see that she got way too many highlights going on. So hit Command L and bring those down. So she looks flatter, and we're also going to increase the darkness of her shadows, get some contrast in there, and there we go. So this is for the subject, for the overall brightness, we haven't gotten there yet, so don't worry if the lighting is not the same. So now let's go in with new layers on the subject. So clip it, bring it above your texture, and using the colored black, we're going to create some shadows on her head. So soft round. Color black. And make sure this is underneath hair and go over the edges slightly. Let's change to multiply and reduce the opacity. So I can get some shadows on these overlapping leaves. Basically, we need to go around the whole thing or any part that's going on her, like soap. Lower that opacity. And also since this guy is kind of going over, we need to add a slight shadow here as well. Looking good. Now let's add some highlights. So the direction of light seems to be from here behind the cameraman. So we're going to follow that in the best way that we can get our white brush, soft round, screen, low flow, and just go over her natural highlights. So you can see that's her forehead. I'm going to switch to soft light. Her forehead, her cheek, her shoulder a bit. And we can add some here as well because that's where the light is going. Once we're done, bring on and blur this out. Filter blur, Causion blur. There's no need to lower the opacity, now she's looking less flat and that's only because of the sunlight that's coming directly at her. Apart from these leaf adjustments that we did, we're also going to add some dark sun lights. Make your layer. G call this shadows. This is different from these guys. Shadows, color black, and like we said, the light is coming here, so there should be some darkness around that area. Let's go to overlay and to lower the opacity. Go around the edges of her hair. Don't worry about the outside. Once we're done, command or control on the hair and just make a mask so it doesn't go on the sky. Repeat this, hit Command J with the highlights. But this time, we're going to grab the eraser and get the color white. That's going to go on where the light is coming. So it should be around here, a little bit here and something like this. Let's try soft light for this and again, blend this out. There we go. So before shadows and highlights, after, we're adding some dimension to this whole thing. Alright, so we have the hair, we have the body. I'm just going to group anything related to subject. And now it's time to add the waterfall that's going to fall from her eye. All right, so underneath all of this, I'm going to make a duplicate of subject, colored eyelids. On eyelids, we're just going to grab the eyelids. So grab your selection tool, get them right in, hold down shift to add the other eye too. Then we're gonna hit Q and just get her eyelashes, nothing underneath. Okay, your brush. G underneath, like that. Bring back any areas that is necessary. I am also going to get the nose, the bridge of her nose so that the waterfall on the other side can go behind the nose. So just grab her nose completely, but nothing past this point. Trying to figure out where her nose ends. There you go. And here, and we can curve it in like. All right, at Q, there's the notes. Command or Control J. Bring this above, click these back to your layer. I'm also going to copy all of these J and clip it to this new eye layer. So everything should look normal when you take a look back. So we had subject the overlay, shadows and highlights and human saturation. These are all for our subject layer. We made a duplicate of this and of all these guys and placed it here. So eyelids, duplicate of overlay, shadows, highlights, and human saturation. So my subject is looking pretty normal, but we have separated this area from the bottom. Now I have a mask that only shows the eyelids. Let's bring the waterfall and place it below this mask. Now it's going to go underneath. We need some cleaning up, of course. The first thing I want to do is to bring all of these eyelid layers in a different group, group them together, bring it above hair. Let's call it waterfall. You can bring this above or below hair. You can decide I think above is going to look better. We could add some additional leaves going through it, but the rest is okay. So let's first duplicate our waterfall. Go call this waterfall right. Duplicate waterfall left. So pull the left one to the left side. This is why we had the nose going on, and we're going to hit. Okay. Perhaps you can flip it so it looks a bit different. Let's start with right. You can see that it's not exactly coming from her eyes. So what we need to do is to head down to liquefy. So before liquefy, we need to rasteurize these, both of them, and apply the layer mask. Now grabbing waterfall right, we're going to head over to liquefy. Let's first convert this to a Smart Object, so I can always come back. Alright, so first of all, we are going to zoom right into her eyeball. I'm using all layers as my backdrop, and we're going to begin pushing the inside. I think we should just use subject for this. There we go. Focus on her eyelid, remember the mask that you made and make it kind of flow from her eyes. I'm going to push it past her eyelids so I can get a smoother mask. I'd C, alter option to zoom out, space bar to move the canvas. Push the water in the same direction so that it looks like a real waterfall. Alright. Click Okay once you're done, and there we go. Now hit Command or Control T, right, click, Distort and then click and drag. Go all the way past this rock because she is all the way in the back. Click Okay, and there's my waterfall. It's underneath the eyelid. If you need to do some cleaning up, now's the time to do it. Go to move it up, play a few pixels, so it reaches this side. If needed, you can rotate it. I'm going to rotate it a bit so that it's relevant to gravity, there we go. We're going to grab waterfall left and just do this from the beginning. I'm going to start by rotating it slightly. Click Okay. Let's hide waterfall right. Smart Object and start with liquefy. The reason why we can't just duplicate it is because the liquefy is for this direction, and if we did duplicate it and put it there, it's going to get pulled to that same direction. So that's why we didn't do that. I'd see zoom right in and push it. Now, this waterfall is going to go past her neck and body, so leave a little room because we're going to mask it out. It's going to go behind her nose and then behind her shoulder and neck. When you reach here, make sure to push it past her nose. So push it in past everything we made a mask here. The water essentially needs to get pushed from this side going straight down, so it shouldn't go above her lip. It should slide to the end of her face. Try and do that here. Pass the nose. Just mind the start because that needs to look normal. And we're going to make our mask. Go down to subject Command or Control and you're going to get the outline of your subject's face. I got my subjects face. Let's make a mask. It's going to go in like that. Commander control, and then using the white brush, we're going to bring back the area that was on her eyes. Use a harder round to fix up this area. Okay. Now I'm going to have to rasterize this again, grab the Marquee tool, grab the bottom section. Commander Control Let's actually grab a bigger piece from this point. Commander Control and distort it all the way to the ground. Click Okay. So now we got the waterfalls going. They're falling right in, and it's starting to look pretty good. I go on waterfall left, and I'm going to add a levels adjustment, clip it, of course, increase the contrast, and then using the mask, we're going to just add the levels onto the area behind her. So remove it from this top area and just leave it there. Let's go back and make it even darker because it's in her shadows. So we're going to actually grab our waterfall layer again. Let me delete this. Bring the layer above, scale it so that it's covering both of the eyes. Like so. Next, we're going to hit alter uption mask and introduce these areas on the edge using the white brush. So go over your brushes and see which one looks more like kind of like a splattery effect. I think this is nice or this one. Gonna go with this. So using this brush, what I'm going to do is to bring in this waterfall. And now using the white brush and this new brush, go to introduce some of the areas. So it's a bit too big. Let's lower the brush and introduce some jitter options. Size jitter, scattering, and it has all the other settings. So once I have my brush, I'm actually going to delete this, duplicate my waterfall right, and just remove this liquefy effect. Delete Smart filter, alter uption, make a mask, and introduce the areas using this brush. Now, on top of this, I'm going to go with a regular brush. I mean, regular colors. So no more masking, a regular layer, Alter rupion on this brighter area, and I'm just going to go lightly around the edges, just to create that water splatter effect, which happens in this occasion. I think the count is too much. Let's lower it to one and get a softer spatter look. We can also go above the waterfall itself. So it just comes together. All right. Once we have this, I'm going to mask out the areas that goes on her lips and on her body. With about maybe 90% hardness, And there's the waterfall. So we're basically done with the subject for now. All that's left is some blurring, some color adjustments, and then we can continue with the rest of the items inside this composition. So I will see you guys in the next part. 98. Complex Practice Pt. 4: Et's bring in the rest of our subjects, which is the subject number two. I also brought in some overlays in your resource bag. Just put it right there, and this will just help make the whole thing look grand and enormous. So make this big like that. We're going to get rid of the color. Let's rasterize this overlay. Command Shift, control hit Command L to just darken up the black bits. Increase the contrast, as well. Then click Okay. Bring this I'm going to call it fog, this fog layer above your mountain. So above your waterfall, then close it. Next, we're going to change the blend mode, and this is going to give me some fog. Go to put it in like that. I also got another image, which is already black and white. This way, I can choose which one looks better. So just flip that however you like, and change the blend mode. Something like that. Command or Control L to adjust the parts that you don't want. Once you're done, we can feather out the edges to make it more cloud like. Get a simple mask layer, a slight hardness, and just go around it to basically create the clouds in this area. Next, I'm going to grab this fog thing and put it behind our subject. So track it below, bring it back, and this just really helps make this mountain look huge and awesome. Kind of sandwich her between this cloud effect or in our case, fog, go on the fog layer and we can kind of work with the way it looks. Command or Control L, darken up the darks. Until we get a light effect. Let me hide this, and we can kind of leave it for blurring later on. So I got my clouds. It's looking good. Now let's work with the overall brightness of the entire thing. Before I do that, let's color code our layers. We got the waterfall eyes, green hair, and our stone subject. And, of course, this guy. So let's make our black and white adjustment right above and start working with the way it looks. So first of all, our subject is just way too dark. We can barely see him. So go on here, Command L, and just add some brightness on that guy. Just to the point where we can see him better. Next, I'm going to go to my background, Command or Control L and darken the whole thing so that the mountain can stand out. 62, repeat the same thing with front rocks because it's a part of this background. 0.62. Click Okay. And my subject is looking a bit too dark. So let's head down to subject, make a levels adjustment, clip it onto the mask and increase the darks. Do the same thing with the hair. I think the hair is good. The waterfall on the other hand is too bright. So go two levels, clip it, and just tone it down a bit. I'm going to add another effect for subject two. Let's get our second subject, maybe a brightness and contrast thing. Make him a bit flat and increase his brightness. Now, later on, he is going to be blurred out, so we're just trying to match the lighting for now. The clouds are definitely too bright. I'm going to convert this into a smart object. So Command L on your fog layer and reduce the brightness way down. I'm also going to add a weed on the edge here so you can kind of blend everything in. Go to grab that from the previous lesson. Just put it right above. FX. Get rid of the white. It's Tubight Command or Control L. Darken the whole thing. This is going to be blurred out, too. Alright, now hide this. Things are looking way better. Alright, now let's work with the coloring. 99. Complex Practice Pt. 5: Going to delete black and white and get started with adding human saturation sliders onto each of these elements. Starting with flour, it's a smart object, so command or control you. I'm going to follow the stuff that I see. It's clearly a sunny day and I'm seeing these orange yellow reflections on the rocks. So I want to make this the same color, a bit orangish, add some saturation, then click Okay. Next is our subject, which is looking really out of place. So let's increase the saturation. And reduce the lightness. Now, I can't really change the hue because it's going to disturb his skin color and everything else. Just have it look like this. Next is the front rocks, which we're not going to touch because it's a part of the original image. The fog is white. We can't do much about that. Then is the waterfall. I'm going to have to make a hue and saturation effect here, then clip it. I get to change the color of the water. I'm going to get the same color in the sky, increase the saturation, and work with the lightness. Now zoom right in on the hue and saturation mask. Grab your black brush and get rid of her eyelids. Also clip levels, kind of unclipped it. There we go. So the water is looking good. Now let's grab the hair. I'm going to make it more vibrant so that it fits nicely. Next onto the subject, we're going to add the same thing. Now, we did end up losing some of her color, mainly focus on saturation and reduce the lightness. Now, let's work on the blurring of each of these layers. Starting with flour, we already know that it should be pretty blurry. Let's first rasurize this layer or just convert it. Get our blur. And blur it out. Something like this, pretty blurred out. 26. Next, we have the subject, which should be less blurry. I'm going to convert it into a Smart Object one more time and blur it out. Something around here, 3.1. We got a front rocks, convert this again. And by the way, whenever we do this, the stuff that we had before will be inside this new layer. So if you double click, you can see I have my old settings, but it is inside a PSB window. So it works the same as the Smart Objects we worked with in the mockup blessons. All right, front rocks blur that. If this is 3.1, this needs to be different. However, I need to kind of create a gradual blurring effect. So we're going to head into Til shift, blur gallery, til shift, rotate it like this. Try to match this curve. So as you can see, it's pretty blurry here, gets less blurry as we go. Don't worry about this part because this layer is separated. To try to rotate it so the ends meet these two. And yeah, we're pretty good here. Click Okay. On top of this, I'm going to add another blur. Let's get Gaussian blur and blur it out super slightly. Maybe 3.2. So we can see that this is a human subject, but it's clearly not the focus of this whole composition. That's the point here. Next, we have the fog, this one, converted. And add a simple gaussian blur. This is the fog we're working with. You can zoom out here and see how it looks. 9.9 is good. These are the levels. Now, in the waterfall group, we do need to blur out the water because we have motion blur naturally. Therefore, what I'm going to do, these are not the waterfall layer, let's go down here. These guys are all waterfalls. We got the right copy, left, left copy, and the little sparks that we made. Let me see what this is. Yeah. I'm going to group these colored water. So we have an organized layout. So first of all, these little sparks need to be blurred out. Let's convert it. Get our simple Gaussian blur blur it. So about 0.9. Next, we're going to grab the waterfalls, these layers, and we're going to blur them too. I'm just going to convert them real quick all into Smart Objects. Remember that we can always dabble click and change the way they look. Do the same thing with waterfall, right, even if there's no mask on it. All right, with the waterfall, we want to do motion blur because it's moving, it's pouring down, and we just want to move the angle up to the direction of flow. That's like negative 90 in our case, work with the distance. So we should get a flat line coming down from her eyes. Of course, this is too much. I'm going to go with 48 and this is what it's doing before, after. Remember this 48 negative 90. Click Okay, repeat on Waterfall left, which we can do up here. It's going to open up the panel, same thing, 90, 48. But for this, we would have to flip it because it's coming in this direction. I'm going to go with 60, same distance, and now we just want to repeat with the little guys that were around. But a little less than the first one. So the first ones were 48 pixels. This one will be like 20. Same angle as the one below it. 60. Waterfall right copy is going to be negative 90 because that's what we have in waterfall right. But the distance is going to be 20. So now we have that water flow effect, which is necessary for waterfall. You can see if I hide these. I was looking as if the water was frozen in time, which did not make sense. Go on the levels which we use to darken up the edges, and I am going to introduce more of that effect. Bring this above. Let's delete the mask, make a new one, Commander control eye. Now at this effect, the soft round on the areas where her face is reduced to flow, go on this area and especially behind her body, a bit on the side, and just like that. Bring this above water and clip it so it doesn't go on the outside. As for this side, we can do a slight thing on the edges, like so. Alright. Now, go to her eye layer eyelids. And make a new layer below it. So it's going to be above levels, and I'm going to call this shadows. Black brush Zoom retin and still with a low flow, we're going to go on the edges here because her eyelids are going above this flowing water, so it needs to look the part. Do that and change the blend mode. Looking good. If there's any extra bits, just reduce it with the eraser. Now, underneath this water, we need to do the same thing and have it go on her skin. So I will just head into the water layer, water group and add a layer underneath the last waterfall, with the color black, same settings, low flu. I'm just going to go underneath the areas where the water is kind of falling off. So that's going to be her neck, her body, all the way down. Repeat on the other side, especially in this area. And have it go on the other side. All right. Now let's clip this. Let's bring it down, actually, and clip it onto the subject group. Change the blend mode. Let's go with overlay, and that's going to give us these shadowy effects. Lower the opacity. So we are one step closer to our finished product. In the next lesson, I'm going to finish this off so that we can finally get our composition. 100. Complex Practice Pt. 6: Et's head down to our fog, which is behind our subject. Blur it out using Gaussian blur. Next, blur out your background. Filter, blur gallery, tilt shift. Get this guy and put the point on your subject, rotate this. Again, don't worry about this area because it's on a separate layer. We're going to focus on this, so bring this guy down and increase the feathering. So what's going to happen here is that everything will be blurred onto this point that's close to the subject. G to increase this up and then click Okay. Alright. Let me just show you guys what my layer panel looks like. It's definitely crowded. But just to run down on what we're working with, we have our flower, the subject to front rocks, the front fog that's going above the subject, the waterfall group, which is for the waterfalls, the hair group, the subject, back fog, and, of course, the background. So this is all that's happening right now. Let me move these down a bit, fix them up. Now I'm going to kind of generalize my adjustments slowly. So our subject, the color is nice. I got the shadows on and everything. Now I want to work with it in one rate without having to go onto each group. Grab the subject waterfall and hair group with their clipped adjustments. Shift, group these. Call this subject. So if I hide this, anything related to that subject needs to be gone. So that's important. A mark this red. Now let's grab a overall curves adjustment, clip it on, and adjust the way she looks. So let's increase the brightness, add some contrast, and kind of bring her to life. On top of that, vibrans. Clip it, increase that as well. Alright. We got that going on. Grab your front rocks. On top of that, we're going to add a curves adjustment. Clip it. This is the front rocks. And before I do that, I want to grab subject two flower front rocks and group them together. Front items. Now we're going to add a curves adjustment on front items. So everything will be happening in one rate. Darken this up. Maybe add some brightness. All right. And lastly, we have the stuff in the back, which is just the background. So let's get a curves adjustment, Command M, and make everything a bit darker. All right. Now for this subject, I want to add a little shadow. Can't really see it. Change the color here, go to Subject two below it, make a new layer. Grab the color black, soft round, squeeze the thing, the brush, soft round and just create a shadow. Kind of guess where you would have to go. And then we're going to hit multiply, reduce the opacity, just to make the subject look like it belongs on this rock. Blow out your shadow to make it a bit softer. Repeat the same thing with the flour, pull this underneath flour, but above rocks and create a shadow. We're going to need a bigger brush. Create a shadow going around it. Alright. Now, the subject is looking a bit too vibrant. I'm going to do this on the layer. I'm going to reduce some of that vibrant. Let's see. Just a bit. And then I'm going to add a curves on the subject alone, just to add some shadows in there. Going to grab my fog layers, go back to their levels. They're still too bright. Let's increase the contrast, reduce the highlights, and to work with opacity as well. Trying to get it to be softer. The front fog is also a bit too bright, so let's increase the contrast and reduce that, too. All right. One last thing is to kind of add a blur from the bottom of the subject to the top. I'm going to convert this into a smart object. So when I dabble click, I still have my group. But on this subject, I'm going to add a blur gallery effect for tilt shift and put the main area on her head. The rest is going to be blurred, but in a gradual manner. So blurry, not blurry. Lift that up. Let's rotate it a bit, and now we got this effect. Click Okay. And now we're going to do some overall adjustments. Group everything. Grab all the layers, group final. On top of this, I can just blur and create different adjustments. So click and drag your rulers until it snaps to the center. If you're not seeing the rulers, good review, show Smart Guides. Have that turned on, and then you will get the same effect. Grab the Elliptical Marquee tool, place it in the center of your rulers, Alteruption, click and drag above, and draw your Viger effect. So we want the subject in the circle and a little bit of our other subject there too. Now get a levels adjustment, invert the mask, increase the contrast and double click on the mask to feather the edges. Something like that. Lower the opacity to get a softer look. That's what we did here. Next, I'm going to add curves adjustment to bring it all together. Maybe some color lookup. Let's try something magical, three strip. I like both. So let's do two strip and make another one for three strip. And then we're just going to reduce the opacity so we can get a mixture of both. I'm just going to head back here. I think my subject is two in focus. Let's try to blur him out a bit. 7.2 repeat with front rocks. Something like that. We also have this tilt shift effect, so be mindful of that. Rotate it and increase the amount. Click Okay. Now go down to your background. Go into Filter Gallery. I'm going to pull this down because I'm getting these sharp edges on the side of the mountain. Now, above your background layer, make a solid, your original layer, get your soft round brush and draw a soft shadow like that. Lower the opacity and blur it out like we've been doing. All right. Close this group. Next, I'm going to make a merged version. Command Option Shift E, Control Alt Shift E. This is merged. Let's add one final blur Iris Blur to just bring everything together. 15 is too much, so lower that amount until something natural. Make sure there's a lot of space between these two points so that whatever number you add happens gradually. Click Okay. Add another levels adjustment, increasing the contrast quite a bit in virtual mask and just go over areas where you think they could use more contrast. So maybe a bit on her hair, the back of her head next to the waterfall. Around this area. They get smaller. Her eyebrows, the front of her head, her lips, nose, bit on her eyelids, her chin, in the back of that waterfall. Let's get a bigger brush and go like on the edges here on the subject, on the mountain here, the mountains in the back, and a bit on the sky. So this is what it looked like without it, with it, reduce the opacity, just to give everything a bit of a contour. And there we have it. We made this complex mountain goddess effect using Photoshop and everything that we have learned so far in the lessons. This concludes the category. Let's move on to the next one where we talk about the things that you can do in Photoshop for photography purposes. 101. 3D Overview Pt. 1: We're going to dive into the three D world of Photoshop. There is so much with it, and you can create really awesome works without having to refer to a three D modeling program. So in today's lesson, we're going to just get an overview of how this workspace works and what we can do with it. But before I start, I do want to mention that Adobe is discontinuing the three D features in the latest versions. So I use Adobe Photoshop 2023. A and I have this version. So Adobe announced this a few years back and they don't have any plans to bring it back, but you could still use the features if you're using an older version of Photoshop. So the more updated your version is, the less of these three D features you will have. So if you use Photoshop 2020 0.2, you get to use the three D items to the full potential. If you don't know how to go back to a version, you just need to go into your creative cloud, go into Photoshop. Other versions and just install the 2020 0.2, which is right here. So it's the oldest one in this section. Now, if you do get an older one, you will not be getting the other AI tools that we went over in these lessons. So it's a decision that you would have to make. Of course, you can always switch back between versions. But if you plan on using Photoshop's new features for compositions and photography, then I would not recommend the 22.2 version because it doesn't have all these new things that we learned about. So I'm currently in this version. There are some stuff left from the three D workspace. I'm going to show you guys that. And if you guys wanted to use it full time, then you can just switch to that version yourself. So first of all, how do we get into the three D workspace? This is not three D at all. This is the default workspace that we use for photos and compositions. So to get to the three D workspace, you need to head over to Window Workspace, three D. Things are going to change a bit. Some of the tools will be removed, some of the panels will look different. Now, anything we do inside Photoshop outside of this three D workspace is two D, meaning that there's two dimensions, and the coordinates are X and Y. But in three D, we have X, Y, and Z, and everything is three dimensional. So if you go two layers, we still have the same layer panel. Nothing is different. I'm going to make a regular layer. Let's call this over three D layer. Currently, it's empty. And now I want to add a three D object into my empty layer. To do that, we're going to head up to three D, and we got some options here. The new options like new three D layer, new three D extrusion, these guys are going to create that three D object that we're looking for. So I'm going to keep it really simple. New mesh from layer, mesh presets and we got some geometrical shapes such as a cylinder, a cube and some other things down here. Let's make a soda. And there you go. It gave me a three D object. So look right here how there's this cube in the corner, and in our background, which is a regular layer, there is nothing. So if your layers have this button, it means that it's a three D object. Now, let's take a look at what's underneath here. We have the texture, which is a texture of the soda. If you just grab a soda bottle next to you, you can compare it. This is the textures. Inside the texture, we have the CAP material. We have the label material, which currently, there's nothing in it, but once we add a logo or something, it's going to show through. And then image based light, default IBL. So that's the lighting. You can change the blend modes of three D objects, reduce their opacity and film, lock them, lock in their transparency. Lock damage pixels. So everything here is normal. We're only getting additional things down here. So first, let me explain how three D works, and what are these different things that we will encounter in the three D panel. So I'm just going to switch it up here. Up until now, we've been working in layers. But in the three D panel, things are a bit different. This one should be here by default, but if it's not just enable it here, so we have environment, scene, current view, and soda, which is the thing that we just made, indeed drop down menu. Finally, we have infinite light. So environment is the surrounding areas of this object that you have. For me, it's nothing because it's all transparent. But if you put this soda can in an office space, then that office is your environment. Just think of it as real life. If you put a soda in your room, the room is your environment, the soda is your object. So the scene is what's happening in this composition. So what is happening with this object in this environment. Next, we have current view. You can see there's like a camera next to it. Now, the camera, the best way to describe it is you looking at an object. So if I move my camera, let me just grab this here with the orbit tool, if I move this around, the object is not moving. I'm just simply changing the camera that is filming this object. Think of yourself as a camera. If you place the soda can on your table and then walk around it, the soda can isn't moving, you are moving. In that sense, you would be the current view and the soda would be the object. So whatever you do in this with any of these move tools will not affect the position of the object, the camera. So even if I put it down here, it's as if we're looking down and not exactly seeing the whole object. Okay, next, we have soda. Now, this is the object. I can move this around. So now it's like we're standing still, and the soda can is just jumping around itself. We're not moving. This guy is. So that's the main difference between these two. Infinite light is what's illuminating this object. It's as if we have the lights turned on in a dark room. If I hide my light, the object goes black because there's no light to show it. So even if I orbit this, you can see I'm not getting much out of this. I'm going to disable that overlay with Command or Control edge. And now if I turn back the light, we can see the can. If I rotate this, go to curmu. If I rotate this and go to the other side, you can see how the back is dark, and it's only the front that is bright. So the infinite light, think of it as a flashlight. It's coming in directly at this soda can. Behind it is nothing. In front of it is shining. So that's what each of these mean. Let's take a look at our move tools. Put your current view because I don't want to move my object. The first one is orbit around three D camera. So that's pretty self explanatory. We're just orbiting around and finding different angles. The next one is roll the three D camera, so we're just rotating the whole thing. Going left and right to flip it around. Then we have pan the camera, so I'm just moving it so you can see. And then we have slide. So remember when I said that we are working with X, Y, and Z coordinates in three D. Well, that is what's happening. So if you move this front going upwards, we're pushing this camera back, ya DY axis. If I move it to the right, we're pushing it away, ya DX axis, bring it towards me. That's the Z axis because it's getting closer. So let me just visualize that for you in our layer one. Get a brush. So Y is for up and down. X is for side to side. Z is for closer or further. So if you push it away, we're pushing it away via DZ axis. Okay, so that's what's happening. And let me also show you the camera and all the other stuff that I mentioned. We have a control for the camera, a control for the object, a control for the environment. And a light, which is going to shine light on your object. And then the whole thing is our scene. So that's how this whole three D thing works. It may sound a bit complex, but as we move on with the exercises, it'll be easier to work with. So that was a quick explanation of three D. In the next lesson, I'm going to show you how to get things on this soda can and how we can stylize it. I'll see you guys there. 102. 3D Overview Pt. 2: Welcome back. Let's learn more about the object this time. Okay, so I have this empty soda can. There's nothing on it. We just have the basework. Think of it as like a blank piece of paper. Let's add some stuff onto it and make it distinct. So grab your three D layer, head over to properties, which should be up here. If you're not seeing it, just bring it down like so. And there are a bunch of things. So first is the three D camera. It's basically asking about what camera is looking at this object. We have custom B one. Let's look at it from the left. It's kind of dark. Look at it from the top. That's the top of our can, from the bottom, just a black circle, from the front to the back, and you get the point. You get to choose how you get to look at this object. We have orthographic, which is for scaling, and then we have perspective. So you can see how it changed. And when you go between these two, you get two different options. If you choose perspective, it's going to ask for your lens. This is the focal length of your lens. The tinier this is, the further away and the wider your scene will be. The higher this is, the closer it will be. So right now, I'm inside the can. Going to go a bit lower, maybe seven, and then we have the millimeter lens, so seven millimeter lens, horizontal or vertical. So you're getting coordinates instead of the millimeters. Then we have the depth of field. This is the blurring that's going to happen depending on the distance and the depth that you're going to give it. Right now, this is not that handy because there's nothing for us to look at. We can't really see the blur on this shiny piece of object. We're going to come back to this later, but that's what it's for. It's for blurring it. Then we have stereo. If you turn that on, you can get to see two things at times and we'll come back to this later too and turn this off. Let's move on to coordinates. If you want to put your object in a specific place, you can do that here, type in the X, Y, and Z coordinates. Angle. So when I move it with the orbit tool, you can see how the Y and X values are changing, but not because I did not bring it closer to me. I go to use this guy, bring it closer. You can see how that changed. Let's reset the rotation and get the object back. You can also change them here, inches centimeters, whatever else you like, I'm going to turn this off. So that's the stuff that we have for the current view section. Let's go to environment, and we're going to get some other things. This is going to ask you about the ground plane, which we currently don't have. Shadows. Even add some shadows here. Let's flip it and attempt to see the shadows. I'm going to leave it like this so we can see things better. Go in environment. There's shadows, intensify that, remove that. You can even get rid of it and get rid of the IBL in general. So notice how the object just became different. So you can ask it to intensify the colors or leave the shadows be. Got the shadow color, reflection color. It's usually black and white. They're going to be adjusted with the opacities next to it. You could change the color, but I suggest keeping the default unless you're doing something special. You can also set the IBO as background. So whatever I just applied here, this texture, I get to put it in the back. Now, the IBL is actually what we're seeing in the bottle. Let me Commander Control Z. So if you look at the bottle decan, you're going to see some dots, something stretched out. There's a little gradient going on here. Basically, we took this texture and edited the shapes that you see here, and we applied it into this can. So it kind of got worked in that shape. And when I add a design, the object is going to have a similar reflection as an actual soda can. So IBL stands for image based light. We're taking the image which I just opened up, and we're putting it as a light inside this object. It's going to make more sense as we move forward. And then the rest is about the shadows and the highlights and the rest of the thing. This was the environment. We also have the coordinates, which is the same as current view, type it in, reset it if you want, and change the units as well if needed. Next is our scene. We are starting with coordinates, but we have two other options. So we have three D print settings, which I don't use that often. It's for printing. Let's go back here, and this is just your scene properties. Got some presets right here, such as depth map, Pat mass, sketch grass, a lot of other things. It's a lot happening right now. Unit texture, str normals. And these are just some presets that you can use. Depth map. Let me go back to what we had before Commander Control Z. We have cross section, which is going to show you the middle of your object. If you need to do that, maybe for some presentations or something. Surface, we're going to need a surface to work with or else it's going to be nothing. We can choose the style of the surface, let it be sketched, lighting only. Again, bounding box and all this stuff that we just looked at this cartoon like. G to go back to solid, and this is just a solid color. The reason why it looks like this is because of the environment. Next, we have lines. If you need that for guiding, you can use it. The width of the lines, the angle, and the style. You can use that. We got points as well. Again, for guidance. Sure you can see there's these little things all around the image. Zoom out. That's the points. We can change the color, add to the radius, and all that stuff. You can linearize the colors, which we currently don't have, but if you do that with the shadows turned on, it's going to be a lot wider. That's the shadow. Let's turn that off. We don't need that. The next thing is the camera view, which we already looked at. Let's jump into the soda, which is our actual object. So there are two things in the first panel, catch shadows and cast shadows. So the object is going to catch shadows from the light, and then it's going to cast shadows on the environment. So this is the casting. This is the catching. You can make the object invisible if you want. Let's move on to coordinates. We already know it's the same as everything. Now, you can reset the position of your object. Let's say you've been working with it for so long and it's just up there. You can move it to the ground, which is currently set by default. Then reset to coordinates to get back to 00 on all the stuff. So that's what the default looks like for me. Just going to push it up here. So you don't have to guess where you left it or use these tools to put it back. Alright, now we have two things for soda. Each mesh object is different. For soda, we have a label material, which is what's going to go around the soda can. We can choose the base color. Let's grab red and the color of the interior, which we can't really see, but when we split the object in half, that's what this is for. You can add to the glow, make it really glowy, add to the metallic, which is going to kind of create contrast for that highlight, go go back to what it had. What is around here. The roughness, the height, opacity, reflection, density, and turbulence. We're going to come back to these later. I want you guys to experiment a bit with the presets that we have up here. So notice how there's a lot of these globe things, and these are actually the patterns that you can stick into every object within the three D workspace. So let's grab the bricks. And now I have bricks. We got this, I believe, planet surface, checkerboard, this texture. Water or just blue. We got gold as well. Sorry, this is gold, this transparent thing, and so much more to choose from. So you don't always have to start from a color and then add something onto it. You can grab one of these textures or should I say materials and add it onto your object. I'm going to stick with this one, and we can also add our own new material and save this as a preset. So let's work with the material and check out these options. So we were at roughness, if you increase this, it's going to smooth out those edges. It's going to be about the corners. Let me zoom in. It's going to make the edges pretty rough. And one thing I didn't want to mention about seeing a preview in three D is that you will not see the exact outcome of your doings unless you render this object. So usually when we're working with two D layers, there was no need for rendering. But with three D layers, what you're seeing now is actually is an unrendered version. You're not seeing the full quality, you're not seeing the full texture until you render it. So this button right here is going to render it. People usually do this at the end. If you click it, it's going to be going on. You can see this is the real texture we applied. So I just hit Escape on my keyboard, and this is actually what the roughness did. So before I rendered it, we couldn't really tell, but now I can. I have this weird looking thing. So there are many more things when it comes to the appearance of your objects and hit command, edge and hide the extras. I'm going to continue with them in the next lesson where I give you a text. Then we can see how we can convert that text from two D into three D. I'll see you guys there. 103. Text: Okay, so let's go ahead and make our text. I'm going to go in here, delete my three D layer. Let's grab the text tool. I'm still in the three D workspace and just write something. Now, the three D text is not a three D object yet, so you can see these guys are grade out, and I'm not getting the properties that we would get with a three D object. So let me just stylize this. I can choose the color, scale it as much as I want, and then convert it into three D. Let's make it a bit bigger and choose a more vibrant color. Let's go for this orange. Bring this in the middle. Like so. And now we're going to go into three D, the same panel we got here and choose one of these options. So source should be your selected layers, which currently is the text. Just going to convert this into a Smart Object first. And then down here, we have three things. We have three D postcard, three D extrusion and mesh from preset. So the three D postcard essentially means that it's going to turn your layer into a piece of paper, a postcard in three dimensions. So let me just show that to you with an image, hide the text. I'm going to bring in this image, and now I want this to be a postcard. So first of all, let's make it a bit smaller so we can see the edges. Put it right in the middle and then we're going to go to, three D postcard. Hit create and now I get to work with it as a three D postcard. So you can see, just like a postcard. I can put stuff under it. Maybe add a text, a stamp, add some shadows, and this is how it would work. All right, so I'm not going to get into postcards now. Let's go back to our text and see how we can extrude things. So bring this back. Let's look at our second option three D extrusion. The third one is just the shapes that we worked with in the beginning. We chose the soda. We will come back to this later. And also while I'm here, there's also this map depth map. It's pretty cool. I'm going to show you this later as well. So through the extrusion, we're going to hit Create, and there we go. So to extrude means to expand from the front to the back. Basically, we're giving the object, which is in this case, the text, a body so it has depth and it's no longer a two d shape. Just going to change the position like this. Let's rotate it a bit. And let's take a look at the options that we have. So go on to three D text because that's what we want to change. Let's change the current view. So we can see a bit of the extrusion and the text. I'm going to make another infinite light, and we can get rid of this old one. Okay, so three D text, grab it. We have some presets here for extrusion. These are different depending on what you choose. They look like this. Now, the blue part is the front of your text, which for us is orange, and the stuff in the back is the extrusion. Let's go with something simple. An inflated thing. Now, it's looking like this because we did not render it. Keep that in mind. This is not the final product. But things like this, like this, some spiral things, and there's so much to choose from. I'm going to go back to inflate and show you what it looks like when we render it it's in progress and it's going to slowly show up. In its true form. Notice how immediately those pixelated edges are gone, and now I'm getting this grainy effect. I hit escape. Now the reason why Photoshop doesn't renders it as you work is because that can be quite heavy on your device. Rendering can sometimes cause Photoshop to crash depending on your computer, of course, and that's why we always render when we're done. When we want to see a preview, we let it render and then we pause the process with the escape key. So I just did that to show you that it's not pixelated. I'm gonna go back Command C. So notice how it's pretty soft here, but once I move it, it's going to go back to being pixelated because it's no longer rendered. Alright, so let's go into something a bit more appealing. There we go. The first one. And then we have the deformation axis. Basically, from what point is it going to be deformed? Minus in the center. We can reset it right here again, catch shadows and cast shadows. We already know what this is. Make it invisible if you want. And then we have the texture mapping. Currently at scale. We have tile. Finally, is the extrusion depth. So how much of this do we want? Right now is 29.5 millimeters. But if I add to this, you can see how this guy is just going all the way back. Bring it closer to one, and you're going to get nothing in the pack. Go to the other way, and you're kind of pushing forward. So basically what's happening here, let's go back to zero. So zero millimeter, there's nothing it's just a regular text with the shadow in the back. But when you add to the extrusion depth, so a positive number, it's going to start from this point, then move backwards. If you go to the negative side, it's going to start from this point, but push the text forward and it's just going in the opposite way. So I'm going to add a little bit of extrusion like this. We can always edit the source, which is the text if we need. Down here is the render button. Now let's move on to other things. So the second panel is for deforming. We have another preset that we want over the extrusion depth, but now we got these additional things. So you can twist it if you want. It wouldn't work that well with this text. So I'm going to set it to zero. Et's go back, come and see. Then we have Taper, which is, as you can see how far these edges go. Not exactly good enough for this text that we got here. Then we have bend and shear. So you can bend it horizontally. Go the other way or do it vertically. Some weird stuff happening here, zero degrees, and then this was bending, but we can shear it as well. So Shear you can just distort it like this via the X axis, and then we have the Y axis as well. So this is Y, that was X. Zero degrees, and let's go in the next panel. So we got the sides front, back, front and back. Let's stick with front because that's where the text is. And then we can bevel this whole thing. So currently, the angle is 45 for beveling, and beveling is the area on the inside. If you remember from our three D logo lesson, um we bevel and emboss that image multiple times to get it to look metallic. So the bevel effect is here as well, and it's the same thing. So you get to adjust the width, you can see, it gives it a sharp look, and then we can decide the angle from which it is beveled. Let's go to the original. I think it was 45. Then we have the contour which we went over previously. So lots of different things here, and they all look great. Go to remove bevel. Don't need it for this lesson. Then we have inflate. Let's go with 23 degrees and then add to the strength. So it's the same thing that we had in the beginning. Let's not use this doesn't look that cool. The next item is the coordinates. We already know how this works. And yeah, so this is it for extrusion objects, through the objects and Photoshop. These are the options that you have. And like we mentioned, we can always move these around oh a different angle. And because I'm on the three D text layer, I'm moving the actual text. But with the camera, I get to go around it. So, this is the behind of my text. You can see that it's dark because the lighting is coming from the opposite way. Okay, let's go back in here and work with the texture and the material of our text. So the other thing is infinite light, which is the same in everything. So that's why we're skipping it. So when you go at three D text, we already went over the different panels. But in order to change the stuff inside the text, we have to refer to the material. So this is think of it as a group. We're working with the whole thing right now. But once I press this triangle, it's going to open up a bunch of things. So based on what you add to this text, you're going to get different things. For example, we inflated it, so there's a inflation material. We added the beef. There's a befo material, extrusion, extrusion material, the back level, the back inflation, and we got some constraints here. So these constraints are for each of the letters. If your letter does not have a hole, it's going to look like this. But if it does, you're going to get an internal constraint as well. So the D has a hole in it, so I get to go in here, and maybe make it active, block it, or inactive. We can also delete the constraints, so it's just a gray wall. All right, so we don't really need the constraints for this. The material is what we're here for. Let's start with inflation. So the sliders are the same throughout each of these. And the only difference is that they are targeting different areas. But in every one of them, we get the base color, interior color, some presets, and all these different sliders. Let's go with the extrusion material. I'm going to rotate this with my camera so I can see it. There's the extrusion, and now let's go back. So base color, it's gray. And remember, the color does not matter when the lighting is not there. So even if I add purple here, when there's no light, it's going to be black. So if you want to add color here, make sure that there is another light illuminating that area. So I'm not going to change the color, but I will give it a different material. Let's give it. This red thing. There's some other stuff, let's see what looks cool. Maybe gold is better. Yeah, I'm going to go with gold. Click Okay, and now you can see the base color is yellow. But because the lighting is not exactly in front of it, I'm getting some shadows as well. Alright, so let's take a look at the sliders. Zoom in here. Don't mind the pixelation. That's because it's not rendered. So glow it's at 3%, but I can add to it. Now you can see we don't get that black bits anymore because we are illuminating the extrusion from itself. So we're not depending on a light anymore. Then we have something called metallic. So basically metallic is the contribution of the layer color and the color of the highlight. So the layer color is currently in extrusion. It's the yellow color, and then the highlights are something else. So metallic is how these two work together to create that glossy effect. Again, we can't really see the difference until we render. Roughness, as we learned, is how soft or how rough these things are. The lines, if you increase it all the way, you're going to get this really sharp point all around your extrusion because that's what we're working with. Next is the height, decides how tall it is. And the next thing that we have is the opacity. Pretty straightforward. You're basically deciding how much of this extrusion is visible. I'm going to keep it to 100. So refraction is for times where you got a water material or a glass thing, it'll make more sense in those lessons. Can't really see a difference. Then we have the density, which is how light or heavy the whole thing looks. Finally, we have translucent, which we're basically making the inside invisible. This is different from opacity. Opacity is for the whole thing, but translucent is for the inside of this bounding box. So I want to keep it there. Let's bring it down to zero. And by the way, whatever you make here, you can always save it as a preset so that another time when you want a golden extrusion material, you don't have to go over all of these sliders. Just head down here, new texture, give it a name, and then save it. We also have a low texture option. If you got a texture from the Internet, you can load it here. All right, let's go back. And I'm going to move down to these guys. So this was extrusion. The bevel currently don't have anything bevelled here, but it would be regarding the front side of the text. Front bevel material. If we inflated it, it would be regarding the inflation. Back bevel would be on the other side, B inflation on the other side as well. Okay, so I'm going to close these off for now and go back to my layers. And now I got this three D text. So once you're done with the three D work, you can actually just head back to the essentials workspace and work with this like you would with any other thing. For example, I can add a gradient background, choose a nicer color. Strong gradient. Put a gradient background, maybe add some adjustments. Above this. So it's kind of combined with the other stuff. It's not separated. Also, once you're done with a three D object, you can actually convert it into a Smart Object and add other filters that we've been using. So I'm going to stop here for the text. In the next lesson, I'm going to show you some really simple abstract arts that you can make with these three D stuff. And while we're doing that, we get to see how we can stylize simple shapes and make them into really cool three D objects. I'll see you guys there. 104. Shapes: So we're back with a blank canvas. I have the color white. My layer is not three D, and it's just acting as my background. So we're going to begin by placing a pattern or an image on this canvas. In your resource bag, I kept a bunch of things. Some of them are textures, and the other ones are patterns. Let's see how we can make a moon inside Photoshop. So I got this texture from Unsplash. I see it's like a marvel texture, but it will do good as my moon surface. Scale it up so it matches your entire screen, and I'm going to turn my canvas into a square. Just crop it like that. So let's call this moon. I'm going to turn my background into, like, a dark blue, so it's like the night sky. Get G. Fill that up. Alright, now grab your moon. If you want to work with the adjustments, you should do it now. Once you're finished, go to three D. New mesh from layer, mesh presets, and a moon is a sphere. So choose that. Let's switch our workspace, and there we go. That's my moon. Of course, it needs some working. For example, can we cannot have the moon cast a shadow because it's not on the ground. So just go into three D, the sphere, and turn off both of these. So that's my moon right there. I could also go into the material and give it a little bit of, like, a harsher shadow around one end. I'm just going to go into infinite light and increase the shadows. All right? There we go. Once I'm done with my moon, right click, Convert to Smart Object. Now I can command or Control T and put it in my sky. So just with one image, I now have my moon. Alright, so this was one of the things we can make other planets with other images. I'm going to make the sun. I have this image right here, which is not exactly the surface of the sun, but we're going to make it work. So place it so that it fills up your entire screen. Then we're going to hit Command or Control to completely desaturate this image. There were little specks of red and blue, so get rid of that, and increase it like that. 10%. Click Okay once you're done. Now, add some levels, intensify the whites and intensify the Blacks. Next, we're going to add a gradient map right above. Let's go in here. Double click. It's up here and we want to get something red orangish. Think of the surface of the sun. I think this is good. We can come back to it later, then simply change the blend mode. Pin light. It's going to look like that. Don't worry about it. Let's clip it onto our shape and then jump into the levels to adjust this whole thing. Increase the whites here, so we get these white specs, convert these two into a smart object. And this is my sun duplicate sun, gaussian blur, blur it out around this much. Let's go like that. Change the blend mode into ten and no there's like that slight glow on my son. Let's also hit Command or Control L to intensify the whites a bit more. I think overlay is better before after duplicate this, and let's lower the Gaudium blur Edit Smart filter, lower that a bit. And do the same thing with levels. Instead, work with the middle tone here. So we're trying to get this lava looking thing right now. All right, so I'm going to stop here. This is my sun. Let's convert this one more time into a smart object and then rasterize it. So this is my sun layer, go into three D, you mesh from layer, and this is another sphere. There we go. There's my sun. It looks like another planet, but you can move the image around and get a different style. All right, so once I have this, I'm going to make sure that it does not go in here, that it does not cast any shadows or catch shadows. Just make it like that. And in here, we can make it glow. Depends on you, reduce the roughness, increase the glow. And yeah, there's my sun. Once I'm done, I'm going to convert it into a Smart Object again. And now I get to duplicate it, add another Gaussian blur. Let's go with, like, five, six, and change the gun mode to either lighten or screen. Go with screen and reduce the fill. So we're making this glue. The more you duplicate it, the more glowy it's going to look. Now go on the second duplicate and increase the Gaussian blur quite a bit. Let's go with lighter color or linear ad. It's up to you. So there's my sun right now. I made it using three D and just Photoshops tools. Let's give it a name. Sun. Alright, so these were how you can make circular things with Photoshop. Now let's take a look at other shapes. I'm going to bring in this guy. It's another pattern. And I'm going to scale up and choose the most crazy part, which is up here. So let's see what we can do with this. Go to three D, three D mesh, and we have a lot of stuff here. So I'm going to see what looks best for this thing. Let's go with, like, a wine bottle. And now I got this pattern on my wine bottle. So these objects are kept inside Photoshop by default. Plenty of things to choose from. You can add a label as well on your image. Let's head down to the label material, maybe add some glow to it, make it brighter. Go to cap. Let's add a different thing. Make it golden so it matches this. Then we have bottle material, which you can decide the color, see if we have a reddish thing, just to imitate wine. Let's choose a darker red. Click Okay, reduce the glue all the way. And yeah, so I just made this pattern into a wine bottle. So this is my wine. Let's close this off and get another thing. Our final pattern, our texture is this, I guess, grass surface to scale it up. You name this wine bottle and call this grass. So on this grass layer, I'm going to do some additional things. Go to grab a text. And put it right in the middle. Let's burn it into the text. Once you're done, merge them till you get one layer. Now let's turn this into a different shape. For example, something that does not involve that much distortion. So there is a cube. My whole thing is a square, so this is going to be easy. But once I grab the orbit tool, you can see how I have a lot of other sides. Which are currently empty. So for me to change the sides here and maybe get the same thing, I would first of all, have to go back Commander Control Z. So I can save this. Let's make this into a Smart Object. Double click, and I just want to have this for later use. All right. Now let's do that again, make it into a cube. All right. Now we're going to go into these different materials. So the top already has the image. Let's going here. Front material, we have this image, and there are two ways for me to do this. I can either copy and paste this grass image from this window or save what's currently on the front material layer into a preset. So you can see that my text is there. I'm going to try to work with it a bit. Once I'm done, I'm going to add this as a new thing, preset, call it grass. Then click Okay. So when I go here, there is grass. Going to head down to right material, which is currently just gray. So this is my front. Let's turn the cube itself on this side. Go to right, come down to edit texture for base color, and just paste this. Command and Control C, paste it right here. Needs to be resized. Just pull it down like that. Copy this for later, Commander Control S, close this. And now we have grass on the other side. Oops. Be sure to move your cube with this or else you will be moving it with one side. So you can repeat this if you want all the sides to have this grass image. If not, as we learned, we can just grab like presets from here. Let's add something else for left, something else for back, and just go to town with this. Alright, so this is my cube. I'm going to convert this and move on to my next thing. Now, when you convert this, you can no longer move it around and see the different sides. So make sure that you're on the right side and the right angle before converting this. However, if you do dabble click, you can go in here. But if your project is lengthy, then it would be kind of inconvenient. So you can maybe switch the side here, save it. Close that and then it looks different here. You can also make things inside Photoshop. You don't need you don't really need an image from the Internet. Let me just show you an example. Get a soft round, go to my swatches panel. Let's get it down here and choose one of these things. So draw in with blue. Let's get some stuff here. So do something like that to make it blend in, simply blur it. Something like that. Let's make a white layer underneath, fill it up with the bucket tool, now merge these together. So I just made a background nothing too complex. Let's make a mesh from this. Gonna mesh this into a hat. There we go. It looks pretty funny. Let's go in here and move it around and see what we're dealing with. I'm going to attempt to put this on a person's head. Let's go back to layers and I'm going to name all of these. Hat and bring in a subject, a human subject that I want to add a hat for. So I'm just going to use this image from previous lessons, drag it right above, and I'm going to give her the hat. Place it, bring it below hat. And now using the three D stuff, I'm going to just position this the way I wanted to. So let's rotate it towards us as a cameraman, scale it up like that, and now she has a hat. Place it nicely, and then just remove the shadows. I think we need to make it bigger. Drag this towards yourself, and it's going to become larger. Let's put it down like that. Once you're done, convert this, and I'm going to add a layer style for this so that it can cast some shadows. So change the angle and work with the distance, opacity. Click Okay. So you can mix up the three D objects and the two D layer styles with no problem as long as you convert them into a Smart Object. Okay, so this was how you can make different shapes. As you saw, there were some other things for, like, doughnuts, a cylinder, a cue wrap, and lots of other things. These are all built in into Photoshop. There's a ring as well. We can also download three D objects from the Internet and bring it in. I'm going to show you how to do that in another lesson and where you can find these three D objects. So now that we know the basics of three D shapes, let's move on to the materials and how we can work with the different sliders to get a certain type of elements. 105. Reflective Materials Pt. 1: We're going to create these fluid blobs on our poster and use the Photoshop's three D tools. So first of all, we're going to grab and open our background image, and then above this, I'm going to make a bunch of random shapes. So let's grab our lips tool, the color black, no stroke. Click Hold Down Alter option and shift. To make a bunch of circles. Once you're done, just place them in a more random manner. Make sure they're not touching. Once we're done, I'm just going to hide my background. We don't need it. We're going to group them all together. So all of your circles Command or Control G, and then merge this group. Call it circles. Okay, now we're going to distort the circles to give them that fluid look. You can do that easily by going into filter, distort twirl. Let's zoom out here. This is the preview, so you can see they're turning into something like water. Let's experiment. Let's go with 110 degrees. Click Okay. And there we go. So this looks like a water splash, distorted as many times as you need. Now we're going to head into three D, new three D extrusion from selected layer. So as we learned, extrusion is going to give the back of your shape some body. So now, this is what the circles look like. I'm going to keep it in this view so we get to see better and understand what's happening. So head into your object. It's called circles. Then go into properties right here. Make sure there's no cast and no catch. So no shadows from this because it's going to be water. Next, grab the texture mapping, make sure it's on scale, and remove the depth to zero. Just type it in here. So we're not going to add a extrusion depth, but we're going to inflate these just as water droplets would be. So head down to cap, the third guy, choose your front and back, and we're just going to change the contouring into half round. The width to like maybe 45 or so. Contour, let's go with half round, angle 45, and the strength zero. So basically, we just inflated this. This is the shape, and we made it inflated on this side and on this side. I'm going to keep it at this angle so we can see the changes. Next, we're going to head into environment and work with our IPL, which is the image based light. Go right here, right click Edit texture. File Place D image. Let's get this one. It's in your resource back and just scale it up so it meets the size of your cannabis. Click Okay. And then we're going to rasterize this. Just go to layers, sturize it. Make sure that it's black and white. My image is black and white, but if yours was colored, then you can work with that. Now, what type of image do we need for this effect? Because mine is going to be somewhat close to a metallic look. I'm going to need these reflective surfaces. So for me, it's a motorcycle, a part of it. For you, it could be a metallic room, some glossy patterns. Or anything else that has the reflective surfaces like this. We're also looking for a lot of contrast. So see how the shadows are well separated from the reflective surfaces. Hit Command or Control L to intensify these contrast. We need to make it darker. Like so. Once we're done, we're going to hit Command or Control S to save this project. And then we're going to go back here. So my image is right in there, and I just have a color right now. So let's reduce the color to, like, 18 20%. And then start working with the way it looks. Let me go back in my current view. Right now, we can't see the image, but later on we'll see how that's going to play its part. Go into circles or shape, and find the inflation front material. Should be the first thing here. Change the base color into a darker gray. This was before, this is after. We're going to head over to the presets here, scroll down until you find this one. So it's the metal chrome. Click on it, and this is what you will see. Let's click away and increase the metallic slider all the way to 100. Then we're going to go down to environment, right click Edit texture. It's going to be this shape. But I'm going to go in here, which was our default IBL, copy this image, and paste it here. Let's scale it up and make sure that it covers the screen. Commander controls, go back in here. We're seeing the parts of the image in there. It's not perfect. Let's work with it more. Now let's go into back inflation. So let me get my current view, flip this over and get my back inflation material at the same things. So chrome metal, the color will be darkened, but we're going to increase the metallic to 100 and then edit the image down below. So died texture, I already have that image in my clipboard, so just paste it. I'm just going to copy it from this layer because we already scaled it up, then save the image. So now when we rotate this, let me get the current view. And at the same time, change the beble materials. Let's get chrome. Same thing. Base color is already there, metallic, 100 and edit the texture. Now the reason why we're not just inflating the object is because currently the device that I'm on uses the one processor. And like I mentioned, they're discontinuing the three D stuff. Let me save this. So if you do have a windows or different processor, you can simply avoid these steps by going in here and turning angle to 90 degrees, strength to 20 and width to 1%. But because of this issue, I have to do this myself. So let's go back in here and work with these circles back bevel material. So we're doing this four times. Metallic 100, edit the texture, paste it in the same image, same position, then go out of it. So this is what we have so far. It's like these metallic items, which I'm going to turn into water drops later on. Okay, so once we're done here, we're going to go back into the essentials workspace. We're done with three D for now, and this is where we started. So notice how the metallic slider plays a big part in this effect. We couldn't really see the difference on the examples before, but in this example, it's pretty clear on how it's contributing. Right, now let's duplicate these circles, the layer, bring one of them down. So one is down, the other is up. Going to close these off. Then break on to clip this. And before I do that, I think I want to change the position. Bring it down so it's slightly interacting with the subject, and then later we can do some stuff with it. Something like this. Now in the same position, I'm going to duplicate it, clip this onto our background and change the blend mode to screen. There we go. So the whole point of making our image black and white and well contrasted is this. It's acting as different luminance values for us to turn into the screen blend mode and get these water drop effects. So if the image that we applied inside the circles layer was colored, we would not be getting something like this. Alright, now let's go into the top three D. And we're just going to bevel this a bunch of times. So blending options, layer styles, turn on bevel and emboss, and we're going to start by changing this into inner technique smooth, increase the depth to 615, the size to be a little larger, have this beat down and increase the softness. Like that. So it's becoming even more three D. Now, the angle, we want to go with something like 114. And let's remove the altitude to zero. The gloss contour, we're looking for dabble rings. Just go down here. Click it twice. Highlights, make it white with the blend mode screen on 50%, shadow with black, multiply 50%. So this was before, this is after. It's looking more like a bubble. Now we need to make it glow. So let's get down to inner glow and get something different. Change the blood mode to screen. Let's get a similar blue color. We can sample it here and just make it brighter. Click Okay. And perhaps work with the opacity. I think 60% is good. Now, let's go to satin, and we're going to begin by changing the blend mode. We don't want things to be dark here. So overlay, let's get zero degrees for the angle distance, something less and the size to be a bit bigger. The same contour, ring devil. I'm going to lower the opacity for this. Try a blue color, same blue, and increase the opacity. So mine is looking more like glass than fluid drops. I'm okay with that. If you're not okay with that, you would have to go back to your three D layer and kind of inflate it more. I'm just gonna leave mine like this. So let's keep it this way. Like, okay. Gonna hide my original just in case I need it. Let's call it OG. And I'm going to stop here. For this lesson, we got the base workork done. In the next part, we're gonna add another duplicate and add to that glossy look. 106. Reflective Materials Pt. 2: Welcome back. Let's continue with the way the close is looking. Now let's duplicate circles. The one that we just worked with closes off. This one shouldn't be clipped. I guess we can call it poppy. Duplicate the circles, no clipping mask, and we're going to remove the fill all the way. We're doing this so that we can rely on the layer styles and not what's inside the shape. We're using the shapes as a bounding box. So currently, the insides are empty, and we're just getting the effects that we apply. Let's bring this back. Now, go into your layer styles. Double click on the copy, remove Bevel and emboss and remove satin. All right. Now let's go into our glow and change the color into vivid light. We're going to get that. Then we're going to change the color to black, true black. Let's work with the opacity, maybe 50%. And at the same time, I want to add inner shadow. So for inner shadow, we want to do the same thing so vivid light. In the same black color. Opacity, we can work with it. I go to stick with 50% or so. The head down to quality, remove the noise completely, and add this contour. If it's something else, just go in here and choose and choose the Gaussian one. Should be right there. Alright. Let's increase the shadow a bit more, and there we have it. Click Okay once you're done. And yeah, so this is the effect. We can also lower the opacity of the whole circles copy layer if we're not happy with it. All right, so now let's do the effect that I mentioned. Let's grab a duplicate from our image, select the subject. Go to select and mask to clean up the edges. Once we're done, click Okay and make our mask. Bring this above everything. Let's clip this back inside. There we go. So it's like these glass shards just showed up out of nowhere and they're behind the subject. One last thing that I want to add to this is some blurring. Let's convert this into a smart object. And we're going to go into surface blur. Let's increase the threshold and the radius. So as you can see, we're getting rid of those sharp lines. Let's increase the threshold. To something like this. So before, after. So there we go. This was before, this is after. We did not use any overlays or anything else outside of Photoshop. So that's how the sliders work when we want to get a certain element. In our case, it was something reflective. Now in the next lesson, we're going to look at other things that we can do with the three D tools to make some abstract art. I'll see you guys in the next lesson. 107. Abstract Art Ideas Pt. 1: Now, everything that we make here will be inside of Photoshop, so I'm going to avoid taking patterns and designs from outside. And that way, you would know exactly how to make these arts from start to finish. So first, we need a pattern. I'm going to unlock my layer and make something really simple. So let's grab our soft round brush and our swatches panel and then go through one of these to choose a set of colors that are harmonious. Next, I'm just going to draw some random lines, combining each of these colors. Once we're done, right done, and just liquefy this and get a fluid background effect. Let's grab the twirl tool right here. Click with a higher density and go around. We can pucker things up or bloat them. Once you're done, click Okay, and there is my pattern. Now grab the sky let's make a solid color underneath. Now go to three D, New mesh from Layer, depth map into sphere. So we're going to get this weird looking item. Let's flip it around and notice how interesting this looks. So let's work with the way it looks. Going to head into the three D section, go into scene, surface, style, and put it into unit texture. So that's going to give me a smooth texture. When I hit back into scene, go to presets and choose the normal option. So it's going to kind of shift the colors and give me this effect. Because I'm using the one processor, it's going to look different. But for you, it may have spikes or a different shape. All right, let me go back into the essentials panel and start working with this. Convert it into a Smart Object, Command or Control L, and work with the way it looks. Can also color this again by using a gradient map. And now it has a different color. So this was our first art. We can put it somewhere like that, make a poster, and make good use of it. So now let's move on to our second art style. We're starting off with a black solid color, and I'm going to begin by making a random shape. So the more random, the better, grab the Pen tool, a fill color of your choice, and just, like, make a random shape. I'm using the curvature one. That's the best one for this effect. We got this right now. I'm going to select it, go to three D, new extrusion from selected layer. So essentially we just made this into a three D object. But now I want to get the same color on this area. Shape one extrusion material. Choose your base color to be this yellow, maybe a little brighter. Then click Okay. Now go into your shape one, increase your extrusion depth, then go here, sorry, here, and twist it. You can work with the taper of this. And get something like that. We can also shear this in different directions and get a cool result. So let's taper it like so, and then I'm going to move this centerpiece further away. So let's increase this even more, twist this like so, add some taper, and there we go. We can work with the horizontal angle and the vertical one. So all of this came from that one random shape. I'm going to go into the extrusion material and choose a different surface. I go with gold. You also get a different color. I think this looks better. This pinkish color, click Okay, glow zero, metallic 100. And yeah, I'm going to keep it this way. Let's go into environment and work with the way the thing looks. The stuff on the inside looks. So I think we can just go in here, edit the texture and add a gradient instead of this. So let's make a new layer right above and try to make a gradient black to white. There we go. Click Okay and save. Black to white, the inside is going to look like that. We can work with the color intensity, reduce it to zero, and I think this looks better. So there's my cool looking object. Let's head back into the extrusion material. I'm going to add a little bit of glue. So there it is. Let's go back to essentials. And now I got this shape. I am also going to hide this to make another shape. Let's make one up here. Randomize this. Get another extrusion from this shape. There we go. Let's choose a lot for the depth. Go into the extrusion material, choose the same color or actually a different one. Let's go with Cyan. Metallic 100, a little bit of glow, go to environment, IBL, it texture. Going to go back in the old one, copy the gradient and paste it right above. Save this. And now we're going to go into the shape itself, shape two, and begin twisting. Twist this up, add some taper if you like, and I'm going to just rotate it so we see the other end. Let's take a look at it with layer one and try to make them connect in a way. Let's try to bend this a bit. Let's try to move this in a different way. Increase the vertical angle to some degree, pull it down. Think we can add more for the twist or perhaps the taper. This is nice, bring it closer to us, and we get this crisscross effect. I'm going to bring this below shape one, go to three D, grab the environment and reduce the color to zero. Then go into shape to the extrusion material and add more to the glow. All right, this looks good. I'm just going to keep the color as it is. All right, so there are my shapes. I'm going to go into the essentials panel and just make this look a bit more interesting. Cut the color black, I'm going to add a wig effect right above with the color black. Cut the rulers, Hold down alter uption so it goes from the center. Hold down alter uption, make your mask, and then feather out the edges. All right. So it's a slight color difference. Then I'm going to create some depth of field with shape too. So convert both of them into a smart object. Going to filter, blur. I guess we can go with tilt shift and blur it from one point to the other. So let's make our point here and have the recipe blurry. Click Okay. All right. Perhaps we can add a little bit of a glow in the back. So let's add a gradient. So there are my shapes. I can create as many as I want using this technique. Let's stop here and continue with the next style in the next lesson. See you guys there. 108. Abstract Art Ideas Pt. 2: Et's continue with the third style. Another way that you can use this technique is to do the same thing, kind of delete the shapes, hide this for now. We're going to do the same thing, but with a different method. So instead of using the Pen tool, I'm going to grab ellipsis going in like that. They'd be duplicating some command or control T to transform the way they look. Something really random. You can even rotate some of them, and the more random, the better. All right. This is my first set of shapes, duplicate one there. Grab all of them with shift, group them, then merge. Bring this guy in the center, duplicate this group, and bring it down, maybe rotating them and making them smaller, so they look a bit different. That guys in the corner, this guys in the middle. Now, grab both, merge them. And I'm going to call this shape base. Make the same thing three D, new extrusion from selected layer, and there we go. What we're going to do here is head into the panel. Let's open it up like so. Grab your shape base, go to properties. Go in here to increase the extrusion. All the way, twist it and it's going to connect them both. Can work with the taper if you want. Going to go that way. Let's rotate it, and you can see how the two of them are kind of dancing around each other. The more you work with the taper, the more different it's going to look. Increase the taper, lower the twist until you get something like this. Can work with these as well if you want, but I'm okay with what mine is looking like. Just make sure that you hide the top and the bottom. Alright, let's go in here, make sure that it does not cast or catch shadows, but it rotated a bit, so I don't see the bottom there. Now let's go into three D, choose your bevel material, your extrusion material, change the color into something more interesting. So let's go with a cyan click Okay, increase the metallic and then a little for the glow. We can then change the preset for a different gloss look. Let's go with one of these guys. I'm looking for the glossiest one. This is nice. Let's test this out. Got a little bit of texture. I think this is the best one. Choose that and simply change the color. I'm getting that glossy look, increase the metallic and keep the glue at zero. Now, to make the lighting a bit different, I'm going to go in here down below and make a spotlight. So the spotlight, let's move it further away, put one here in the top. I'm going to hide my infinite light and keep making spotlights, putting them around. So we're going to need one here. S grab the other guy, maybe push it in a different way. So the spotlight is just illuminating our scene little by little. Another spotlight. Let's pull it in, like, here for it to illuminate that area. Another one for the top and just keep going until you're happy with it. So this is going to help create this three D look that we're going for. Once we're done, we can just go back into our essentials panel, and I don't need the wig effect anymore. Let's make this black. And we can actually go back into three D and add a little bit of depth of field, go to the current view. Over here, we have the camera settings. So I'm just going to go in here and choose something like that, but the depth of field is where things get interesting. So let's increase the depth and then work with the distance. So notice how the front is sharp and the back is blurred. So that's going to help us with creating a little bit of interactive look. So 0.31, 1.6, and that's how it's going to work. It's a little pixelated, so I need to render it. One. Once we render it, we can see exactly what it looks like, truly, and we can avoid these pixelated edges. So it's done rendering, and now this is the final product. It's not pixelated, like what we were seeing. And once I'm happy with it, I can export it. So this was another abstract art idea that you can do easily inside Photoshop. Now let's see where I can find three D objects. Maybe I don't have the time to make things like this, how I can bring it into Photoshop and how I can customize it. I'll see you guys in the next lesson. 109. Where to Find Objects: There are a lot of websites out there that provide three D objects, and you can open and edit Inside Photoshop. In today's lesson, I'm going to show you one of the best places to get it and later how we can grab that object from the Internet and then edit it inside Photoshop. So we've been over this website before. It's pretty popular repick. There are also paid versions out there. You can go with Invodo, Adobe Stock and all the other platforms that I have listed. But I'm going to show this one in this lesson, and you can start here too. So there's a new three D section here, and these are the three D models. A lot of things to choose from. And I'm going to download some of them. So let's get this chair and this pillow. So there are two options. There's a FBX and an OBJ file. You want to download OBJ for Photoshop. Let's do that one too. There's a ZIP file, click on them, open them up. This is the baby Cloud that I'm just going to drag into Photoshop. Let's go in here. There's an object and another file. Go into Photoshop file open, and grab these things. I just chose the arm chair. You can decide the three D units width and height, the name, then press Okay. So there is a chair. It's a three D object, indeed. And by the way, if you moved your object a bunch of times, you can click on Default camera and it will be brought back to where you started. Let's do the same thing with the other object. You can also drag it into the Photoshop icon on your task bar. Click Okay. So pretty easy. We can rotate it. This is what it looks like, the shadows, and these are the layers that we have. Now, there may be a better way to edit each of the individual spots using other three D programs, such as Adobe three D, blender, Cinema four D, and all the other stuff. But if I need a chair for my project and I want to add my pattern on it, this could be the way to go. So I have this chair right here, going to go to none. And we're going to just change the texture here. In your resource pack, I've kept two random backgrounds, and I'm going to put them onto these objects. So let's head into the area here, edit the texture, and apply one of the images. Let's go with this one. Alter uption, scale it up. Command or Control S. So now the armchair has that pattern, as you can see, but it goes all around. So it's going there as well. That's pretty easy. Let's go to this guy and edit the same thing. Edit the texture. This is the mesh, by the way. Drag this guy in, put it right above, Commander Control S, and there we go. We actually ended up putting it on the whole pillow. The other half is white. But these meshes are going to help you figure out how big you need to make the texture. Let me just close these. We can save it. Save this one, too. So for example, the chair, I'm going to attempt to get rid of the items up there. Let's get a mask, colored black and get rid of it on the legs of the chair and just keep it on these two big parts. It's kind of hard to see. Let's zoom in. Once you're done, Command or Control S, and let's go back here. Now I don't have it on the legs anymore. So you can use these guides. That's going to be in every object. Every time you edit a texture, there's going to be a mesh and you can use that as your guide. So I'm going to show you another example. Let's go into the texture of this guy and it closes. Go in here, default texture in three D. No, edit the texture right here and I'm going to put this red thing on the top and another thing on the bottom. Grab the image. Going to have it go only on this side. Then grab my second pattern and put it on the top half. We're doing a half and half thing. Save this. Let's go here and there we go. Half of it is that paper thing and the other half is the red bit, and everything looks pretty good. There's a nice seam there, and it looks like a regular pillow. Of course, a lot more glossy. I go back in here. We still have the options to work with these sliders. These are what came with the thing, but you can perhaps make it more metallic, make it like a metal pillow, make it glow. Perhaps make it translucent if you want. If at any point you changed your mind, you can add one of these presets. So going back to the free pig, we have a model of a baby, and by the way, you can grab multiple things and put them in one project. So, for example, my scene includes this pillow and that chair. So let's go in here layers, copy this, come here, layers again, and paste it. So there's my chair. I'm just going to move it a bit towards the other side. And have these two just chill together. If I want the pillow to be above, I can do that. Let's try to add the pillow on the chair. I'm going to begin with a chair layer, move it to the middle, perhaps rotate it a bit as well. Next, I'm going to grab the pillow, rotate it, of course, something like that. Grab this guy and push it away from me so it can get smaller. It needs to fit on the chair so it can't be that big. Now, let's grab it and just put it right there. Let's go a bit further. And there we go. Just make sure that the shadow is correct on the top object. Currently, it's casting it. Where was it? Yeah, we don't want any of this. Let's just make a mask on the pillow layer with the color black. Get rid of the chair from this point on. You could be more precise with it, but I'm just going to use my brush for this quick demonstration. Use a hard round, go around the edges like that. And now the pillow is sitting on a chair. To add some shadow, we can always go in here while your styles drop shadow, and this will give me a more realistic shadow compared to the three D cast shadow option. Something like that, and there we have it. I have this scene. Maybe I can put a fireplace in the back, put some people around and get creative with my whole thing. Alright. So that's how you can edit things. I'm going to close these. And I'm going to use what we just learned, but use a object from scratch. I have an image of this table. I'm going to open it up in a separate document, and I want to add this image, which is an old image on this table in a realistic manner. So of course, I can distort it, place it on top, do something like that. But there's a better way, and that's the postcard thing that we looked at previously. Let's open it like that. It's already a Smart Object. So I'm going to double click here and make a rectangle as big as the canvas. So this can kind of be inside it and have that polroid effect. Commander Control T. Hold down eruption, scale it down until you see these borders. There we go. Let's make the image flat. Save it. And go back here. Now my image has this border. You can also add that border with the stroke option. Let's call this my image, Commander Control G, scale it down, then go to three D, new mesh from layer, postcard. There it is. I'm going to rotate it and try to get it on the table. And you can see how much more control I have compared to the distort option. Let's place it there. I think we need a little bit more of a rotation. Maybe push it down a bit. And there we go. Now, this image is on the table. A little bit more of a rotation nights. If you want it to be smaller, just push it away from yourself. Until the size is okay. So let's stop around here, and there we go. So that's how you can use the postcard. Of course, the image is not as visible, but I can just add some small details to my images using this postcard effect. I could add some papers in there, maybe a photograph. And since we know how to work with three D objects, I can add a mug in the distance and just decorate this. So before I do that, let's go into three D. Just make sure that these guys are turned on. And that things are looking good. G to make it a bit brighter by increasing the glow. And now let's get a mug for back there. Go to go back here, let's search for a mug. And I have plenty of options. Let's see what looks best. Something simple will do for me. Go in right there, drag it in the Photoshop icon. Open it up. If you want to give it a color, you can do it now, but I'm just going to drag it into this layer first and then worry about how it looks. Strack it like that. Place it in three D space. That's the wrong tool. Place it there. It definitely needs to be smaller. So let's push it way back in space until we get a decent thing. G to hold down shift so it goes in one line. Um, I guess that's a good size. Let's put it in the corner. We're going to blur this out later. So don't worry about how it looks right now. Now go in three D and adjust the color. Go to go with guess this blue color, going to go with a lighter blue. Click Okay. So there's my cup, my mug. I'm going to convert this into a Smart Object and blur it out. We forgot to remove the shadows. Comic Control Z, remove both of these. So I just get a mug. It will be pretty blurred out after this, so there's no need for these. Convert it into a Smart Object and repeat with the image. Going to add a slight drop shadow to each of these down below. Let's take a look at the mug first. Something like that. Let's bring the distance inside, then click Okay. Repeat with the image. It's going to be a little difficult, but try to get a soft shadow at least. Click Okay. Now we're going to add a til shift blur. Because as you can see, it starts from here and it goes way past. So here should be right. In the back is where things should be blurry. When I hit Command Edge and get my points. There's currently way too many. Delete that and get this guy. So it should be blurry from this point, but things should start to blur out according to the table because that's the original image. So if I blur it, you can see how the image just gets blurry. I'm going to stretch this out a bit further and lower the blur. Something slight, semitone pixels is good. Click Okay. Repeat with the mug. So the mug needs to be the same, but it'll be pretty far away. So it needs to be completely blurred out. G to bring this guy down. Actually, we can use another blur for this. So let's just use Gaussian blur for the mug, told away in the back. Of course, that's too much. Try to match it with the table in the back, hit Command edge or control edge if you're seeing that grid. Try to get something that will look natural. We can fix this up with some curves and et cetera. Make it a bit less contrasted and less in focus. Alright, so I added this mug and this photograph using postcards and a three D object that I got from the Internet. Now let's move on to the next lesson and learn more about the three D world. 110. Chrome Effect Poster Pt. 1: We're going to create this metallic subject using a three D model and the stuff that we have learned inside Photoshop. First, let's head back into free Pig and get our three D model. So just look for a woman in here, and there's this one figure. That's an OBJ file. Let's download it and bring it into Photoshop. We can give it a name and call this chrome effect. So there's my model standing there nicely. Let's color that. You can grab a warrior figure, a statue, anything you like. This chrome effect will be the same no matter what base you're working on. Alright, so I'm going to grab my current view and choose a nice angle to start with. Then I'm going to go into my subject and make sure that it's not casting any shadows. There are three groups, so you have to do this three times. There you go. So once we made sure that there's no shadows, we can start adding that chrome effect. Previously, we learned how to make people into silver and gold, but we use two D tools for that. Now it's a lot easier because we already have that extrusion going on and we don't have a flat subject. And let's see if we can name them. This is the ground. I don't think I need this. So let's delete it down here. Next is her clothing. We can call it that. Maybe I can make this another color. And finally, we have the body. All right, let's start with the body, go to default mat. And choose the chrome effect. She's going to look like that. Then go to added texture, and I'm going to add the same image that we used in a few lessons back. So in the liquid effect lesson, bring this black and white image, scale it up so we get this reflective look. Save it. I'm going to copy this and keep it in my clipboard for later use. And another helpful tip is to scale it larger than your actual canvas and then rotate it. So this will give you a more diverse reflective surface. Save this, go back here, and there we go. She already looks pretty metallic. Increase metallic all the way up. I did not do much. I just kept this texture, and now she looks like a piece of metal. Let's work with her clothing. It's a separate layer, so I just need to go here. And perhaps we can just choose one of the stuff listed. So let's check these out. I think something reddish will look nice. I'm going to grab this preset, change the color into something red. Then increase the metallic all the way up. Be sure to edit your texture as well, paste it, save it, and we should make this a bit red. So let's grab that color that I just applied. Let's add this to the watches. Call it clothing. Click Okay. And now go back in here. And I'm going to add a color overlay, a solid color. Click Okay. I'm going to grab this color that I just saved and change the blend mood into color. Let's try something else, a little bit darker. Color burn is nice. Let's test it out. And yeah, that looks cool. You can change the color as well if you need to. So there's my shiny subject. Let's go back into the essentials, and I can put this on a poster. I just want to make sure that she's facing us. Alright, then before I go back into essentials, we want to make sure that we render this so we get to see exactly what we're working with. I'm just going to make a black solid color background. So that she looks better, and then we're going to render this. So down here, you can see your progress. It hasn't started yet, but it will tell you how much time is necessary, and as always, you can pause the render process by hitting Escape on your keyboard. Okay, so this is what it looks like rendered. So you can see the details are quite sharp, and it looks pretty good. To go back to what I had, go to default camera. Okay, this guy is or should I say was a three D model to begin with, it had different dimensions and it wasn't exactly flat. But what if you started off with something flat, such as a shape or a text? Let's go into levels and before that, I'm going to give her a bit more of a contrast. Let's use curves and add some contrast. Close this off. Alright, now let's go in here and close these. I will just keep this one for later. Go to hide my model and start with a text, which is a two D object. So let's call it chrome effect. Bring it here. Let's make it the color black and hide this so I can see my text. Let's try a different font. Now, when you're choosing your font, keep in mind that this is going to be extruded. So you want to choose something that can work well with it. So I'm going to go with this font condensed ultra black, something nice and thick. All right? My chrome effect is there. I'm going to keep a reasonable space between the two. So your text should not be like this or like this. Keep some space between it. Now let's grab this three D, new extrusion from selected area. Selected layer. I'm going to keep an angle like this. I can see the difference. The first thing you should do is to go into the chrome effect text, remove cache and cast. Then we're going to remove the extrusion depth all the way to zero. I should look flat again. It's going to current view, it should look pretty flat. Go back in here, and now we're going to bevel it from both sides. You could use inflate. I mentioned why we're not using this, but you can choose either one. So let's increase the width to, like, 45%. And then change the contour to half round. There we go. Half round and the angle is good. Just change this to front and back instead of front. Now, let's add something in there because currently it's just black. Let's go in the group, close these off. As I mentioned, these are for the letters, can't do much with them. So chrome extrusion material. Let's choose the chrome effect right here, then the bevel, back bevel, same thing, front bevel, same thing. So we have this situation right now, and it's looking like that. So this is actually the thickness. I think I want it to be a bit more than that. I want it to be a bit more. So let's increase the width. There we go. You can go higher if you want. Think I will go with 100%. And try Gaussian as well. I Gaussian's better. Now we have this glossy, shiny looking text. Let's go into front bevel. The inflations are empty, so there's no need to go on them. Front bevel, metallic 100. And now let's change the environment into the shiny image that we had. Copy it and paste it there. Commander Control S before that, let's rotate it a bit, like we mentioned, make it a bit different from the others. Make sure that the mesh areas are covered, the edges are not that important. Now go back in here and we have that image inside. Repeat this with the other stuff, the back bevel. We need the same texture. Edit, copy the same here since we rotated it. Still eat this, paste it here, bring it above the mesh. Save this. There we go. Then increase the metallic to 100. So we don't need the inflations, I'm going to close them, go into extrusion material, increase the metallic all the way up. And while we're here, we can also edit this into our image. Save it, and there we go. So in terms of three D, my chrome effect is done. You can see that it's not flat, and instead, we're getting this effect. Let's go back. I will have to render it to see the full quality. So I'm going to keep it to rotate it a bunch of times. So I can get my text. Alright. Before I render it, I did want to mention the tools here. Most of them are the exact same, but there are some additional three D stuff. For example, the move tool has these guys enabled, the Marquie Lasso selection, they're all the same. Here, we just have a material Eyedropper, which is basically going to take the material and not a single image. So you can see it's the same thing. If I had this gold effect on another object, I can eye drop it and add it to something else. So instead of colors, it's materials. The brush clone eraser is the same. Then we have the three D material drop tool. So once you've eye dropped it, you can drop it onto something with this guy. You choose it and paste it there, and the others are the same. So nothing's changed except for these three tools. Alright, now I'm going to render this, and then we can see our final view. Let's just bring it closer. Closer to the camera, a little bit of rotation or a straight line. Let's render this and see what we have. So there's the chrome effect. I'm going to bring back my black background, and that's how the reflective stuff is looking. So I got this guy. I'm going to convert them into Smart Objects. Do this once you're finished, of course. And then with the curves adjustment, you can see how we're bringing out those reflective areas. So let's just bring this down here. So I have a glossy model and a glossy text. So we got the base workork done. In the next lesson, I'm going to just put them together with some background ideas that you can use, and then we will have ourselves a nice poster. I'll see you guys there. 111. Chrome Effect Poster Pt. 2: All right. I got myself a blank canvas, and I'm going to use these two items that we made with some additional smaller things to make a poster. So let's start with the background. I got a solid white color, and we're going to start by putting on a radio gradient. So go to the adjustment gradient, choose radio, and I'm going to choose, like a dark purple look for this thing and choose the other end to be black. A pact to 100, so we can see it. And a brighter radio would be better. Click Okay and then extend this quite a bit. And, of course, this guy, so it's nicely blended. Let's try to make this a darker purple. All right. Once we're done, click Okay. Let's add some texture on this. I have the texture right here, put it above. Increase the size, then click Okay. Call it texture. Let's bring out more of that texture like going into filter, other high pass. Increase that quite a bit in order for us to get all that stuff, then change the blend mode into something else. Going to go with color Dodge for now. We can come back for this later. Let's bring in our first subject, which is the subject, which is the model put her right there. And before we do that, let's actually duplicate curves. Merge each one with one of your three D objects. So this is the model, and the other one is the text. All right. Let me get rid of this and convert each one into a Smart Object. Track model in first. There we go, put it right in the center. We're going to just add some additional things to go around it. I think I'm not happy with the purple. Let's go with like a colder tone, a color blue. And just black or at least a really dark blue. Let's make her a bit smaller so I can have some space for my text. Go to bring her all the way down. And now I want to add a different coloring above this chrome effect. Let's grab a gradients map right above the subject, clip it in and use certain colors to colorize the darks and the lights. So with these shadows, I want them to be like a dark purple color. Let's get this for now and the highlights may be a cyan, something like this. Click Okay, and then change the blend mode. There we go. Color. We can go back in here and work a little bit more with the items. Let's try a brighter purple. As for the highlights, we're going to make one here, a bit brighter. Make this one red. Just colorize her as you want or leave her black and white. That's completely up to you. Now, behind her, we're going to add some shapes. Going to go with a rectangle first. Make one like that. Let's place it in the middle. And then grab an ellipse tool to combine it with the current square. Let's attempt to make one big enough. Something like this. And now these two are connected. They're in one shape. Put her like that and change the color. So there it is. I want to bring in my chrome effect, the text, and just actually before we do that, let's undo the Smart Object thing and separate the chrome from the effect. Delete text, convert each one into a Smart Object independently. So this is the chrome, and this is the text. Drag them both into your final project like that. Scale them down. And the reason why I did this is because I want them to go around this dome. So let's put effect away, pull these guys down a bit. Grab chrome, and we're just going to kind of warp it upwards. So Command or Control team, go right here and choose the arc that's in one of the presets. Reduce the bend and try to match it with this dome that we have. So the lines should be even throughout the whole thing. So there's chrome. As for effect, perhaps we can put it underneath. I'm just experimenting here. Put this here. Command and Control T at the same arc effect. You can actually do this in a dabble way. Yeah. I think this is better 50. Go back to chrome. And add the devil effect. I'm going to have them interact with the subject and be behind the head because all of these things are three dimensional. So the poster should follow that as well. So there is chrome effect. Let's add some other shapes. I'm going to grab my rectangle again, but this time go with a shape that's not similar to what we had. Place it in the middle. Get rid of the fill, white stroke. Maybe two pixels width. Then click away. Think a bit thinner would be nicer. Okay, so we got the one pixel. Let's make it go through the subject. So command or control on the subject, and then just make a mask on rectangle. Inverted, and now it's not going inside, but I want to bring it back in, like, half of the areas. So go in with your white brush, bring it back on bring it above first. Don't clip it and just bring it back on the areas that you want. So maybe on one of her legs and then on the other legs. So she's kind of stepping in between this rectangle. Going to change this shape that we got in the back. Okay, let's hide the everything for now. I'm going to work with my shape a bit more. Keep the texture. Let's grab the rectangle one more time, start from here. And then I'm going to make the ellipse, but going on both the edges. So let's make these a separate selection. Go right in the center using D ruler as your guide. Pull this guy there. Go on the center option or Alt Shift to make a perfect circle. Let's check it out. I think it's not big enough, grab the corners. Just lift it up. Try to match the edges to the edge of your rectangle. Let's check both sides. There we go. So I was looking for something like this. Let's combine these two, merge into shapes and place it there. I'm going to put it in about this much, grab another shape, and I guess we can leave that area empty. Now I'm going to work with my swatches. And see what color I can bring in. I think we may have to bring in a color palette. So I'm going to do that, and I'll have it in your resource bag so that the colors are nice and harmonious. So I got this image instead of a color palette. I like the colors in this. So let's increase the size and start extracting what we see. Grab your Eyedropper tool five by five, sample from this layer alone. So we need this purple color. This blue. There's a brighter blue, this dark blue color. And this bright pink. What's it called this color. Pull it down for later use. Now, I'm just going to color things up with these watches that I just got. So let's make our background into this color, the darkest one. The ellipse, we can choose something a little different let's take a look. I think I'll go with this one but kind of desaturated. So let's go in here, fill and remove from the saturation. So instead of 92, let's go with 52, make it a bit darker. So maybe 70 60, it's going to be this color. I'll leave it like this for now. So let's convert our shape into a Smart Object, and that way, I can add things to it later on. So I think I want my text to be normal down here and add another arc text up there. So because these are Smart Objects, I can just go back in here and hit this button. There we go. Bring these down and have them act like some regular text. Chrome effect. Our model can just stand there and then put her below the Let's group this. Let's put this below the text like that. And using a cyberpunk or dystopian font, we're going to write something up here. Poster. There you go. Dystopian. And then grab that bright pink that we found. Let's try to blue. I think bright blue is better. Choose the bright blue. There's a text. Let's bring back this rectangle that was going through the model, but now I wanted to go on the top part of her body. So bring this up right below the text. Commander control on the model and make a mask on your rectangle. Invert it and using the white brush, introduce it back in certain areas. Like that. Let's give her a bit of a drop shadow effect on the other end because that's where the light is coming from. Click Okay and add another rectangle in the bottom. Same size and everything just going in like that. No fill, white stroke, one pixel. Spin clipped. Bring it there, but below the text. And I'm just going to make sure that the edges match with the previous rectangle. Make another mask. Let's get a new fresh selection. Make our mask, invert it and do the opposite here. Bring it there, and to remove it from the front to chrome is going to be standing there. And yeah. So with posters like this, you don't want to keep things empty, like the way it is now. So to fill it up, I'm going to put in some dummy text. Let's grab the text tool and find a spot clicking drag to make paragraphs. Lower the size. And change this back to auto. So we want really tiny text. Turn this into white. Smooth. And I guess I'll keep the same dystopian font. Maybe regular is better. Put this in a corner and change the alignment so that it matches with the wall here. There's our first text. On the other side, we don't want it with text. Nothing should be identical here, but we could add one line sentences over here. So let's copy Laura Ipsum, paste it a bunch of times and put it like that. Certainly a lot smaller than the top text. So it's just there for decoration, something like that. And then I'll add one up here as well. Maybe a little less than the first one. Just delete a couple of letters. So there is a text. In the next lesson, I'm going to just make some objects that we can place around and then finish it with some adjustments. I'll see you guys in the next lesson. 112. Chrome Effect Poster Pt. 3: Welcome back. Let's continue with our lesson. So we're going to add some objects. I'm going to go in with a Pen tool, get the color white, and we should actually do this in the other project just to keep things organized. Above the black fill, I'm going to make some rulers. Like that. Then I'm going to start from one corner. Let's actually use a square as art guide, click and drag to make a perfect square, place it in the center, and then I'll just have the strokes turned on. So that's just there for guidance. Now using the Pen tool, we're going to make a point right in the corner and then in the second corner, but drag it down until the bottom of the second handle meets the center. And then we're going to hit Alter ruption on this point to get rid of the handle. Go on the other guy, click and drag until it reaches the center as well. Nice Alterruption. I'm making a star here. Make your next point, and drag, Alterruption. We can get rid of the rectangle, fill this up with the color white. Like, so, I'm going to get rid of the rulers. Don't need them anymore. Let's convert this into a smart object and just kind of distort it to make it taller, like that. Now I'm just going to turn this into a three D extrusion like that. Is the back. This is what I want. Go into the shape one and adjust how much of an extrusion you want. I think I'll go with 50 millimeters. I'm going to keep mine like this. You can bevel it or inflate it. But I'm going to keep this. Before I get out of this, I'm going to duplicate this a bunch of times and get different angles for my stars. Maybe this one can be this way. And a bit smaller, push it down in Z space to make it smaller, then place it somewhere in the back. Also, be sure to remove the shadows that we talked about. Go back on this one. No shadows at all. Here's my second star. Let's get a third one, duplicate this, drag it somewhere else and try to get a different angle. Let's get this. Something like that. Place it somewhere else as well. I'm going to attempt another color. Let's go into the extrusion material properties. All right. Once you're done, we're just going to take these into this project. So before I take them in there, I just want to convert each one into a Smart Object. That's the first one. Second one. And third one, drag them all in the final project, and we made ourselves some stars. So if you have a shape, you can easily turn them into three D objects just as we did here. Let's put the star somewhere like this. And remember, this is the light source, so we may need to flip them. If we duplicate this, put it around a bunch of times. This guy we need to flip it as well, and again, try to make everything interact with one another. Let's bring this below the model, put these stars there, and we can color each of the stars with color overlay. You can make it yellow. Then click Okay. G to repeat that with all the other stars. Let's mix them into the right positions. Go on the rectangle behind the stars and try to mix them in. Let's bring the star below this rectangle. Let's do something like this, but reveal it on one end. Maybe here it's getting revealed. G to use my brush. But here it's inside, interactiveness. This guy can be chilling there. This guy, maybe we can put it behind this. This rectangle is this guy goes behind, but maybe it can come above on the second line. Finally, we got this guy. Rename these left star one. Alright, let's grab the big left one, which is behind the subject and introduce it above this rectangle. There we go. We got these random stars all around. Now, above my gradient, the background, I'm going to go in with a gradient tool, radial gradient and have this bright color as one of these stops. You can choose it from the swatches as well. Let's get rid of that. Pull it from the swatches. In the second color, we don't want opacity. Make a new layer above your gradient, start from the middle and pull up to one end. So that's going to give you this glowy thing on the back. All right. The last thing we need is some noise for these elements. I'm going to name these as they are gradient glow. This is our background. We don't really need this white fill. This is color, texture, shape one, model, and a bunch of other things. I'm going to group these three text and column extra text. Let's start with this ellipse, which I already made into a Smart Object, go into filter noise add noise. Add quite a bit, but monochromatic think we can go with ten, add some noise onto the background as well. Convert it and add a little less than what you applied here. So maybe seven. All right. Our three D objects can remain three D, but the two D ones, adding a bit of noise can help make them better. Add some noise on this text. And let's actually do this in a layer style. So let's go into blending options. First, add drop shadow. This is a three d space, after all, increase the distance and make this black. So there's the thing. Work with the angle and the distance to make this zero. Spread it out a bit, reduce the opacity. Then add some noise to the drop shadow. We can kind of bevel and emboss this. Let's go with inner bevel smooth, add to the depth. Decrease the size, reduce the soften. Let's go with half round. Gave it some stuff inner glow with a different color. Let's try to get a similar cyan, but a bit darker. Click Okay. The same settings are good. Let's try outer glow. Outer gloe we're going to add the same thing, but increase the size. Let's reduce the opacity a bit. Do the same thing with these stars. So I named them like this. Let's add outer glue, but in a different color, it needs to be the yellow color that we have. Click Okay. So that's the star, reduce the size and make it according to the star size. So this needs to be small. The others can be a bit bigger. Outer glue. Let's add yellow, and I'm just going to copy this, paste it in other places. Lower the size for this. Get the next star, paste the X code. This one can be big. It's a bigger star, and just keep going until you're done. So now we got the right glow. We got the chrome effect and our three D model. For the chrome effect, I'm going to add some drop shadows. There it is just so that it fits into this three D poster. Add to the distance. Let's push the angle down a bit and work with the opacity. Be sure to add a little bit of noise. Repeat the same thing on the bottom text because they're together. And we can do the same thing with the model as well. We did, but it's not as vibrant. All right. Let's bring this guy below the big star so I can just track it down. There it is, drag it there and perhaps add more text on the top a T and reduce some of that amount. There we go. Alright, now grab everything in your layer panel, group them, keep color outside. And then using the images that I will put above, I'm going to basically color this and do some overall adjustment. So you can choose the blend mode of your choice and see each one gives us a pretty decent result. Depends on whether you want to make it darker or brighter. I'm going to go with overlay, then reduce the opacity. The next item is some textures that I got from the Internet. Put them right above. And then change the blend mode. There is another texture at that above to make this more interesting. I'm going to rotate this texture so I can get these criss cross lines and make it a bit more interesting. Alright, so I got these blend modes, work with the opacity, and I'm going to go back in here to add some glow to my model. She's looking a bit flat. So let's duplicate model. Blur gallery, Gaussian blur, blur her out. And I think motion blur would look. Blur, motion blur at this criss cross effect, zero degree angle, do that and simply change the blend mode to lighten, she's going to glow like that before, after. This is, of course, optional. Let's repeat this with the chrome effect text since they did come from the same place. Same motion blur maybe a little less 33, repeat with text. Just grab it from up there. Change the blend mode to lighten. There we go. Lighten or linear dodge, I think that's better. Alright. The final thing that I want to add is a little bit of a wine effect. So grab your elliptical marquee from the center, alter uption and just drag out. Then your make your solid color with the color black, invert your mask and feather the edges. We can change the blend mode to multiply and reduce the opacity. So it's just a slight darkening on the edges. So that's how you can make a poster out of the stuff that you create in DTD workspace. I hope you guys enjoyed this lesson. Let's move on to the next one. 113. Glossy Abstract Arts Pt. 1: Now let's create this liquids plane effect using the depth map feature inside Photoshop. So starting off with a new layer, I'm just going to put in a bunch of random colors. So grab your soft round brush, a really big size. Go into your swatches. You can choose one of these color palettes that you see and draw in a bunch of random strokes. The more contrasted they are, the better. So try not to go for similar colors. Put some there. Let's get some blue in there. Add that on. Mix the purple in, get some orange, and there we go. So fill up the entire canvas with different colors. Once we have this, we're going to grab liquefy and kind of mix them in. So pressure to 100 and just go crazy with the mixing. Do that. Let's mix it up like this. Click Okay. And then I'm going to hit Commander Control T to scale this down in the center. I like that. Above this, I'm going to go with even more colors. So, swatches. Let's get some pink this time. And this darkish orange, a little bit of red down here. You can go outside do borders, too. Get some more pink here, a brighter green. And let's actually cover up the edges and the yellow here. So once we're done, we're going to go into liquefy one more time. Turn off, show backdrop, and with the same brush, we're going to just mix this in. Get some interesting colors. Click Okay, then go into three D. New mesh from layer depth map to a plane. So we're going to get this crazy look. Don't worry about it. We'll fix it now. I'm going to call this my base. Colors. Then go in with this tool and push it back in Z space. Let's hide the background layer. So click once push back, hold down Shift and keep doing that until a little bit of those distortions are gone. So it's a lot different now. You can see those spikes are not as big. And if I rotate it, let's try to do that. These little spikes, we just reduced their size. Let's go back. And, um, gonna rotate it until, like, at a decent angle. Let's try to go like this, maybe. Let's remove the shadows for this. Let me bring this down. Open it up and go into scene. We're going to turn this to unit texture, and now it's a lot more softer than go in here and remove these shadows. We don't need them. Like so. And now I'm going to just rotate it a bit more and choose a decent angle for my final design. Something like this. Let's increase the metallic all the way up and a little bit of glue. All right. I'm going to do this and then head back in environment, and I think another sorry scene. Another style could be better. Let's try solid again. I think solid looks better and go back into your depth map, the layer one, and work with the glow and reduce the metallic, as well. Alright, so there's my thing. Let's put this back in here. Let's bring this closer to us, this object. Because I wanted to kind of sit in the corner of my work and then rotate it according to what you have planned with it. So I'm going to go with this maybe a little bit higher. That. Once you're done, we're going to rasterize the three D. And there we go. Let's go back into the essentials workspace and get started with the design. So first off, we want to get rid of the sharpness that the thing has. So the first thing we want to do is to create more contrast between the colors. Commander Control M on your layer, let's create a simple S curve. Click Okay. Now we're just going to apply a mask to get rid of these gray areas. First of all, Commander Control on the base color. Then go here, select a mask. So we're going to shift the edge inwards until we're not seeing those gray bits. I have my opacity set to 100, you should two, or else you will not see the changes. Increase the feathering, and click Okay. And now I can make my mask. So it's going to look like this. I'm going to go back in here and bring out the stuff in the center because we were just talking about the corners. Bring that back. Anything that's not contributing to the gray lines. Anything that is not contributing to the gray lines, and I'm also going to remove that we're left behind. Try to get a smooth texture. Now, we're going to make our background black Command or Control I. And this way, I can see better what points need fixing and what points don't. Use a hard round brush like 90% to kind of redefine the edges of this map. So this is one way to use depth maps. A lot of people use it for environment modeling. So they'll take a base image, turn it into a forest, a garden, and other things. So it's not just for abstract art. Now let's turn this into a Smart Object, and I'm just going to make a shadow layer above. I'll come back to this later. Go back to your base colors, and we're going to add more curves. So commander Control M, make things a bit more contrasted. Like that. We are looking for those vibrant colors that we applied in the beginning. Next, I'm going to add levels just to intensify the contrast even more. Once we're done, we're going to add the stylized filter for oil paints. So let's find it in the preview. Can't really see it. There we go. Zoom right in. Stylization can be like that. Let's clean this up and work with this scale. Stylize it a bit more. And this will give me a more slippery look, reduce the bristles. And there we go. This was before, this is after. It's just slight adjustment. Then go to filter gallery and find your image again. There it is. It looking this way because of the chrome effect that was chosen by default. We don't want this. Let's go into the different areas. Let's try plastic wrap. Reduce the details to zero, see if this will be a good fit for me. All right, so this is looking nice. I'm going to reduce this bit less. Let's remove the details to zero. All right. Let's click Okay. Go back into filter gallery for another effect. Let's go in here, stylize stored, let's try glass, reduce the distortion to like one, then scale it up. Smooth it out as well. So now you can see the surface is quite different and it's looking more glossy. Click Okay. Grab surface blurb and reduce the threshold, reduce the radius. For a more glossy effect. Now, let's go back into shadow with the color black, soft round. I'm going to introduce some dark spots around this effect. Let's increase the size, lower the flow to, like, 60 or so and start fitting out the edges of this artwork. So it looks a bit more mysterious. But when like that, try not to reveal any of the edges. Reduce your flow if you need to. All right. So there's this shadow before, after. You can reduce the opacity for a more subtle look. Now, I'm going to group these, call it art. Scale this so that I have a decent starting point. Gina flip it the other way so I can get this side instead. It's cleaner compared to the other side. Click Okay. And if needed, add more shadows. So here, it's looking a bit sharp. Let's add some black, and I can only do this because my background is black. If yours was colored, then you would have to do something else. I guess I'll make a mask here. Get rid of these sharp bits. All right, there's my work. Let's add a text in the corner just for it to look proper. Bring it above shadows and place it where you want it to. I'm using the same dystopian font. It fits nicely with this effect. And there we go. We made this abstract looking art piece using a bunch of colors and the plain feature inside the three D tools. In the next lesson, I'm going to give you another art idea that you can use for posters. I'll see you guys there. 114. Glossy Abstract Arts Pt. 2: We're going to make these fluid strokes using Photoshop, and it's a lot more easier than you think. We're starting off with a black background color, and I'm going to begin by writing in my text. There is my text. Let's work with the way it looks and scale it up nicely. Place it right in the middle. I'm going to increase the space between each one, each line. So there's some room for my fluid strokes. Place it in the center, and now we can get started. So on a new layer, we're going to make a bunch of colored strokes, similar to the last lesson, choose a vibrant color palette and start drawing in with your soft round brush. So now I got this colorful thing, and we're basically going to blur this and use this as our base sample. So usually we sample either a gradient or a solid color, but now we're going to sample from a layer. Let's blur this out to make it smooth. We want the connections to be seamless. Then we're going to grab our mixer brush tool, long click on this. Go in here and choose dry heavy load. Choose dry heavy load from the presets, clean a brush like this. Grab a hard round, choose a big size. 1,000, and now we're going to option click or I'll click on one of these. I just held down option, clicked here, and now you can see it's been loaded up into my brush. Let's hide this and start drawing on a new layer. And there we go. So it looks pretty three D, even though it's just two d. If you want to change the color, we can just grab this guy and choose another section. Pretty nice. Let's close this and start drawing in the different things. I'm going to lower my brush size. Soon right in and get a line coming in from one side. Let's pull it down and bring it above fluid strokes. Another layer change my colors. Grab this again. And this time, I'm going to make small circles. Click once, and there we go. Make some of them super small. And just decorate my scene. So there is a fluid strokes. I'm going to blur some of them out depending on how close they are to my text. So this guy is all the way in the back. Let's blur it out. By a small amount. So I'm going to have these guys be as they are, but some of these dots, I'm going to make them blur it out. So let's make a new layer, grab another section of colors, maybe these two, and start drawing points. Now let's blur the layer. Let's test this out. Now let's make a merged layer of everything except the background layer, Command Option Shift E, and then bring this back. We can hide these for later. I needed, I can just come back here. Let's convert this and make a blur effect. Perhaps 30, click Okay, Alter ruption on the mask and bring this guy back. Introduce the blur on the parts that you want blurry. Get a soft round brush, the color white, and I'm going to blur these out. There we go. It's a slight blur effect, and this way I can create depth of field. On some of these, we can also add a shadow effect right underneath. Let's get the color black. Soft round. For example, this guy can use a little shadow undedge. This part could use some as well. So under stroke, slightly, then lower the opacity. So this was pretty easy to do. It looks pretty good, as well. And I did not use any three D tools to make this. So I hope you guys enjoyed this lesson. Let's move on to the next one. 115. Glossy Abstract Arts Pt. 3: So now let's make our final abstract art, which has that glossy effect, and it's pretty easy to make. Start with a black backdrop. Just unlock that and hit Command or Control I to make it black. Next, we're going to go in with bulky texts. So I'm going to use impact. Let's make the size a little smaller and write anything. It doesn't really matter. I'm going to leave it as lower Mpsom and just adjust the size. Once you're done, Commander control team, hold down shift, and turn this 90 degrees. Click Okay. Put this in a corner and just duplicate this a bunch of times. Hold down shift and move them in one line. I just duplicated it six times, group all of them together, merge the group. You should have something like this. Let's call this base. Grab base. Let's make it into a Smart Object, and then we're going to start with some blurring. Go to Motion blur, have your angle be at zero and increase this all the way. 2000 then click Okay. So the number of texts that you copy is going to determine the number of lines. I went with six. You can go with four, five, it's up to you. Once we have this, we want to create some wavy lines. So what we're going to do is to make sure that the base is filling up the screen. If it's not, you can just move it around and get it to fill it up. You can scale it too. Then go into liquefy. So let's just go on the middle and click once. Make it really big. And I'm just standing in one spot holding my mouse down until I'm happy with the wave. Then click Okay. So you don't want to move your cursor around because it's going to create some sharp lines. Now once I have this, I want to give it that glossy look. So head down to filter, filter gallery, and let's see. Look for the plastic wrap effect. It's going to be hard to see again, but we're basically going to just reduce the detail all the way down. So we get a smooth thing. And I'm going to leave these as they are, check it over here, and then get back. So this was before. This is after it made it like glossy. I zoom in here. Let's go back in, and I want to increase the smoothness. All right. Looking good. Let's go back. And now I want to create a contrast filter. Let me just go in here again. I think the highlights are a bit much. Yeah. So highlight zero, detail one, and smoothness all the way up. Now, I just want to zoom this out a bit. This base commander control team. It's going to revert back, but don't worry, Alter ruption and just scale it up. So this is better. I'm not getting the edges. Hit Command or Control L for levels, push this guy to the other end. And at the same time, this guy, pull it in forward, and we're just making contrast for this whole thing. I'm going to make adjustment right above another levels. There it is, increase the whites, darken the blacks. The more you do this, the more glossy and metal like it's going to look. Convert this into a smart object one more time, and I'm going to actually merge it with the black background because it's currently transparent. Then go into camera raw filter. We're going to use the sliders to add a lot of contrast and make the lines super sharp. So think of metal when you're doing this and begin with some contrast, highlights, shadows. Clarity, Dehaze. Let's come down here. Effect. I think that's good. We can darken the edges further with Win Come back here, whites, blacks, and there we go. So before, after major difference, then click Okay. All right. So once I did this, I can just perhaps lower the opacity of my levels. We can delete it too if we want, but I'm just going to leave it like that. Alright. The last thing that you can do is to color this. So go into Gradient Map. Make sure that it's dark to bright. You can use black and white to add more contrast or add a blue thing to it. Choose a different color as you go on. I'm just going to choose this and show you what I mean. You go to color, you're going to get a lot of coloring options. So for example, you can make it purple, orange, red, a bunch of these. I think blue will be nice. Experiment with all the different options. Now, you can add third color. Let me go back. Do that a third color in the beginning and make it bright. So that's going to be for your highlights, and you can decide what it looks like. Click Okay, there's my color. You can try different blend modes if we want. Then I'll stick with color for this. Now, let's merge everything. Command Option Shift E, Control Alt Shift E. Blur this out. Let's choose the iris blur. Commander control edge, so I can see the overlay and then just expand the sides. So it blurs out near the edge. 15 pixels, nothing too extreme. Commander control edge to get rid of that great overlay. So this is our middle looking background. We use nothing but text and some filters. It looks pretty three D, and if I want, I can kind of add some text in between these. You would have to kind of select this, make a new layer, put your text underneath, and that way you can make it look more interactive. So we've come to the end of this course. I hope you guys enjoyed all of these lessons and that you learn new things. Keep experimenting with these tools, and you will find more ways to express your creativity. I wish you all good luck and I hope to see you soon. 116. Class Project: Build a Graphic Design Piece: Mm hmm. Now it's time to take everything that you have learned and create a style of your own. For the class project, I would like you guys to build a graphic design piece or a complete composition. And because we have covered a lot of design styles, you have a lot of freedom here. You can create a poster, a mockup, brand identity, illustration, three D work, and the list just goes on. So pick something that you enjoy making and you want to explore further. So start by choosing the type of project that you want to make. Once you have that, you can think about the main subject and the message that you want to convey. You would like, you can also use a pen and paper to draw the visual layout for your design. That will help you figure out how you can integrate Photoshop tools and what sort of base images you're going to need. You can use the fundamentals that we have covered, which includes text, color, adjustments, masking, and anything else that would make sense to bring your idea to life. Once the design is finished, think about the presentation, too. You can place it onto a mockup or create a professional presentation. That way, you can see how your design would look in context. You're finished, you can upload your final files to the class project gallery. You can upload all your sketches, your inspirations, the final product, as well as a before and after if applicable. You can also add a short explanation of what you have created, what tools you used, and what made you go for that idea. Looking forward to seeing what you guys make. 117. Congratulations! What’s Next?: Congratulations. You have reached the end of the course. We have covered a lot in this course, and I'm so happy that you guys have made it this far. The most important thing you can do now is to combine the skills that you've made and apply it to your own projects. You don't need to use every single technique in design. In fact, you probably shouldn't with an idea, decide what you want to communicate, and pick the tools that would make sense for this project. The more you create with Photoshop, the closer you're going to be to developing your own workflow. And if you haven't already, be sure to upload your file to the class project gallery. I would love to see how you guys took the techniques that we've learned and applied them to your own ideas. If you enjoyed the course, feel free to drop us a review as it really helps us improve our content. Thank you for joining me, and I'll see you guys in our future courses.