Adobe Photoshop Masterclass: Mastering AI for Real-World Design

1. Introduction: Well, hello there. So, you know how Photoshop has always been this magical place where you can make stuff look way better than real life? Well, it just got even more magical. Say hello to AI, and no, it's not going to take your job. It's actually your new design side kick. My name is Tom, and I've been a senior graphic designer and art director for the past 15 years. The privilege of working on some of the coolest brands in the entire world, including Pokemon, Marvel, Bally Sports. And now I want to pass on a bit of what I've learned to help you get ahead in your creative career. Now, let's get back to Photoshop. With just a few clicks and a little prompting, you can remove objects, expand backgrounds, and generate creative elements. Basically, you can make your designs look like you've spent absolute hours on even when in reality, you did not. And let's be honest, design can be an incredibly fast paced industry. So saving time and working more efficiently won't just help you to make more money, but save you hours from the tedious side of design and free up your time to be more creative. In this class, I'm going to be showing you how to use Photoshops AI tools to create real world graphics. Things like social posts, ads, product showcases, portfolios, even wild creative composites, all while having a little fun along the way. By the end of this course, you're going to be designing like a Photoshop Pro with AI as your trusty companion. So grab your coffee, fire up Photoshop, and let's see what kind of magic we can create together. 2. Welcome and Photoshop UI Overview: Alright, we are finally in Photoshop. But before we jump into the really fun projects ahead, let's make sure that Photoshop is set up and that you're comfortable with the tools that we'll use. Now, the very first thing that I want you to do before we even open a file is to make sure that Photoshop is updated to the latest version. We can make sure that we are completely up to date by going into our Creative Cloud desktop app. Go over here to updates, making sure that everything is up to date. Now, if yours is not instead of open here, you're going to see update now. So make sure you update and you will be good to go because we are going to be using some of the newest features that are within Photoshop. So make sure you're updated. Also, make sure that you download the class resources. They're attached to this class, so just download, extract to a good location, and you're going to have all the files that you'll need for every single project in this class. Finally, before we really dive into Photoshop, every single font that we're going to be using today is available on Adobe Fonts. I'm going to make sure to put on screen every single font that you're going to need, so just follow the next couple of steps to install each one. I'm going to demo with one in particular that we're going to be using that is called Benton Modern Tech. All you're going to do is going to go to fontstb.com. Simply here in the search bar, you're going to type in the font that you want. So ours is called Benton Modern text. So this is the one that we want right here. You're going to click that. It's going to take you to the font page, and I already have mine installed, but if yours isn't, I'm going to remove it. So there we go. We can do this together. And then all you're going to do is add family. And that's it. It's going to be within Photoshop and within every single Adobe program that you have ready to use. And when you install the family of fonts, you're going to usually get more than just one version. So as you see here, we have Roman, we have Italic, we have bold and bold italics. So that's going to bit of extra flexibility and creative freedom as we use these different fonts. So when you first open up Photoshop, you're going to come to this home screen here. There are a lot of things here. You can immediately start something new. You can see some of the latest features that Photoshop has to offer, and you can jump right back into some of your recent projects. What we're going to do today, we're just going to go ahead hit New file, we're going to open up a document that is 2000 pixels by 2000 pixels. File is not going to be used for anything in particular. It's just for us to get into Photoshop. So we're not going to change anything else, and we're just going to click Create. And with that, we have our first Canvas. Now, your interface might look different from mine. Every designer likes to have their Photoshop set up in a different way, and I'm going to show you how I have made mine look like this. Now, when you first open yours up, yours might look something like this. I'm just going to go ahead and reset essentials. It might look like this. This isn't necessarily going to work too well for what I want. So first thing that I'm going to do is on the right, I'm going to drag properties right over here. I don't need to have that always open here. Next, we're going to go over to adjustments. I like to have that in this view. A new version of Photoshop does have a modern view, but I feel that takes up too much space. I don't like to have to scroll through any of these adjustments. So I just go ahead and make that into the classic view, keeps everything nice and small and organized. And when you're designing things, you want to stay organized. Next, I like to keep my layers, channels, and path right where they are. Sometimes they will default down to the bottom here, but just keeping your layer tabs here is going to be great for navigating through your file. Now, on the left hand side, you might have noticed I had my brushes out here. Now, if you use a drawing tablet and you're using multiple brushes, it helps to just have them out here kind of like a painter has their palette out. You can just switch between brushes, jump from one to the other without having to go over into your brushes, going to this drop down and trying to find what you need. So how do we get that? Well, we're just going to go to windows. We're gonna go to brushes. And we're going to drag that over until you see this little blue line appear, and there you have it. Now, if you're only having one column here, that might mean that you're a little bit too narrow. So you can just drag that until you have two if that is what you like. I like to have mine sorted out to have two columns. And then I can easily go between brushes. I can go from this brush. Over to this, pick something else. And it's a very easy and efficient way to get between your brushes. And with that, we have our basic interface setup for how we will be using it in today's course. Now, whenever I'm going to use any key or control, I'm going to make sure to put it on the screen for you for both Windows and Mac users. For example, if I have multiple layers here and I'm going to want to group them together, I might say something like, we're going to press Control or Command G to group them together, and you're going to see it on screen. So that should help both Windows and Mac users stay on top. Now, we're here to talk about AI, aren't we? So what are the AI tools that we're going to be using today? The very first one you might actually already see on your screen. It is right here in the very center, down at the bottom. This is the contextual taskbar. And if you don't see it, you can easily enable it by going to Window, and right at the bottom here, you will see contextual taskbar. Make sure that's checked, and that's going to be down here. Now, the contextual taskbar, as the name implies, it changes what it is based on the context of the image. Sometimes it'll give you the option to generate the image. Sometimes it'll give you the option to select a subject in the image. And as you will see later on, there'll be many other options that show up. This is a very dynamic and adaptable contextual task bar, and we're going to be using it very heavily. Another AI tool that we're going to be using quite heavily today is going to be up here under filter and neural filters. Now, a lot of these neural filters are using AI to completely change images. You have several options here. They're called filters, but run on AI and really change up your images and give you some very unique options to design. We're not going to use every single one of these today, but just so you can be aware, there are several that you have here. Work on portraits to smooth skin. You can adjust portraits, make people happier, sadder, older, younger, give them thicker hair, change the direction off their eyes, and even give them different expressions. So you can really have fun with this. If someone isn't looking in the right direction in a photo, you can fix that. We can also transfer makeup from one image to another, one person to another. We can switch up landscapes. And as you see, some of these are in Beta, so they're not going to be perfect, but it's getting better with every single update. Then we have style transfer where you can transfer the style of any image, any photo, any artist to your own graphic. Be really cool. You can get some really cool effects of that. Next, we have harmonization where you can harmonize the color and luminosity of one layer to another layer to make a flawless composite. So as you can see in the little thumbnail image there, we have the image of the model with the autumn background, and it matches up the colors to have nice harmony. Next, we have color transfer, where you can transfer the color from one image to another. We have colorize where you can colorize an old black and white photo, which I've done this myself for some of my old family photos. It gives some really cool results. We have Super Zoom. If you need to zoom into an image, there's not enough detail, this will zoom in and enhance those old TV shows where they tell you to zoom in and enhance. Yeah, you can now do that. Next, we have depth blur, if you want to artificially add in some depth to an image, create some very moody type of looks with your photography. This can be a really nice effect. Next, we have the JPEG artifact removal tool, which is really good for clearing up images that have artifacts from the JPEG compression. That can happen when you're saving images as JPEG or shooting in JPEG, you'll end up having this noise that is in the image, and this just clears that up. And last but not least is photo restoration where you can quickly restore old photos with the power of AI. Imagine combining this with colorize. You can go from a scratchy old photo to a nice colorized clean photo. It's really cool what the AI does, and it does all of this within seconds, and we're going to have a lot of fun playing around with this. And a few quick notes on this neuro filter section, you will have to download each one separately, and they're different sizes. So this one is 768 megabytes. Some of these other ones are smaller, as you will see. This one is 326. So whatever we're going to use today, just make sure that you download and it'll take just a few moments to download and we'll be ready to go. And as I mentioned, Photoshop is always growing, always developing, always innovating we do have a wait list for some of the upcoming neuro filters that are going to be in here. We're going to have a portrait generator, we're going to have water long exposure. We're going to have a shadow generator, and a noise reduction generator coming very soon, and I'm very excited to see how those come out. So in future AI classes, we will most certainly be covering these once they are out. Now, I've gone ahead and opened up one of the files we will be using later on in the course give an example of another part of AI that has now been implemented into Photoshop, and that has to do with selections. So there are a few ways now the AI has integrated with selecting an image, a person, an object. And one of the ways you can see right now down here in the contextual task bar, it has changed from what it was just a moment ago. We can select the subject. We can remove the background entirely with just one button click, and we can adjust the colors. Now as you see, I've put another layer below this one, that is gray just so we can see the effect of this. So I'm going to ahead and zoom in with Z. Just a little bit so we can see more of our image. And let's go through these very quickly. So you can just do select subject. It's going to take a quick moment, and there you go. It's already selected. And with that, you can go ahead, mask it out and you have something you can work with. You can refine that later on if you would like. And that was just one click. Now, what else can we do with that? I'm going to just control or Command Z to get back to where we were. Let's go ahead and click Remove Background. Again, you just click the button once you get Photoshop just a second. It took less than it took me to finish that sentence, and it has done what I just did before and cut out our shoe and masked it out. So now we can play around with this. We can refine the edge if we would like. And as you see, the contextual task bar has changed now yet again. We can generate a new background. We can import a background, and we can do a whole lot of other things. We can fill, change size of our brush, and so many other options. We can also adjust the color. So if we click this, it's going to add a hue saturation layer over here on the right. And what we can do here is we can just select one of the colors here. Let's go with one of the greens and change that color. As you see, there's a little bit of green right here in the center of the hue. So if we wanted that to be more of a blue, let's say, the campaign or whatever ad we're working on wants this to be a deep blue. There we go. We have gone ahead and changed just that part in one click. That took me what, a few seconds, and it is ready to go, ready to edit, and you can continue with selecting the subject, removing background, and working with your object. So we will be getting more in depth into this object selection later on in the course, but I wanted to show you how that's been integrated down into the contextual task really made life a lot easier. One thing I like to emphasize to all my students is to always work non destructively. We want to make sure we always keep our original image that we can go back and edit anything that we need to. So always work non destructively. Now, what does that mean? That means having proper layers here in the layers tabs. Want to make sure that we're using masks, that we're using adjustment layers, and as much as possible, keep your objects as smart objects. Now, I'm just going to show you an example here. Going to duplicate our shoe that we have. And what I'm going to do is right click, and we're going to just convert to layers. We're going to say yes. And now this is no longer a smart object. Now, the difference between these two is this. Let's say on a smart object, I want to blur this image for whatever reason, I want to blur this. So let's hide our non smart layer here, our shoe copy, and on our smart layer, let's blur this. I want to blur this shoe. So we're going to go to filter, blur, Gaussian blur. And I want this to have a 9.6 pixel blur because that's just what I want. Okay, cool. And now I'm working, I'm working. I have other layers going on, and I want to go back and change my mind. I don't like that 9.6 pixel blur. Because I'm using smart filters because this is a smart object, I can go back non destructively. The original image is still there, and I can adjust this all the way back to zero, 0.1, in fact, I can delete the blur if I want to can adjust that. Let's say I want this to be even more intense. I want this to be now 23 blur. There we go. So I can always go back to the original, always edit that. But what happens if it's not a smart object? Let's take a look at that. So now we're on our shoe copy layer. We're going to do the exact same thing. We're going to go filter, blur, gausean blur, and we're going to do the same thing. I want to have a 9.6 or ten pixel blur. Okay. Look at that. There is no smart filter applied to this. This has permanently altered the pixels of this layer. I can't do anything with that. I cannot toggle the blur on and off. What I can do is control or Command Z to undo that. But there is a limit to how far you can control or Command Z in Photoshop. You can change that in the settings. I believe I have mindset to a 20 or 25 step history. So anything beyond that, I cannot recover. We always want to use smart workflow practices, making sure that we work non destructively. A alteration that we do to our image, we want to make sure it's an adjustment layer that we can clip to that and we can adjust whilst preserving the original layer below. This is especially important whenever we're working with AI, generating new parts of images. We want to make sure that we are keeping our original so that if we ever need to go back, generate something again from the original image that we have that original image. As you're going to see in some of the upcoming parts of this class, I'm going to keep a copy of the original graphic at the bottom of my whole file so I can go back there at any point to start over if necessary. And lastly, with smart workflow practices, you want to make sure that you name and organize your layers for clarity. You don't want to be stuck with hundreds of layers over here. Nothing is labeled. Everything is all over the place, and you're just confused. This is going to be shown more in the upcoming parts of this class, but we're going to definitely utilize folders, colors, naming conventions to make sure that we stay organized and keep our workflow running smoothly. Next, we're going to talk about prompting tips. So what are prompts? Prompts are what you type in when you generate an image or alter part of an image. And it's important to keep certain things in mind because we have a limited amount of generations that we get with our Photoshop plan. Now, if you have a very basic photoshop plan, you're going to have about 500 generations you can do every month. So we don't want to be wasting them using poor prompts and generating images that we're not really going to use. So let's go over some prompting tips that are going to be very helpful for this course and for any future AI generation that you're going to do within photo first and foremost, be clear and descriptive. Don't just say dog. Say a golden retriever puppy sitting on a wooden floor in natural sunlight. The AI generally needs context. So think subject, plus setting, plus detail. So I'm going to use up some of my monthly tokens just to show you this example. So let's go ahead. Let's click Generate Image. And this is what happens if I just type dog. We're going to go deeper into the UI of this generation panel here, but for now, let's just type in dog. We're not doing anything else, and let's generate. What happens? Photoshop is going to take a second here. It's gonna generate us a nice dog. It's usually going to give you three variations that you can toggle between. It might be something good. It might be a good option. But look at this. We have kind of iconography. This isn't necessarily what I wanted. I just gave it the word dog, and this is what it gave me. So let's go ahead and let's try that again. So let's go ahead and give a little more context and try to get a golden retriever puppy sitting on a wooden floor in natural sunlight. Shall we? So we're going to toggle this off. I'm going to keep that there just so we can see what happens. And now you see the contextual taskbar doesn't show you generate. How can we get back to our image generation panel? We're just going to go up here to edit and down to generate image and voila we are back. Now I'm gonna type right here, we're going to go a golden retriever puppy, sitting on a wooden floor. In natural sunlight. Let's go ahead and give it a little bit more context. I want this to be a photo. I want to be able to maybe use this in an ad or a social media post. And we can also use a prompt inspiration. So you can look through this, try to get a little more specific in what you want it to look like. Going to see if there's anything that looks like what I'm envisioning. And if there isn't totally fine. This is just kind of a jumping off point, but it doesn't look like there's anything there. Look at effects. And here you have different things. We can have it be three D, acrylic paint, anime, Bohemian. Take your time to look through this because there are a lot of different effects that you can choose here. I generally tend to stick to very minimalist type of things. I'm going to go ahead and do minimalist, and let me see if there's anything else that jumps out at me that would look very good. You can get very nice stylistic options here, such as yarn, a wood carving, but I'm going to stick to minimalist. And I don't think anything else is jumping out at me right now, so I'm just going to keep that very simple for now. So now you can also have a reference image for a style. If you have one, you can pull it in right here if you've downloaded off the Internet. And they also provide you with a couple of examples for the style. But I'm going to skip this for now. I want to see what Photoshop does by itself when given a little bit more information. We're going to leave that alone. And same thing for composition, we can choose an image if we have one to give as a reference for the composition or choose something from what they have here, but none of this looks very relevant right now. So let's go ahead and click Generate now that we've provided a little bit more detail to Photoshop. So we're going to click Generate. We're going to give that just a few seconds as we watch that loading bar go across the screen. Look at that. We have something that is definitely closer to what we want. We have a nice little golden retriever puppy on a wooden floor in the sunlight. This is ready to use for some type of ad, for some dog food or some vet doggie daycare. This is definitely usable generated art. And like I said, you're given three variations with every generation here. So you can look through, I would say the second and third are far more usable than this first one, but that may differ for you. And because of the nature of Photoshop, these three images that are generated will be entirely different for you than it is for me, than it is for every other student that does this class. And if we see here as an example, by just giving dog, this is what we had, and we can still toggle through the variations. And when we gave more detail we got something that was a whole lot more usable. And a great practice with Photoshop, if you want to keep your file sizes down, once you find a variation that you like and you really don't want to use the others, just hit this trash icon over here and delete them. Delete them from your file, and that'll make the file size a lot smaller and just better for file management. It's going to be better all around. The next prompting tip is to use style keywords. So you can use adjectives or genres to guide the result, such as surreal minimalist cyberpunk, photorealistic, painterly. This basically helps the AI know how to interpret the subject. One thing that you could say is instead of just asking for a city street, you can try saying a futuristic cyberpunk city street at night with neon lights. It completely changes the mood. So let's go ahead and let me show you that really quickly. We're going to go to Edit, go generate image, and right off the bat, if we just type in a city street. No style keywords, nothing else and generate it may generate something usable, but like I said, it's not going to be very specific to what I want it to be. There we go. We have a nice city street. This could be usable depending on the context, but this isn't exactly what I want. So let's go ahead and use some style keywords. So we're going to go ahead and turn that off. We're going to go to edit, generate image, and now we're going to go a futuristic cyberpunk city street with neon lights. And what we can do I want this to be, again, more photo style as opposed to art. And under effects here, this is where we can actually start using this a little bit more because here we do have one that is cyberpunk. So we can go ahead and click that. And let's keep scrolling down. And you're going to see we have one here called futuristic. So now we have futuristic and cyberpunk reinforced with this effects panel. That is fantastic. So keep going down. Style. I'm going to keep it as it is. I'm not going to put in any other style here or composition. Let's generate. Can we get something that is more in line with what we want, a futuristic cyberpunk city street? And look at that. We have a futuristic cyberpunk city with neon lights. This is definitely usable for multiple contexts. I can see this being used in many places. The next step that I have is keep it concise, but intentional. So super long rambling prompt don't really work well with Photoshop. I'll get too confused with all that information. So just stick to the short, punchy phrases. Like I said, a good rule is a subject, plus a style, plus a detail. So in the context of this, we have our subject, which is the city. We have our style, futuristic cyberpunk, and we have our added detail with Neon Lights. And Photoshop was able to create exactly what we wanted with three very cool variations, which we can use in some very cool places. The next tip is something that I've been showing you with every single generation, and that is experiment with variation. As you see, with each generation, we get three variations, and you can keep going. Let's say these three are close but not exactly what I want. I can generate. Again, it's going to generate a new set of three variations with the same prompt, with the same setting, and it might give you something that is better than what you originally had. So now we have another set of three. And as you see, now we have six variations to look through. You might find that this new set of variations are better and you like this one, and then that's what you go with. Alternatively, you might like two of these variations that you want to explore for your design. So now I can use this variation for one design and pull in this variation for another. I can do a little bit of AB testing to compare two different generations. The next tip is to use negative prompts if needed. So what does that mean? So basically, Photoshop's generative AI tool can even let you guide what not to include? So example of this could be a clean product shot of a watch with no text, no people. So you specify that. You don't want that. It helps to avoid unwanted clutter. So let's go ahead and do that. I'm going to show you. So we're going to go to edit, generate image, and I want a very clean a clean product. They watch. No text, no people. And that's all I want. And I'm going to add in minimal minimalist style, okay? I want this to be a photo. And for this, I might even have something that I can reference here for the prompt inspiration, but maybe not. And that's totally fine. But it's always worth scrolling through this because it can help. And what we're going to do here, we're going to go all the way down to minimalism. And I believe that is going to be all. Let me see if there's something for products does not look, product photo, there you go. Just thinking of it means it might exist. So now we have product photo and minimal, and we've specified no text, no people. We're going to keep the style and composition as is. We're not going to put anything into that, but might do a quick glance through it. Nothing is jumping out at me as working. So we're just going to go ahead and hit generate. So using negative prompts can really help you avoid the un clutter, sometimes you have these extra artifacts, extra people, extra objects, and you don't need it. And look at that. We have a clean product shot of a watch, no text, no people. We have three options, and that is fantastic. I would rock any of these watches any day. And one thing that I'm very impressed with for this generation in particular is the shadows on every single one of these. It is really good. Is it perfect? Maybe not, but it is very good, very usable and fantastic for any product related shot. And the final tip in terms of prompting is iterative refinement. You run the AI again on a result you like. Basically, you add or remove details to really hone in on the image that you have in your mind. So let's go ahead and do something for this image to build it up a little bit more. What can we add to it to refine it? Now, we can see that the colors here are very pastel, very muted, and we have a pink. This is a very muted pink, almost a beige color, and then we have a peach. So I can specify here that I want it to be let's say I want to be rugged and dark blue. Let's go ahead and do that and hit Generate. We are refining our generation, iterating on it, adding to it. We might remove from it and see if we can get something that's a little bit closer to what we would like that is more suitable for this brand. And as you can see, we have three new generations here. This is definitely a more rugged, some might say more manly here of generation here with the dark blues. I definitely like this image, and we can keep iterating on it for on and on and on. You can remove what you don't like and hone in to the exact image that you need. Think of it as treating the generation kind of like sculpting. So each pass, you can add or subtract details until you get to the image that feels right. But don't forget you do have a limited number of generations with Photoshop unless you pay more. So be very smart with what you generate and how you generate it. And that's going to do it for a brief overview of Photoshop of the user interface and of what AI tools we're going to be using in the upcoming parts of the class. Don't worry. You don't need to know and master every single tool that we've used in this particular demonstration here. But as we go on through each part of the class, we're going to dive deeper into each part of it. You're going to grow more comfortable, and you are going to be creating some fantastic things. So now that you're comfortable with the Photoshop environment and with the basics of these generative AI tools, let's move forward to the next part once you're ready, and we're going to be creating a social media post. So let's keep moving forward. 3. Project 1 - Social Media Post: Okay, so now we are ready to actually start making stuff. Now is the fun part, and we're starting with project number one, a social media post. Now, the main goal of this post, just to keep a general theme and idea in mind, is we have a new coffee company. They've approached us and they have a new brew that is coming out, a new flavor, and they want you to showcase that in a very cool, very fun social media post. And the theme for them is a Viking Nordic inspired brand. So that is a context behind this social media post. Let's go ahead. We're in Photoshop. Let's go ahead and click New File. And for most social media posts on Instagram, especially, you're going to want something that has a width of 1080 and a height of 13 50. This is going to give us a four to five ratio, which is going to be fantastic for viewing. We're not going to change anything else here. We're going to keep resolution at 72 pixels per inch. We're not changing the color mode or anything else. Let's just go ahead and click Create. And there we go. We have our file ready to go. And we see we have our layers over here on the side, and we're just going to go ahead and jump right into so first thing that we're going to do is we're going to import our starting image which you should have downloaded and should be in the very first labeled folder. So what you're going to do is you're going to go to File, Place Embedded, navigate to the class of resources. Project one, I'm going to go ahead and click this coffee mug. Let's hit Place. And let's change this up a little bit. I'm going to shrink this down because we're going to use AI to generate the rest of this image. So let's go ahead. I kind of like that as it is right there. Might bring it down like, so something like this. So let's hit Enter. And when you place it, it places it as a smart object, and that is exactly what we want. Now, right off the bat, what we're going to do is we're going to hit Control or Command G. It's going to put this coffee mug into a folder, and we're going to double click that, and we're going to label it original image. This is going to help keep us organized. If we ever need to come back to the original, we have that. Now, another thing that is helpful is if you ever want to have the middle of your image, the midpoint, making sure everything is centered, you can just click on this ruler, drag it out to the middle, and it should snap as you see it snapping there, and then we have that. You can hide that by Control or Command colon. I'll hide it or show it. And if you don't see your ruler here, you can just do Control or Command R to make it visible or invisible. I like to have mine visible. And sometimes I like to have the midpoint line going through just so I make sure nothing is off balance. But for the time being, I'm going to hide that. I'm going to bring back our original image and keep moving forward. All right, so let's start generating some parts to our image. So first thing I'm going to do is make sure I have our image selected here. And what we're going to do is just Control or command. Keep that hell down, and we're going to click on this. So now we have our image selected. And next, I'm going to do Control or Command I to invert that selection. So now we have this white section selected. I want to fill that in with something. So what I'm going to do is generative fill, and I'm just going to hit Generate. I'm not going to put anything in here. Photoshop is smart enough to recognize what is in here and it's going to generate something that matches that. So I just want to extend my image using AI just to have more of an environment. So let's hit Generate. Give it a few seconds to give us a couple of variations, and then we can see what is going to work. And there you have it. We have three options. You can click through them and choose whichever you like the most. So I do like this one the most, I think, option three. So for the time being, I will keep these others, but feel free to erase them if you do not want to keep them. And by default, this may have gone right above your coffee mug layer, but let's drag that out of that folder, okay? We don't want that in there. And next, we want to do a couple of other things. I don't really like this leaf sticking out here in the middle of our image. So what I'm going to do is hit L on the keyboard to get our Lasso tool, and yours might be on a selection brush or polygonal lasso tool. So if it's not defaulting to just the regular Lasso, just click and hold down here. Go to Lasso. And we're going to do a general shape around this making sure we have the full leaf, and we're going to hit generative fill, and I'm just going to type remove this leaf plant and hit Enter. What I want to get from here is just this blurred background, this bouquet effect, just to replace that. I don't want any leaf there. And let's see what Photoshop generates for us. And there we go. We have a couple of options here. I would say, this option here is the most usable. I'm not the biggest fan of this leaf here. So I'm going to do is draw another lasso over this. And again, I'm just going to type remove leaf. Hit Enter. And this is what I was talking about in the previous part of iterating on your edits. Just refine it. Tell Photoshop what you want. I don't want this leaf. I do want this leaf and see what it does for you. And there we go. It is gone. I don't even need to look through the other options, although I could. But this first one is fantastic. So the next thing, I kind of want an extended blurred leaf down here. I think that might give a little bit of a better balance down here. So let's go ahead and draw in a general leaf shape. And I want a blurred leaf in the foreground. So these are very basic and simple prompts that I'm giving the generative AI here because it's just a very simple thing that I need added. But this would take me several minutes to just find a good leaf or copy and paste something in. And let's see. We have a couple of options here. This third one. Let's see. This first one is actually something I will go with. So just extending that blurred leaf just a little bit to refine what we want. Now, this coffee mug is looking a little bit empty. I would like if it was a little bit more full. So we're just going to drag here wherever we want coffee, generative fill, and I'm just going to say, full mug of coffee. Because that's a little bit empty. We're trying to sell this coffee. This is a very cool coffee. Very delicious. I want the mug to be full. And let's see. We have a couple of nice options. I like this last one, actually. That is very nice. The edges here could be cleaner. I could generate another version, but I think I'm going to go with that. And now, lastly, I would like a little bit of steam coming off of the coffee. There's a little bit kind of over here. But let's just draw in kind of a shape of where we want some steam. And I'm simply going to write in steam coming off of coffee. Let's hit Enter. And as you see, we have a couple of options here for the steam. I'm between option one and option three. Let's go with option three. I think it has a nicer shape. So now that we have all of our AI edits done, click on the topmost, this last steam layer, pull down shift, and click this lowest generative fill layer that we have, and that should select every single one of them. Now that we have all of them selected, we're going to hit Control or Command G to group them together and double click on the name here, and we're going to label this AI generation. So now we've gone from this original image to this one just by using a little bit of AI and telling Photoshop what we want. Very simple, right? So, next, I want to add in a little bit of color correction to our image as we start to refine it even more. So the first thing I want to do is add a brightness and contrast layer, and let's bring the brightness up just a little bit. We're going to go up to ten, bring the contrast up ever so slightly. So we just bring in a little bit of extra brightness. You can toggle that on and off by clicking this I icon over here. Next, we're going to hit this curves layer. We just want a nice little S curve. So we click and drag this part down just a little bit, and we're going to click this upper part and drag it up. So it's creating a nice gentle S curve, and that's going to bring our highlights up, bring our shadows down, and just add another extra little bit of depth to our image, make it richer and nicer as we try to sell this delicious coffee. Next, I want to add a little bit of a vignette to this image. And there are dozens of ways that you can add a vignette to an image in Photoshop, and I'm just going to show you one of the ways that I do it myself. So what I'm going to do is I'm going to hit brightness and contrast, and I'm going to bring that all the way down. Minus 150 contrast. Let's bring it up to plus 85. That is completely fine. And doesn't look amazing. No, it does not. We're going to hit G on our keyboard, and that should bring us our paint bucket tool. And we're going to paint this mask layer here with black. If it's not already black, just hit D on your keyboard. I'll default the colors to white and black and then hit X to bring black to the forefront, and we're going to paint that away with the paint bucket. And now I like to have control over my vignette, so I zoom out a little bit. And then I hit B on my keyboard to get into my brushes, and I just want a nice soft round brush. The default brush is going to work totally fine. And we're going to make the size of our brush about 400. I'm at 390, and we're going to bring the opacity down just to about 10%. We're just going to paint on very lightly. And we're going to hit on our keyboard so that we have white in the foreground layer here. So now when you paint in white, you see we're painting in a little bit of a vignette. And if you have a drawing tablet, you can use that. No problem. That might make this a little easier, but using a mouse is completely fine, as well. Now, you might find as you paint on here, you might accidentally click on something on this contextual task bar. So what do you do? You can simply click these three dots and just simply hide bar. So now I can paint down here, and I don't have to worry about clicking any of those buttons and doing something that I don't want to do. So now we have our little bit of a vignette, bringing the eyes in here into the coffee mug itself. But now I want the coffee mug itself to pop a little bit more. So let's zoom in and now I'm going to do a brightness contrast again. Again, I'm keeping these edits very simple so anyone can follow along. And we're going to bring the brightness up to about 30 ish. Let's go ahead and do that. And we're going to do the exact same thing. We're going to hit G, make sure we have black as a foreground, and we're going to paint that away. And we're going to hit B, get our brush back. And this time, we want to make that a lot smaller. Maybe let's go 74. And let's go ahead. We're just going to paint with white. Make sure white is in the foreground. And we're just going to paint across all here. Now, for this particular case, I might bring the opacity up to about 30% so we actually see what we're doing. And I want to paint over this white part of our image, maybe a little bit on the handle, a little bit on the inside, and a little bit on the highlight of the coffee itself. And it might not look like it's done much, but if you go ahead and toggle that off and on, you'll see that we've added just a little bit of pop to our image. And if you ever want to blend that in nicely, if you hit B, go back to black, you can paint back in that darkness here. So if we want to paint in a little bit of the shadow of the mug from the original image, we can have that in, and there we have. A little bit of extra emphasis on the mug itself. So now that we have these color corrections done, again, make sure you have the top layer selected. Shift click down to the slowest one, the brightness and contrast, and we're going to do Control or Command G to group those together. And we're going to label this one simply color correction. It's not so much color correction as it was brightness adjustment, but it gets the idea across. We've enriched the colors very nicely. Next, we're going to start to build up more of the text in the image, and we're going to start with a nice little logo for our coffee brand. Now, you're going to have this within your resources that you downloaded. So let's go ahead and do File, Place Embedded, and we're going to place in this Norse glyph. Just click Place, and we have that in our image and hit Enter. And this isn't too usable right now, is it? But I picked this one because it is very similar to the glyph that is on the mug, so it's going to work for this lesson. What we want to do here is we want to invert this image. We want what is white to be black and what is black to be white. So we're going to do that very simply by going up here, we're going to go to image. We're going to go to adjustments, and we're going to go down to invert. And as you see, you could also do Control or Command I, but I'd like to show you multiple ways of doing things. And you can toggle that back and forth, Control or Command I, and we are back to this. So what we're going to do is we're going to go here where it says normal, and this is going to adjust the blending mode. So the blending mode changes how this layer interacts with the others. Is it going to hide the dark parts of the image? Is it going to hide the light parts of it? How are the different colors going to interact? So what we're going to do for this particular one, as you scroll down, it's going to change and give you a preview of what each one does. But what we're going to do is we're going to go to this section here and we're going to go with screen. So now, as you see, all the black part of that is gone, and we're left with just this logo. So now we're going to hit Control or Command T, and it's going to say any smart filters that are applied will be turned off temporarily. That is totally fine. And we're going to make this nice and small. We're going to bring that to about that size, and we're going to bring this down here. Something like that. Hit Enter, and let's zoom in on our little logo here. Now, I want to type also some words around here, and I can't exactly do that in this current context. So I want to have a shape here that I can work off of. Let's go ahead. Let's hit U on the keyboard. That's going to go into this shapes section where you can draw rectangle, ellipse triangle. And by default, for me, it went to line. So I clicked and held down, and I want to go to an ellipse. So I'm just going to hold down Shift, and that's going to create a perfect circle. And we're just going to have a random shape here just so we can see what we're working with. I'm going to give it a fill color. You can feel free to do the same. I'm just going to drag that to be around where we have our logo. Now, it's a little bit small, so I'm going to resize that with Control command T and hit Enter. So why did I do this? So I want to make sure that I type the company name going around this circle here. But if I were to hit T on the keyboard to type and I start typing, it's not going to adhere to any circular shape. So by having this ellipse here, the circle, and I have the text tool selected, when I hover over that, you see the icon changing. When there's a dotted circle around that eye, you're going to see that it's going to type within the shape. When I hover over that outline, that changes to that dotted squiggle, and that means the text is going to go around the shape. So let's go ahead and click. And look, we have fun and text going around the circle. And I just want this to be simply called Nordic Coffee, C. That's all I want it to be, but I can't really see that. So I'm going to hit Control Command A, so I can highlight all of that. And let's make that white. It's going to pop better. And next, we don't need this ellipse here anymore. We're done with it. So for now, let's just hide that. And let's tweak our text here a little bit, okay? So we're going to make sure we have T selected, our text tool. We're going to click in here. And I want to change some of the settings here. So we have the properties up, and as we do Control Command A to select all of our text, we can adjust the tracking for our characters. So as you see, that's going to change just the spacing for everything. And I don't want it to go around the whole circle, but I would like it to be somewhat semicircular. That is about semicircular right there, and just go ahead and hit the check mark. But that still doesn't look good. It's offsite. It's not centered. It doesn't look good. So next we're going to hit Control or Command and you're going to have this bounding box where we can now rotate our image. So I would need to rotate this about 90 degrees plus a little bit more. So holding down Shift, we've gone 90 degrees. You can hit Enter and it'll update, hit Control or Command T again. And let's go another additional 20 or so degrees. That's almost there. You might have to play around till you get the exact right one. Now, I want there to be a little bit more space between the text and the logo. So I'm just going to go back to the glyph itself, hit Control or Command T, and just make that slightly smaller. Hit Enter, and then bring that in so it's nice and snug. So we now have a nice little handy dandy logo lockup just to make this look a little bit more professional. We can then also go ahead and delete this ellipse layer completely. And with the nordic coffee co text selected, we can shift click down to the glyph, and as we've done all along, Control or Command G. And let's rename this to logo lockup. So there we have logo. Lockup. There we go. Now, I want to have the main text of my image. So let's go ahead and create our coffee brand here. So just hit T on your keyboard. We're going to get our text tool and just click and we're going to come up with a name for our new coffee drink. And I'm going to call this one Odin's. If I can type, I'm going to call this one Odin's space Brew. I'm going to hit the checkmark there. And let's bring this out into the center here so we see what we're working with. And just so you are aware I'm using the font, freight Sands, Pro and the black version of that. So make sure you have that downloaded and enabled through Adobe fonts. Now I want this to be a little bit bigger than it is. So I'm going to hit Control or Command T on here and just drag that until it's at a size that I like. Want that to be somewhere up here. There we go. And as you see that little line down the middle, that means that it is centered, which is fantastic. So let's go ahead and do that. Hit Enter. Lovely. Next, I also want to make sure people know that this is a new brew that we have. We're launching this. This is new. So let's hit T on our keyboard again. Click up here and let us type New. This is a new drink that we have going on. I'm going to keep the same freight sense Pro font that we had before. But what I'm going to do is I want to make this be italic. But if we click this dropdown here, we'll see that this freight sense Pro only has one type. So how are we going to remedy? Very simply. We're going to click Window, and we're going to click character. And now we have a new section over here, and this is going to give us some very cool options. We can change a lot of parts of our font over here. But the one I'm interested in the most is this one right here that is going to italicize any font. As you see there, it says Fo italic. So we're going to click that and look at that. We have a fake italic. And I want to change the color of this. I want it to pop a little bit. So we're going to hit color, and I've already pre selected color before. This is a hexadecimal value. If you want to copy that in, it is A five D F ten. And we're going to hit Okay, it's a nice, earthy green color. And we're going to make sure we move this to be centered as well, right there. And it's a little bit too big, so let's go ahead and hit Control or Command T. Transform. And we're going to make that quite a bit smaller whilst keeping it centered, and just have that live up there. Now, I want to have a little bit of extra flavor text down here, something to give more of to the image, let people know what they're getting. So I'm just going to start typing in three words here, okay? The first word, I want to be strong. But look, this is now exactly what it was before. I don't want this to be italic. I don't want this to be necessarily this font even. So what am I going to do? Before I even do the other two words here, I'm going to undo this italic, and I'm going to change my font to one that is called Abolition regular. That is also a creative cloud font, so just enable that, and you will be good to go. So now that I have that font, I'm going to make that a whole lot smaller. I'm going to pull that it over here for now. And I want this to be the exact same size across the board. So I might even make this a tiny bit smaller. So if I want to duplicate this, I'm going to hit Control or Command J once and twice. And as you see here, we have two copies now. So I'm going to hide the original strong and the top one. And I'm going to hit T on the keyboard to get into my typing tool. Click on here and I'm going to call this ancient. This is a very old time ancient recipe for coffee. Now let's hide that. Next, we're going to re enable this strong copy two. Again, with a text tool, we're going to click in there, Control or Command A, and we're going to rename this Earthy really drive that idea home. This is very natural. So we want to have that there. So now we have three words. We have strong, ancient and Earthy all in the same space. So what I'm going to do is on Earthy, I'm going to hit Control or Command and just drag that all the way over here. I want that to be living somewhere here. And ancient, make sure you select Ancient Control or Command and we're going to bring that somewhere over here. Now, how do I know that all these three are equally spaced apart? Well, we don't right now. So what we're going to do is click Earthy and shift click down to strong so we have these three selected. And right up here, as long as you have pressed V so that you have your move tool, going to click this button here, and it's just going to equally space all of them. There you go. As you saw, it moved ancient around, and that is fantastic. But now, is this centered in my whole image? Well, let's find out. Let's hit Control or Command Colon, and that is where our center line is, and it doesn't look like we are exactly centered. So with these three still selected, we're going to hit Control or Command and we're going to bring that over ever so slightly until it is centered. Fantastic. And we're going to hit Enter. Very nice. But now I want to add another little element to our image, and that's just a little bit of a line between these words just to give it a little bit more grounding and better spacing. Again, there are many ways you can do this. You can simply use the line tool, or I'm going to show you another method is just using the Marquee tool. So you're going to hit M on your keyboard, and it's going to let you draw out a little shape. I've drawn this little rectangle, and if you hit G on your keyboard, we're going to fill that in with white. So make sure you have white selected here and on a new layer by clicking the plus down here, we're going to fill that in and then hit Control or Command D to deselect. Now this is a little bit too thick for me, so I'm going to zoom in. Hit Control or Command and I'm going to make that just a little bit thinner. I just want a little bit of a line there. Hit the checkmark, let's zoom out. Yes, that is a lot better. Now, sometimes in design, you may have to eyeball things. And in this case, I'm eyeballing that this is centered between here and here, that there's an equidistant space. So now let's do Control or Command J. So that's duplicated our line. We're going to do Control or Command And we're going to click and drag that all the way across here, hit Enter. And then just by using our arrow keys on our keyboard, we're going to position that to be somewhat between these two. Now let's do Control Command colon, hide our central line there. And look at that. We have new Odensbr strong Ancient Earthy, fantastic. But I'm seeing there's a little bit of a trouble reading these three words. And what I'm going to do is I'm going to add a little bit of a drop shadow to all three of these. So let's go to Earthy first. We're going to double click on it, and you're going to come up with this layer style interface. So let's go ahead and click Drop Shadow. As you see, it's added in a nice little shadow just to give it a little bit of a separation. Now, I've had this set up before, so I'm not going to change anything here, but this is generally what I'm going to have an opacity of about 14%. Our angle is 56 degrees. Our distance is four pixels. We're not going too far away, and our size is just five pixels. We're leaving our spread at 0%, and that is all that we're doing. So let's hit o on that. Now I want to put this effect to these other words as well. So let's right click on Earthy. And what we're going to do is we're going to go down here to where it says copy layer style. Go to click that. Then click on Ancient. Right click Paste layer style. Done. Now you go to strong, right click Paste layer style and done. And that is it for this top section. So let's click this very top layer, our line, and shift it down to our Odin's Brew title. Now hit Control Command G, and we're going to double click on the name here and label that as pop. Text. Now we are almost done. There are two more things that we want to do. Next, we want to have a call to action. This is our new drink. We want to make sure people are going to go and buy it. So let's go ahead and create ourselves a nice little call to action. So we're going to hit you on our keyboard, and by default, we're going back to the Ellipse tool, but we don't want that. We want our rectangle. And let's go ahead and draw in a nice little shape here. Let's just get something down for now. And you see these dots that come in when you draw rectangle. We're going to click and drag that all the way in so we have a nice rounded button. Next, we're going to go to our fill section, and we're going to use that previously used green that we have from above. Fantastic. We can close that. We can hit V on our keyboard, and we can move this around. You can play around with how thick you want this button to be. I'm going to hit on my keyboard. This is a little bit too thick. I'm just going to bring that down something like that. Fantastic. I like that spacing. Might even bring that down just a smidge with the arrows. And now I want to add a little bit of a drop shadow, so we're going to double click on that rectangle. Click dropshadow. It's going to be very subtle. We're going to bring the opacity up. Just to ensure that there is some separation. And next, I want to paint on a little bit of a shadow, a little bit of a color differentiation onto our shape. So we're going to hit this plus icon here for a new layer, and we're going to hold down Alt on our keyboard, and you're going to see this little arrow pop up between the layers when you hover your mouse over it. And what that's going to do, it's going to clip this new layer to the rectangle below. So whenever I paint anything with my brush, let me just get a color here. It's only going to show up on the rectangle below. So we can use this in a very smart way. What I'm going to do is I'm going to sample one of the dark greens in our image, and you do that when you have your brush selected with B, you hold down the Alt key, and you're going to get this eyedropper tool. This lets you pick any color in the image. And I want to pick this dark green over here. And now, with a very low opacity, I'm talking down to, like, 10%. We're just going to paint just a little bit of a shadow on this lower edge. So if we talk about that off and on, it's ever so subtle, just a little bit of a shadow. And now I want to add a little bit of text here. What do we want our people to do? So we're going to hit T, and we're going to just start to type. Let's click we're going to tell people to order in bio. This is going onto social media, onto their company page, and I want this to be bold again, like our font up here. So control our Command A, and we're going to make sure we want to use our previous font, which was the freight Sands P Black. Going to make sure we have that selected. The checkmark and Control or Command A to bring that over and make sure it is sized accordingly. I already like the size that it's at now, actually. So I think I'm going to keep it at that and make sure you choose a color that gives you a nice contrast. The color I have on mine is this nice dark green that I sampled. So that color is going to work for me. It's going to have fantastic contrast, and it's going to be very readable. And again, I want to make sure this is centered, so just going to make sure dragging that around until I see that purple line, hit Enter, and we have the order in bio done. Next, just to make things look a little bit more professional, I'm going to hit Z on my keyboard and zoom in by clicking and dragging. And down here, I'm going to hit T. I'm going to click making sure our font is white, and I'm just going to type in a fake website address. So I'm going to go www dot. We're going to go nordic coffco.com. Just to give a little bit of authenticity. We're going to hit Enter, go down a row. And I'm going to put a disclaimer that this is not a real product. This is made for Skillshare. There we go. And in other situations, you may add a different disclaimer that the company may give you. So let's hit Control or Command A, select all of that, bring out our character menu here and we're going to adjust this over here. This is the leading. This is a space between lines. So if you click and drag and make that small, you see we're bringing our text. So that is what we want. And we want to make this font very, very small. We want this to fit within the width of this order in biosection. So we're going to make that very small, something like this, bring the leading down even more and hit the check mark, and pull that over, make sure it is centered. And hit Enter. So now we have our little bit of a call to action section here. So with this top layer selected, shift click down to our rectangle, Control or Command G. And let's rename this as CTA or call to action section. Now we're moving on to the final steps. We want to do some final effects over all of this to really bring it together and really make it pop in someone's Instagram feed. So I want to add a little bit more of a vignette. I want to really draw people's eyes into the center of the image. So let's go ahead and make a new layer. Hit B on your keyboard. Now let's make our brush nice and big, about 300. And I'm going to sample some of this darkest color that we have in our image. I always recommend to people to pull from the colors in the image, not just choose the darkest color here because some of these will have a tone to it, and you want to keep that within the image. So I sampled that on a low opacity. We're just going to go ahead and paint in a little bit down here. With our soft brush, kind of want to hide both of these lower corners and take your time with this. You can use a tablet or a mouse, and maybe I want a little bit just in the very top 50 corners of that. So now we have a little bit of a vignette, if we toggle that off and on. You see, it's really drawing your eye into the middle section here. Next, something that I like to do in all of my images is to add in a little bit of noise. You won't believe how much that actually helps to unify an image. So let's go ahead and make a new layer. And I'm going to fill this with just the middle gray that I can find. A gray, hit G on your keyboard, and we're filling this whole thing in. Fantastic. We're going to go to filter. We're going to go to noise, and we're going to go to add noise. Mine is set to 331%, and I'm just going to hit Okay. We're keeping that at Gaussian distribution and monochromatic. Hit Okay, and this doesn't look very good, does it? I'm going to shift this down to an overlay blending mode. And bring the opacity of this down all the way to about anything 3-5% I found adds a nice amount of noise to the image. Really blends it together and makes it look very nice. If you zoom in, you can see that noise here. I might even bring that down to about 3%. If you talk about that off and on, gives a nice little bit of aesthetic to your image. And generally speaking, it helps to blend in the AI generated elements even better. Next, I'm going to do a bit of color grading to our image to get that final, nice, cinematic look. So the first thing I'm going to do is I'm actually going to make a black and white adjustment layer over everything. We're going to keep the reds at 40. We're going to keep the yellows at 60. Greens at 40, cyans. We're going to keep that at 60. We're going to have the blues at 20 and the magentas at 80. So we're not really doing anything with that, but what we are going to do is we're going to bring the opacity of this whole thing down to about 60%. There we go. And there is a method to my madness. Next, we're going to add in a curves layer where we're going to adjust each separate channel separately. So let's go ahead. Let's go to our reds. I want to give this a nice little bit of an S curve. So bring this lower section down. This upper section, just like so. Next, we're going to go to our green channel. And for our green channel, we kind of want to bring this top section over a little bit like so and not do too much else with that. And for the blue, we want to bring this end up ever so slightly and this end down ever so slightly, just like that. And that is all we're going to do with that layer. Now we're going to do another curves layer, this time adjusting everything, and we're just going to bring down the belly of the curve, so to speak, like so next we're going to add in an exposure adjustment layer. We're going to bring up the exposure by about 0.30 0.36 Gamma correction can stay at one, offset can stay at zero. Next, we want to do a vibrance adjustment layer, and we're going to bring the saturation down to -15 or 16%. And lastly, we want to do a brightness and contrast layer, where we just bring the contrast up by about ten. Fantastic. And now what we want to do is we actually want to group all of these color corrections together. So we're going to select this brightness and contrast and shift click down to the black and white, and you're going to do Control or Command G, group those together, and we're just going to rename that color grading. Now, all we're going to do is bring our opacity down all the way to 25%. And as you see, our image has turned out very nice. So if we toggle that off and on, all we've done essentially is deepen the mood of the image. We've lowered some of the vibrant, we've tweaked some of the highlight and shadow values and just did a bit of color grading. For more in depth tutorial on color grading, check out some of my other classes. But for the convenience for this one, we're going to be using this color grading that we've done in this project in every other one in the class. So all we're going to do is copy and paste this over to everything else, and you're going to be good to go. Now, there are a few more final tweaks that I want to do. So let's go ahead and add in another curves layer. And what we're going to do is, again, just an ever so slight S curve. We're going to bring lower end down. And we're going to bring this upper end up just like so like that. 4. Project 2 - Photo Retouching: Now, we're going to be moving on to a little bit of photo retouching. Now, you may have a time when a client comes to you with some photos from a photo shoot and they want you to do some skin retouching, just some general touch ups on their photos. So how are we going to do that in a fast and easy way with AI? That still looks really good? Well, let's do just that. Now, keep this last project open that we just did in the previous part of the class because we are going to be using the color grading part out of our final effects in every single project moving forward. So just keep this open. It's going to be very simple to just copy and paste that over. So, for now, let's go ahead. Let's go to File. Let's new and let's get ourselves a new page to work with. Going to go ahead and make this the same size as before width of 1080 pixels, height of 13 50. Keep the resolution at 72 pixels per inch, and let's just go ahead and click Create. Now, let's go ahead and go to the files that we downloaded with this class, and we're going to go to File, Place Embedded and make your way over to Project two, photo retouching, and we have our raw portrait photo. Now, go ahead and click Place. And because this is a raw photo, you're going to be met with this camera raw import dialogue box. Now, we are not going to be doing anything else to this within this camera raw dialogue box. So just go ahead and hit Okay, and we have our image. Now, let's go ahead and resize this to fill up our page just like that. And let's center our model. This is a file that we've gotten sent over by our client, and she wants us to clean this image up a little bit. You see the necklace is showing that it's a little bit turned around on her neck. We don't really want to see that, and we maybe want to fix some of these stray straggling hairs and just do a general skin retouching on this image. So what we're going to do right off the bat is we're going to keep this and hit Control or Komanji to put this into a new folder, and we're just going to go ahead and label this original. There we go. So we can always go back to our original photo. We are now immediately going to go into some of our AI tools. So on this folder, let's just hit Control or Command J, and that is going to duplicate our original layer. We're going to rename this to be Skin Smoothing. We're going to smooth out her skin just a little bit. And when we have our image selected here, we're going to go to filter neural filters. And we're going to use some of these filters that are now part of Photoshop. The very first one that we're going to be using is this one up here called Skin Smoothing. And as you see, it gives you a nice little description of what it does. It adjusts and removes skin imperfections and acne from portraits. So I've noticed this photo can use a little bit of some skin smoothing. So go ahead and toggle that on. And if by any chance, you do not have this here and you have this icon here, go ahead and download this filter, and then you'll have this toggle switch. Now what we want to do is we want to have this blur be about. Let's pull that up and see what looks good. I'm going to go. Let's go to about 65. And there we go. It's giving a nice little bit of a blur there and smoothness. Let's just have that a plus one. And now another thing I would like to do is let's do a little bit of JPEG artifact removal. Now, again, this will give you a nice little description of what it does, and we see that it removes artifacts resulting from JPEG compression. We don't really have too much of that in this particular photo because it is a raw photo. But let's go ahead and just have a high strength pass of JPEG artifact removal just to keep things nice and smooth. We want to make sure that we output this to a smart filter. So we can always double click that, come back here and adjust as we need it. Now, if you click this, we have a couple of other options. We can put this to a completely new layer. We can have this to a new layer mask or to a new document entirely. But I just want it to be a smart filter applied to this photo. Let's go ahead and make sure that is selected and click Okay. It's going to take a moment, and there you go. We have a smart filter attached to this raw por trip photo with our filter. And we can go ahead and toggle that off and on. And you can see, now that we toggle it off and on, there is quite a dramatic difference, especially once you zoom in to the face. We haven't gotten rid of all the details, and I don't want to. People have unique features on their faces, unique marks, and we don't want to remove all of that. So let's go ahead, toggle that off. And on. So we just smoothened it up and we made it look just that much cleaner. Next, let's use some of the generative AI tools to really clean up this image and get it looking exactly how we want. So first, let's go ahead and get rid of some of these imperfections that the client has told us she does not want in this photo. So let's go ahead. Let's select our Lasso tool with L on our keyboard. We're just going to draw circles, little lassos around what we want to remove. And remember, hold down Shift on your keyboard to add to our selection. So just click that. We don't want that. We don't want this mark. There's a little glow spot right underneath the nose there. This part looks a little bit weird. There's like some hair going over that part. It's hard to tell if that's the hair or some mark on the body. And like I said, we're not removing every single mark. We're leaving that. We're leaving all the freckles and everything. So, you know, you want to be very selective. Use good judgment in what you do. A do a little bit down there. Fantastic. Now that we have that, you may see that I do not have my contextual task bar anywhere. That is completely fine. Let's go to Window, and let's go ahead and turn that on right here. And right away, we can do generative fill, and I'm not going to type anything in here. I'm just going to hit Generate and Trust Photoshop to do what it needs to do. And that looks like it's done a phenomenal job right off the bat. Now, I happen to think I like the third option better. I think it does a better job around the cheek area. Yes, so I'm going to go with Option three for this particular round of edits. Fantastic. Next, I want to fix this necklace. For some reason, the chain has turned around on her neck and that just does not look good. It doesn't look like it's supposed to be like that. So again, let's hit L on our keyboard to get into our Lasso tool. And let's just draw a nice little lasso around that part of the necklace. Let's click Generative fill. And I just want this to be a chain make into a chain of the necklace. Now I could also just leave that blank and Trust Photoshop to do what it should, but I'm just going to tell it and give it a little bit of direction and hope that it does a decent job with that. And we should have another couple of options here. Now, here's an example of when I need to iterate on it just a little bit more. So this version three has removed most of what I needed to remove, but it is not exactly what I want. So I'm going to draw another lasso over that. And on degenerative film, I'm just going to write remove and replace with chain. Hit Enter on that, and we're going to keep iterating until we get exactly what we want out of this. And there we go, we've iterated on it, and we have something that is far more usable. That is looking a lot better. Very nice. And lastly, what I want to do here is maybe clean up some of the stray hairs that we have going on in the upper left of this image. So once more, let's hit E on our keyboard, get into our Lasso tool. And I'm just going to click and drag the general shape that I want her hair to be in here. Just like so. And I want this to be selecting everything but her hair. We want to remove all the stray hairs in this section. So we're going to go ahead and click General Phil, and I'm simply going to type remove stray hairs. Hit Enter. And let's see what it does. Will it do a decent job or will I have to reiterate on that? Okay, we have decent options here. As you see, it has cleaned up. I would say option one is the best. It's given the cleanest look. And as you see, it's cleaned up some of those stray hairs just a little bit. And lastly, I kind of want to maybe get rid of this one singular hair going over her eye. So I'm going to go ahead again with my lasso tool just draw in here. Making sure the hair is selected and hit generative fill. Generate I'm not going to give it any instruction. So let's go ahead and look at what that has done. That's done a decent job. I would say option two looks the most usable. One or two, I would say. I'm going to stick with option two for this particular one. And now, with your top generative fill layer selected, shift click down to this lower one, and we're going to do Control or Command G to group that together and double click on that and let us rename that AI Edits. Fantastic. And now we can zoom out, talk about that on and off and just see what we have done with our generative fill edits. We can talk about that off and on. So we've removed and cleaned up just a little bit of the image. Like I said, we don't want to remove and wash out every single detail in the face person, but just cleaning it up a little bit. People have acne, people have scars and things they may not want in photos, so it's good to be aware of that and do as your client asks in as respectable way as possible. All that is really left now is to do some color grading and to finish up our image here. So first thing that we're going to do is we're actually going to go back to our project file from project one. So make sure you still have that open. Over there and go to the final FX folder, click that, drop it down, and we're going to go to our color grading folder. Like I said, we're going to be bringing this across every single project in this class so that we don't have to do color grading each and every time. So when you have that color grading folder selected, just hit Control or Command C to copy that and go back into our photo retouching file. Now you're just going to hit Control or Command and Shift V. That's going to paste it in the exact same spot, so we don't have to move it around. If you do just Control or Command V, it may not necessarily paste it in the exact same spot that it was originally. So now that we have that there, look at that. We already have a nice little edit going for our image. Next, I like to add a nice little bit of noise overlay, so make yourself a new layer by clicking this plus icon down here. Select a nice gray, hit G on your keyboard to get your paint bucket, and just fill that in entirely. Isn't that lovely? Next, go to filter, go down to noise, and we're going to add noise. Keep that just as it is. Gaussian monochromatic amount I have at 331.03%. You don't need to be that specific and hit Okay. And we're going to go over here blending modes and make this into overlay. And we're going to make this be just about 3% hit Enter, and that adds just a little bit of a grain of a little noise to our image. It really helps to tie all the edits together. Now, I want to add a little bit of a vignette down here just to help bring the focus up to her face. So let's go ahead and make ourselves a new layer. Hit B on your keyboard to get to our brush tool. And I'm going to keep my opacity at about 10% size. Hey, I think the 245 is about what I want it to be. And hit Alt on your keyboard, maybe option if you're on Mac, so alter option. And we're going to sample one of the darker colors here in our image, and we're just going to start painting in our own custom vignette. And again, if this contextual task bar is in the way, just click these three dots. Hidebr. I generally just like to keep that up whenever I'm using it. If I'm not using it, I like to have it hidden. Fantastic. So just a little bit of a vignette, as you can see, pulling from the darkest colors that we have in our image, and that is looking fantastic. Now, I really want to bring out a little bit of the brown in her eyes. As we see with our color grading, we've kind of lost it just a little bit. Now that I'm zoomed in and I can see what I'm working with, I'm going to add in just a simple brightness and contrast layer and I'm going to bring that brightness up until I see a little bit of that detail in her eyes. We see the nice brown coming out. And on this mask here, we're just going to hit G on our keyboard. And if you don't already have black as the foreground color, hit D. That's going to default to the white and black, and then hit X to bring that black to the foreground. We're just going to fill that in because we only want this to affect her eyes. So hit B on your keyboard to get to the brush, and we want this to be very, very small. So make our brush small, just like that. Opacity, let's have that up to about 20, 23%. And now we're going to be painting in white. So make sure white is the foreground color there. I'm going to start painting in just a little bit around her eyes to bring out that little bit of a detail. There we go. You don't want to go too far with it. And if you feel like you have gone too far, just hit X to bring black as a foreground color and paint it back a little bit. So you can talk about that off and on. And you see we just brought in a little bit of extra color to her eyes. Now I want to do a similar thing but for her lips. So what we're going to do is we're going to create a new hue and saturation layer. So just click that. And we're going to do the exact same thing here. First of all, let's bring our saturation up just a little bit Let's go to about plus 20, and that's all I really want to do with that. Hit G on your keyboard. That'll bring us back our paint bucket, make sure black is a foreground color, and fill in this mask. Now we're going to go back to our brush by hitting B on the keyboard. Just like so, and I'm going to make my brush a little bit bigger. Something like that. And again, we're going to paint in white. We're gonna paint away as out of this mask. So let's just start with that. Still at that 23% opacity for a brush. And you can always toggle that off and on to see exactly what you're doing. We're adding in just a little bit of color into her lips. So now we can zoom out, hit Z on your keyboard, and we can zoom out to our image. The last step, having that hue saturation layer selected, hold down Shift on your keyboard and click down to the color grading folder, should have everything selected and then control our Command G, group that together, and double click that. We're going to rename this as ColorEdits hit Enter on that and we have gone from our original image from this image, did a little bit of skin smoothing using the neural filters built into Photoshop. Then we use generative AI to help clean up some of our image, and then we did some of our own color edits. And just like that, with the help of AI, we've been able to do some nice photo retouching for this portrait photo. So go ahead and save this on your computer. We will be coming back to this later, but now we're going to move on to our next project where we're going to use AI to create a product showcase. 5. Project 3 - Product Showcase: Now we need to make a product showcase. A client has come to us and they are launching a brand new shoe, a brand new sneaker, and they want you to create a nice little product showcase that they can post on social media. They can send out in emails and put onto their own website. So let's go ahead and make something for that client. So as you see, I still have Project one open, and that's because, like I said, we will be using the color grading from this in every single project. But let's go ahead and hit File and then let's hit New. And this time, we're going to make this be 2000 by 2000 pixels. This is a great general purpose size which you can then make into a horizontal crop, a vertical crop and use it in a wide range of places. Very easy to work with. So let's go ahead and click Create. So let's go ahead and start importing things into our image. Let's go ahead and go to File, Place Embedded. And in the class resources, we are going to go to Project three, our product Showcase. And you see we have a shoe. We have our gradient, and we have a check mark icon. So let's go ahead. Let's place our gradient in. I want this to be rotated a little bit. So I'm going to hold down shift as I rotate this around. If I don't hold down shift, it's not going to snap to any particular point. So just hold down Shift and it's going to snap nicely to where you want it. Fantastic. Let's just hit the checkmark or enter on the keyboard and we have our nice gradient. Now, I need to actually have my shoe in the image. Let's go ahead and hit File and let's go ahead place embed it again, and we're going to place in our shoe. Fantastic. Now, this is a little bit small, so I'm just going to go ahead, make that a little bit bigger, make sure that it takes up a good chunk of our screen here. Something like that will be just fantastic. But now I really want to get rid of this white background. So we're going to go ahead and go to Window and enable our contextual task bar if it already is not. And with one click, we're just going to click Remove Background and just let it do its thing. And there we go. That's done a very decent job. But now, this shoe lace doesn't really look too good, and I could use generative AI to get rid of it. But if I want any text around here, I'm going to have to deal with the AI generated gradient that is over here. So what I'm simply going to do is on this mask layer for the shoe, I'm going to hit B, get my brush out, get a hard round brush, full opacity, and make sure that I'm painting in black. I'm just going to essentially paint it away. You can zoom in to get a better view of it. So I kind of want to get rid of all of this, but I still want it to look somewhat believable. So right around here, what we're going to do is make sure that it's nice and rounded. And you can always paint back parts of your image as you see here. So you can really get a nice nice curve to that as if it's going around the shoe. And if we zoom out, there we go. That has solved most of the problems that we have for this. Now we're going to want to have a word behind here. So we're going to go down, click on our gradient layer, and then we're going to hit T on our keyboard so that we have our text tool come up, and let's just click and we're going to start typing. And let's go ahead and just type ho. Just simple shoo I'm not going to use any brand names, even though there is a brand name on this shoe, but I'm just going to call it Shoo, Alright? And I'm using the font Amboy the Black version here. Let's go ahead, Control or Command A to select that and I want the font to be white. Then let's make this bigger to fill up most of the screen here. I want it to be about this big, and I do want there to be a little bit more space between the letters here. Let's go ahead and click our character panel over here and increase the tracking between the letters. Nothing too much. I'm going to go back on that just a little bit. So about 2:20 will do the job for me here. Fantastic. Now, also looking at it, this little part of the shoe here may not necessarily look the best. So I'm going to go ahead and go in, hit B on my keyboard, and I'm going to paint that tag away there we go. Just for the sake of showcasing this product. Now, we want to make sure we have the placement of our shoe exactly how we want it before we go to our next step. So let's go ahead and hit Control Command T on the shoe, and I might want to have a little bit more of an angle on it, move it slightly like this. Just a little bit of an adjustment. I don't like how that line is lining up with the shoes, so I'm actually going to go back on what I did and just play around with it until you find a position that looks good. And don't worry about taking your time here to really play around with this, really play around with the placement. Because that's what this is all about. So something like this, I think is going to work well, go to hit Enter. And now we're going to do something why interesting because I want to blend all the colors on this shoe with this gradient background. But how am I going to do that? Well, first of all, let's go ahead and group what we've done together. So from shoe, our shoe text and our gradient, hit Shift and click down here, Control or Command G, group that together, and we're going to rename this original. So this is our original image. No real edits done besides just cutting our show out and removing the background. So what are we going to do next? What we're going to do is we're going to save this file, and we're actually going to open up Photoshop Beta. So at the time of recording this class, there's a feature in Photoshop Beta that is going to make our lives so, so much easier. So I'm going to show you really quick how to get Photoshop Beta and how to do that edit over there. So when you have Creative Cloud desktop app open, it's very simple to get to any Beta version of your apps. So you're just going to go over to Apps. Right up here is already a Beta section. You can see all your apps and you have other different filters here if you want other types of programs. But we want to just focus here on the Beta section and you see you have Beta for all kinds of programs. You have it for Photoshop, premiere pro, Illustrator, after effect, everything you can imagine, but we are very much focused on Photoshop Beta. Now, for me, I already have open here. I have mine installed, but yours will not say that. Yours will say something like this. It will say Install. So just click that. It is free. It is part of your plan. So just go ahead and click Install. And you're going to have that downloaded within a couple of minutes. So what we're going to do is we're going to open up Photoshop Beta, and we're going to open up our file within that. So now that we have a file opened up in Photoshop Beta, you will realize that my user interface looks quite a bit different. We don't have all the brushes from the regular version of Photoshop. And my general setup here is a little bit different. But we do not need to worry about that. We're just in the Beta version just for a brief moment to use one of its cool new AI features. And that is called harmonize. With one click, we can color grade this shoe to match the background perfectly. So what we're going to do is we're just going to go to our drop down. Make sure we are on our shoe layer. And you can see in the contextual task bar, we already have an option that says harmonize. And as you see, if you hover over, it's going to tell you you can merge objects into a scene by matching color, lighting and shadows. So let's go ahead and click Harmonize. This in itself can save you minutes, even an hour or two of trying to blend images together and match the colors, the lighting, the shadows. This is such a really cool, awesome timesaver, and I've used it quite extensively in my graphic design work. So let's give Photoshop a second to do this, and it's going to pull from the background image, the purples, the deep oranges, magentas. And you see, we have a couple of variations, just like with every other generative AI feature here. We can go through here. We have one. We have two, and we have three. Now, don't worry about how it is affecting everything outside of the shoe. That is not something we are too concerned about right now. We just want this to be blended nicely into our image of the colors. Now, I would say this is a little bit on the darker side. So what I might do is have it generate another round for us to look through. So let's go ahead. Let's hit generate one more time. And let's look at our new set of three variations. We have this. This one does not look too bad at all. I like that. I also like this. I would like to have a little combination of this one and this one. But I think I'm going to go with this particular option here. So I'm going to go ahead and close up that properties tab, and now we have our harmonized layer. And I want to bring that outside of our original folder because that is not part of our original image anymore. And we can toggle that off and on. As you can see, that is quite a dramatic change. So what I want to do now, I want to make sure that none of this harmonized layer is affecting anything else in our image. So I'm talking about the gradient. So what I'm going to do is make sure that the mask that we have on our harmonized layer is exactly the same that we have on our shoe. So you're going to just control or command, click on the mask of the shoe layer. Then very simply on the mask of the harmonized layer, you're going to hit Control or Command Shift. We're going to invert that selection, hit B on your keyboard. We just want a plain brush with black as a foreground color, opacity 100. And now if you paint on this image, you're actually painting any edits that were done outside of the shoe. I don't want anything to be harmonized outside of it. I don't want any shadows to be created. So I'm just making sure double and triple checking that the mask is the exact same on our shoe layer and our harmonized layer. And that is looking good to me. You can hit Control or Command D to deselect, and we have a very nice harmonized image to work with. So now what we're going to do is we're going to save, and we're actually going to go back to the regular version of Photoshop. That is what is really cool about this is you can take edits and things done in the Beta version of Photoshop and bring it back to the regular version that you are working in. So let's hop back to the regular version of Photoshop. And we're back in the normal version of Photoshop. And you see, we still have our harmonized layer here with the edit that was created. But you will notice, if we look under the properties of that, it says that the select generative layer was created in a newer version of Photoshop, and it's not supported by this version. So what does that mean? If I want any other variations, if I want to change this up, I'm going to have to go back to the Beta version of Photoshop to play around with that harmonized feature. But as long as you are happy with what it has created, you can feel free to just use the basic version of Photoshop and continue with your edit from there. And that is what we're doing because this is where we have all our brushes and everything set up. You are completely free to do all your edits exclusively in the Beta version of Photoshop, but just be aware that there still might be some bugs and some glitches when you work with the Beta version of it. So let's go ahead and continue our edit a little bit further. So let's go ahead and add in a brightness and contrast layer, and I want to clip it down just to our harmonized layer. And as you can see, here's an example of why I said, I want to make sure the mask is over just the shoe. Because now that we see the brightness gone up to 140, we see that part of the mask was not actually masked out. We can fix that very easily. Make sure you're on the mask layer, hit be on your keyboard, and want to have a decently sized brush with black, we're just going to paint that in because we don't want to affect anything besides what we want. So if you ever want to double check that your mask is working like you intended, just do that. Now, again, going back to our brightness and contrast layer, let's bring that down to about 100. We want to have a nice little bit of brightness added in, and let's hit G on our keyboard, and we want to fill in this. Fantastic. Hit B on our keyboard, and let's go to a soft round brush. Let's make that about about 200 pixels, I think, is going to be a decent size and opacity down to about 20. Fantastic. And now, you want to make sure you are painting in white or painting away the mask. And I want to have a little bit of brightness brought in from down below because as you see, we kind of have a little bit of bright area from down here and from above here in our gradient background. So I just want to paint that in a little bit, maybe a little bit across the center so that our shoe brand pops out just a little bit. And you see we talk about that off and on, and we see a little bit of extra detail. Now, I want to have a little bit of an edge light a rim light from both the top left and the bottom right to really accentuate this even more. So let's go ahead and make ourselves a new layer, and we're going to clip that down yet again. Hit Alt option on your keyboard and make sure you click between the layers to clip that down below. Now with your brush selected, you're going to hit Alt option on your keyboard, and we're going to color sample this color right up here. I always like to pull from the image itself instead of trying to make up a color in our color wheel here, you already have it right there, so just pull from your image. Now, let's zoom in a little bit because we are going to paint in some of this light. Going to make my brush smaller, maybe something around this size. And we're just going to start to paint in just a little bit of that rim light. So this light is hitting just this one edge of our image. And this is one of the parts of the process that is still manual. But by using AI, you've already saved so much time in your entire process with the color matching and everything. Doing this gives you still a sense of having some hands on touch to this work. So we are finishing up this particular part here, and I think that is going to be good. We might have a tiny bit hitting this edge over here. But overall speaking, we have now a nice edge light from the top left. And now, if that's a little bit too harsh, which I think it is, I want to bring the opacity of that down to maybe about 60%, have that blend in just a little bit more. And you can toggle that on and off just like that. And I might add in a tiny bit to the edge of our sneaker here. Just like that. And now we want to do that exact same process, but for the bottom part. So let's go ahead. New layer. Make sure we clip that down with Alt option and click between that. And with our brush selected, we're going to sample this color down here. Now, it may be the same color as up here, but it may be slightly different. So I'm going to sample this one down here and we're going to do that exact same thing. Zoom in. And with your brush, we're just going to do a very nice subtle rim light going across the bottom. It's going to give a very nice effect to our sneaker here and help it pop off of the background just that much more. And we're also going to add in a little bit of a glow behind the shoe in just a moment, and that's going to help it tie it together even better. There we go. So once you're happy with what you've done, which I think I am, let's zoom out. And as you see, we have that there we can tole that off and on. It's very subtle, but it does a lot. I'm going to bring the opacity of that down again to about 60%. And the last thing I'm going to do at this particular point, I want to add a brightness and contrast layer, clip down to the chute, and I want to bump both of those up just ever so slightly. So let's bring that up to about 25, and let's bring the contrast up as well. To about 20. So if we toggle that off and on, it's just adding an extra little bit of contrast to really bring all of these edits together. And what we can do is now with the top layer selected, shift click down all the way to the harmonized layer, control or command G, and we're going to rename this layer AI Edit. So we've just gone from our original cutout image, which was not blended in whatsoever, not color corrected or anything to this very nicely blended. It looks like it's part of the image. We have all the colors bouncing off of it in a very, very awesome stylized way, and I'm liking that. Now, I want to add a very simple glow behind everything, and that's just going to take a few seconds. So on your original layer, click this plus icon. We want a new layer here and hit B on your keyboard to bring up your brushes, and we want this one to be quite large. Let's go ahead, have our brush be about 1,200, 1,500. Let's go 1,700 pixels, and we want to sample with alter option. We want to sample this yellow color up here, and we want to have our opacity down to about 30%. And all we're going to do is we're just going to click around the center of our image once, twice. We're going to go ahead and make our brush smaller. To about 1,200, you're going to do another click, make it smaller down to 900, 800, and another click. So now we have a nice little glow within our image, but that is not the end of it. We're going to go to our blending mode. We're going to make that into the ten version, ten blending mode, and we're going to bring the opacity of that all the way down to about 50%. We're as close as you can get on the slider. So now if we toggle that off and on, we've added just a little bit of glow behind our shoe just to help it pop that much more. You can go ahead and throw this into a folder on its own, Control or Command G when it is selected, and we can just rename that as glow. Just like so. Now, I want to get some more text in here. We want a little bit of a tagline, we want a little bit of a call to action, and a place for these people to buy this new shoe that is being released. And to also add in a little bit of branding, a little logo to this image. So let's go ahead. First things first, let's hit File, Place Embedded in our Project three files. We're going to go ahead and click on this checkmark icon and place. This is just a very simple generic check no brand associated with it whatsoever, and we're just going to go ahead and place that. Just up here in the top right corner, can move that around with our arrow keys on our keyboard. Just like so. And what you're going to do is double click on that layer. It's going to bring you up with this layer style menu, and we're simply going to do a color overlay. And I want to make that white. Very simple way to create an overlay, and that is that. We have a nice little logo there. We can play around with that, maybe move it around later should we decide to do so. In fact, I'm going to hit Control Command I want that to be just a little bit smaller. Fantastic. Next, let's hit T on our keyboard, and let's get our tagline in here. This can be anything that you want it to be unless your client has told you what it is. So our tagline for this is going to be go and run a bunch. Just something silly for the class. It can be something more professional or cool if you would like it to be, but let's go ahead, Control or command A on that. And the font that we are going to be using for this is, again, an Adobe font, so make sure you have it enabled. It is called BbusNu. It's a whole family of fonts, so we're going to go ahead and use the regular version of that, but there is a bold attached should you decide to use that. And we're going to go ahead and hit checkmark on that, hit Control or Command and let's make sure this is centered with our image, something like that. Let's make that slightly larger. We don't want it to be the full width of the word shoe itself, but something like this would do just like that. And let's go ahead with our text tool still enabled, click down here in the bottom left. And we want to make sure people know that this is a limited supply. So we want them to know that this is while supplies last. Just a little bit of not necessarily call to action, but to help encourage people to go and buy it while they can. Now, I don't want the spacing to be so far apart down here. So as long as you have that font selected or that piece of text selected, we can go over to our character menu here and we can bring that together. I'm going to bring this over here. Is tracking down to maybe 300, maybe even 240 would work. I'm actually going to go down to 200. And let's go ahead and hit Control or Command And I'm going to make that slightly larger and pull that up to be centered within this lower area. Something like that. Fantastic. Hit Enter. Now I want to add in a website, but I want it to be the exact same settings, the exact same size, the exact exact same tracking as this section here. So let's go ahead and hit Control or Command J on our keyboard. That's going to duplicate that. And then simply Control Command and whilst we hold down Shift, we can drag this part of the text over so we have that to work with. It's exactly in line and everything. So hit Let's click on this part of our text and Control or Command A to select it all, and we can start typing our new website address. So we're going to go with www.fakeshsite.com. Now, this is just for the educational purposes. So this is a fake shoe site. Nothing real. Hopefully, it's not real. So you can make up your website. This is just for the demonstration purposes. And now do Control or Command T again and bring that slightly to the right so we have about an equal distance space from the left of the image to the text as we have from the right of the image to the text. But now you will notice that, especially on this website here, it's a little bit difficult to read with this background. So we're going to do is add a little bit of a drop shadow to that. So it's a double click on the layer that has the fakeshsit.com, and we're going to add in a drop shadow. And by default, you may have some settings that's going to make it look in a certain way. And I like the angle that I have the shadow going at and the size and distance, but it is way too high of an opacity. We want to bring that down to about that 30 to 40% mark. We don't want it to be too in your face with that. So let's go ahead, simple 30%. And just for symmetry purposes, I'm going to bring that over to the while supplies last. Let's right click on that, copy layer style, and then right click and paste layer style on the Wile supplies last layer. Fantastic. Now what we can do is whilst having the website layer selected, shift click down to the checkmark icon to select all of these layers, and we're going to hit Control OC and G on our keyboard, group that together, double click that, and let's rename that as text. Plus a logo so that we know where everything is and hit Enter. And we basically have one more step here. We want to do our color grading and final edits to our overall image. So let's go ahead and paste in that color grading folder from our very first project, again, with Control or Command Shift V. And immediately you see our image has a nice little color grading to it, just looking awesome. Thing we want to do is add in a nice little bit of noise that I like to have in all of my images. Now I'm going to show you another reason why I do this noise in all of my images. Let's go ahead and filter noise, add noise. Now, if you do want this to be non monochromatic, you can. For this example, I will do just that. So let's go ahead and do that. And we're going to make this into an overlay and bring that down all the way to just 5%. Fantastic. Now, why do I add in a noise to every single piece of artwork that I do? Now, one reason is it's really good to help with protecting the image from being stolen, being repurposed, because let's say someone comes in here and they decide they want to paint away this text. They can do or what they might try to do is with a brush, they might try to sample this color. But as you see, as I'm hovering and sampling the colors, because I have that noise, every pixel is a different color. So if they choose one color here, it's not going to match the entire image. Then they might choose this different one, but now it's not matching again. So you kind of protect yourself a little bit with that. This is especially useful if you're doing digital artwork, but I like to use that in all of the things that I create. And the very last thing that I want to add to this image is one of the textures that we have. So let's go ahead file. Embedded. And in class resources, we have this Textures folder, and we're going to go again with this very first texture one. Now, we're not going to use every single texture that I have in this folder, but I wanted to provide these for you for you to play around with and to have in any of your projects. Let's go ahead and place texture one in there. And I'm going to resize that. Just make it bigger and let's go ahead and rotate that. It's 90 degrees so that it is something like this. Now, I don't want this particular scratch in my image, so I'm going to try to size it out just like, so let's hit Enter, let's zoom out so we see a little bit better what we are doing. So now on this, I'm going to make the blending mode be overlay as well and the opacity all the way down to maybe let's go with 15%. So if we talk about that off and on, we've added a little bit of a grunge texture. It's really helped give richness to the colors in this graphic, and it's done a very nice job of just adding a little bit of extra something to the image. So let's go ahead and group these layers together with the texture selected. Shift click down to color grading, control or Command G. And let's rename that as color plus FX. Fantastic. So now we can see if we toggle all of these off, we can go through the journey of this edit, how we started with our original image. We added in our shoe, our text. Then we took it over into the Beta version of Photoshop where we used AI to blend and color grate our shoe itself to harmonize that with our background with then add it in a nice glow to our image. Right behind the shoe to help it pop even more. We added in some more text and a logo to make it look more like a product showcase. And last but not least, we added in a little bit of color grading that we pulled from our very first project and a nice bit of noise and texture to really give it that gritty, grungy texture of running, of being athletic and helping to sell the overall feel of this graphic. So go ahead and save that. We'll be coming back to this project later on in the class. And in the next project, we're going to be using AI to create ad design. 6. Project 4 - Ad Design: More and more companies are now using entirely AI generated graphics to sell their product. So what happens when a client comes to you and asks you specifically to use AI to generate both the product, the environment, and everything that is in it? Well, in this ad design project, we're going to be doing just that. In the class resources folder, you will see that there is no folder labeled project for, and that is because for this project, everything will be generated with AI. Let's jump right into it. So let's go ahead and click Generate Image. We're jumping right into this Generate Image dialogue box. Now, I've gone ahead and I already have a prompt that I'm going to put in here. I'm just going to paste it in just to save us the time of typing it in. So I'm just going to paste that in. But here is our prompt. I want a spa like vanity close up with a skincare bottle. Top of an abstract shape that is sitting on the counter. Have some abstract three D shapes floating in the background of the scene, and I want it to be very clean, modern and earthy tones. Now, I want this to be a photo. I don't want this to be too artistic. I don't want this to be a painting. This is a product, photo that we would like to generate. And now let's go into the effect section, and we're going to spend a little more time going through these since we are fully generating this graphic. Let's slowly scroll down and we can see all of the options that we have here. And there will be a couple that I'm going to want to focus in on. You see, we have some very cool ones, and I, highly encourage you to play around with these. You may find that something that is a fantasy type of product shot might look really good if the product in question asks for it. So it can be a very good tool for you to use to create uniquely stylized graphics. But the effects that I am most concerned with would include minimalism. And very down here under P, we have one that is product photo. That is going to be the main one that we want to focus on. And I'm just going to keep scrolling all the way down just in case something else really jumps out at me, but nothing is fantastic. So we have two effects here, which is awesome. We have the minimalist and we have product photo. Now, for the style, let's see if there is something that I would like. It would be something more along these lines. I would like it to be focused in on that. But I don't necessarily want it to pull those colors, especially since I'm saying earthy tones. I don't really want to confuse Photoshop because with these styles, it's going to pull this style. It's going to pull the colors that are in here, and I don't want to confuse Photoshop. I don't want to waste my credits that I have on the generation if I don't have to. So let's just keep scrolling down just in case something really jumps out at me. And this is the general workflow for generating fully AI images here, especially for product shots. You really want to take your time, put some thought behind it. Don't just click Generate. So there's nothing under the style, but is there something under composition? Perhaps this would be good for the composition. And I think that is the only one here that I think would work. But I'm going to leave that blank. I want to see what Photoshop comes up with. So let's go ahead and hit Generate. And another quick note, whatever you generate is going to look different from mine. 100%, it will look different. But if you follow the similar steps, we can get to the same result or very similar result of a very cool product. And here you have three options, very cool generations here, some skin carat bottle here. We can go through I wish it was a little bit more zoomed in, but that is entirely fine with me. I do like this one quite a bit, actually. All of these could really work. I think I'm going to go with this very first one just because I like this composition. I like the colors, and I have plenty of white space around it to include any text, any titles, any fonts, anything that I want in our image. So let's go ahead. Let's keep this very first image that we have. But now I want there to be a name on our bottle here. I need some kind of a brand. So let's go ahead and let's zoom in a little bit. So we're just going to hit L on our keyboard, get our Lasso tool out. And generally speaking up here, I would like some kind of a logo on our bottle here. So let's do that. Just get the general shape going. Let's hit Generative fill. And again, I have text already, so I'm going to copy and paste that in. And I'm going to show you exactly what I have written. So I have add in label design with the brand name DEL VX, so kind of like Deluxe, okay? That is clean and minimal, and that is all I have. That is all I wanted to do. So let's hit Generate give it another moment. Let's see what it creates. Now, here's the thing. See, these do not look very good. So again, here's my point of doing things over and over again. This first one could be usable, but I might go ahead and generate another round of variations. Again, I don't like any of these, so I'm just going to go ahead and keep generating until I find something that works. Alright, so after a few generations here, I have one that I think I can work with. So here we have DL VX, and as you see, it took me 21 versions, so that's about seven generations. And as you see, some of these are really, really bad. It comes to logo generation, don't always rely on Photoshop for that. If you can get one from the company, use a E provided logo or branding. But that is fine. We came up with one. All I did was added black text only to the end of my prompt, and then it gave me a few better options. So I'm going to go with this one here. Now, the last thing that I want to do with the logo here itself is I want to blend it into the bottle just a little bit better, especially over here. You see the highlight of the bottle and you see that this label is going over that. That would also be blown out in the highlight. So I'm just going to throw this into a quick folder with Control or Command G. Just rename that as a label title. And I'm going to do a mask on this folder. Okay? So anything that I paint would be in black is erased from the whole label, okay? So what I'm going to do is get a soft brush, bring the opacity down to about 20%. And I just want to paint this away just a little bit. Just make our brush a little bit bigger. Just have that blend a little bit in to the highlight that is happening. And you can do a little bit of the same here on both sides. You don't want to go too crazy with that because it's not going to look too good. But if we toggle that off and on, so you can right click here, disable layer mask, you see, this is like, really pasted on. We can enable the layer mask. It's a little bit blended in better. Now, another thing that I want to do with this AI generated image is I want to blur some of these shapes here on the right because it's weirdly in focus here but out of focus, but in focus, it's a little bit not the best. So what we're going to do is on our main generated image, we're simply going to go to filter, blur, Gaussian blur. And I want that to be about I think eight pixels will do what I wanted to do. Let's hit Okay. And this is by default, a smart filter, which is exactly what we want. So hit G on your keyboard, hit X, so that you have black as a top layer. And we're going to paint that away. And now with our brush selected with B, have a nice, a big brush around 200. We'll do just fine. Hit X so that we have white as our foreground layer, and we want to paint in some of this blur to our image. Certain parts of it, we do not want to be in focus at all. It's distracting to have that. So I'm going to do that with that side, maybe a little bit with these feathers or whatever these leaves are these details. Like you see some of it is in focus, some of it is not. So let's just go ahead and blur all of that. A little bit of this shape as well. Let's blur it. Lovely. So again, you can toggle that off and on, and you see how we've just shifted the focus a little bit more down into this intersection. Fantastic. So let's go ahead and group together what we've done. Shift click, make sure everything is selected, Control or Command G, and let's label that. Double click there. Let's label that as our AI design. Lovely. Now I want to add a little bit of text onto our bottle itself. Our client has sent over what they want, the contents of the bottle, how much is in it, the volume. So let's go ahead and type that in. So just hit T on your keyboard, get our type tool up, and we're going to click here, and we're just going to type very nicely. I'm going to write crim, go to the next layer. Fmage. Now, for the example of the class, I'm just having fun with it. I know what this means. Don't worry. And the font that we want is what we use in the previous project. I want this to be BebsNu. So make sure you navigate to that. Fantastic. I'm going to keep that as the regular. Hit the checkmark there, and let's play around with the positioning. Want to make sure it's centered to our design. Get slightly bigger but not too big. We'll keep it, like, so lovely. And I'm also going to add in the volume of this. So this is going to be 255 milliliters. So let's hit the checkmark on that. And this can be a little bit bigger than our other subtext up there. Make sure this is also centered with everything and bring that down to about here. Lovely. No, I do want these to be the same color of font as that, so I'm just going to make sure I click this. Click either one of these, Control or Command A to select all of that. And when you're selecting a color here, you can pull the eyedropper tool into your image and just sample from there. So now we have the correct color, and I want to do the same thing for our volume. Fantastic. So now we have the same color going throughout all the text. I'm actually going to bring this crime de fermage down just a little bit. Now I want to add in a little bit of the idea that this is on the bottle, give it a little bit of a highlight on this one particular side, where the light is hitting it. So what I'm going to do is group these two together, make sure you have them both selected and Control Command G. And let's make a new layer above that and clip it down. Now there are so many ways you can add highlights to text to any parts of your image. So I'm going to show you just another way. You can use these adjustment layers, or you can get very hands on with it and hit B on your keyboard, get a brush tool out. I'm going to make that a little bit smaller. And I'm going to sample directly from our image, this color here. Then simply on 20% opacity, going to start painting just a little bit, a little touch on this one side. And look at that. We've already added a slight bit of a highlight to our image to that text, blending it in ever so slightly. C even do a little more. And if you think you've done too much, you can always erase. You can do Control Command Z to undo. Or what I'm going to do here is, I'm just going to put the opacity down to about 80% here. I think I went a little bit overboard, but I want to bring that back. So now let's group that together. With Control or Koman gi. And let's rename that as bottle x. Next, I want to add in a little bit of a gradient, accentuate this one that's coming in from the top left and from down here at the bottom. I really want to bring the focus in to our product. So let's go ahead and hit G on our keyboard. And as you see, we are on the paint bucket tool, but if you click and hold down on that section, you will find the gradient tool. Now, I love this tool. You can do some really, really cool things with it. And we want to sample one of the darkest parts of our image. Always pull from what you have. I'm going to sample from the bottle itself. We have a nice, very dark brown here. Just go ahead and click that. But you'll notice it's not updated the gradient tool. If we click now, we're bringing in this light brown, washed out brown. That's not exactly what we just sampled. Go ahead and hit Control or Command Z. How can we get this color to show up in our gradient? Well, just click this drop down of your gradient menu, go to your Basis tab, and it is this second option here. This uses the foreground color that's been sampled and it's going to transparent, which is exactly what we want. So you click that, and immediately we have exactly what we are looking for. So I'm going to bring a gradient down here from the top left of our image. Something like so. And since your image is different, you may have to do this from the other side or from a completely different angle. And I'm going to go to another layer and bring up another one just from the bottom here. Like, so so now we have two gradients in our image. I think that this one in the top left is a little bit too much. So I might bring the opacity of that down all the way maybe to, like, 70%. Yes. And you can always adjust this, move this up and down, bring the midpoint of the gradient up and down, as well. But I generally keep that as is, especially at the basic level. So let's go ahead and select both of these gradient layers, hit Control or Command G on your keyboard, group them together, and let's label this as gradients. There we go. Now we have nice little bit of extra gradients in our image, again, directing the eyes into the middle of that image. So next, we want to add a little bit of extra text to the actual ad design itself. So that includes a tagline for this product and the main logo, the main name of this brand. So let's go ahead and do that. So hit T on your keyboard, have the text tool selected, and we're just going to start typing. Now, we came up with this name for the brand DEL VX. So I just want to type that in. DEL VX. That is our brand. Check and let's bring that out to the middle so we can actually see what we're working with. Again, with your text tool selected, make sure you click in that, Control or Command A to select. And the font we're going to be using for this is right here. It is a Benton modern text. So let's click that, hit the checkmark. And again, for this font family, you do have Roman italic bold or bold italic, but we're just going to go with the Roman variant of it. And I want this to take up the full image here. So let's bring that up scale that up with Control or Command T, and let's place that somewhere down here. Make sure people know exactly what brand this is and what they are all about. Lovely. And now I also want to add a little bit of a subtext up here. So with the text tool selected, let's click up here. And I just want a very simple tag line. I wanted to say glow naturally. Just like that, Control or Command A, and the font we're going to be using for this is called R Zacl and I may be mispronouncing that, but that is what we have. Now, this font family has a lot of options for you from regular medium, bold, black, and all the italic versions of each one of those, but I'm just going to stick to the regular. I want a nice thin font. So let's hit Check on that and Control or Command T to transform. Let's go ahead and bring that in all the way like, so And what I actually want to do is make that font very small, something like that. And what I'm going to do is I'm going to increase the tracking between the letters by going over here to our character panel, and let's increase that quite significantly, actually, to about 1,200. I think that's going to look very nice. A nice clean, modern luxury type of skincare brand here. Let's go ahead and shift click to select all of our text, Control or Command G to group that together. And let's double click on that, rename that as text. So now we have our text as well in our image. And lastly, if you haven't already guessed it, we are going to be doing a bit of color grading and adding in some noise to finish our image. So let's go ahead and paste in our color grading folder from our very first project with Control or Command Shift V. There we go, and we're going to add in a new layer. Find ourselves a nice gray that we want to use, hit G on your keyboard to get to our paint bucket tool and fill that in with gray. Go ahead and hit filter, noise, add noise. And I want to switch back to monochromatic. Keeping that agasean and 331%, hit Okay. And as always, let's bring that down to overlay, and about 5% should do what we wanted to do. So let's go ahead and shift click down to our color grading layer, Control or Command G. And let's rename that as color grading. Plus noise, so we know what we have and hit Enter. So with this, you can see how we've gone from the very beginning using AI to generate our entire product shot. We have our product shot. We generated our label, and then we went ahead, added in some of our own text. We added in some of our own gradients. We finish it up with syntax and color grading and a nice layer of noise. So now this is ready to go as an ad, just showcasing a new product for our client. This could be put onto their website, onto social media. It could even be in some sort of a luxury magazine as a half page spread. And like I've said before, it is very easy to adapt a square image like this to use in horizontal or vertical purposes. You can just move the text around and even generate extra parts of the image with AI or just crop into what you have. So go ahead and save this file, like with every project. We will be coming back to this later on. But in the next project, we're going to be creating a branding mockup. 7. Project 5 - Branding Mockup: Times a client will give you a final image or a final product and want you to put it into a mockup, a blank environment. So a wall, a desk, a billboard, someplace where they can showcase their product or their imagery. But sometimes it's a tight turnaround time, and you don't necessarily have the time to go looking for that online. And sometimes you may need a very specific type of mockup in a very specific angle with very specific colors, and it can get very hard to find images that are so super specific. That's where AI comes in, and we're going to use AI to generate a couple of blank environments where we can showcase some of the things that we've already created. So I have an artboard here that is 1920 by 1080, the standard widescreen file for us to work with. And I'm going to go ahead and start generating a mockup. So the first part of this project that we have to do is to create a mockup showcasing the photo that we've edited earlier in this class. So let's go ahead and generate image. And I already have a prompt here that I'm just going to paste in and go over that with you. So what I'm asking for is a mockup of a blank portrait picture frame on the wall shot from straight on. Now, it's very important that you specify that you want it to be shot from straight on because that's how we are showcasing our photo to our client. So let's go ahead, have that there. We want this to be a photo. We want to make sure we specify that, and I'm not going to change anything else. Let's go ahead and click Generate. This should be a very simple thing for Photoshop to generate, and as you see, it very much is. Now, these are a little bit too square for me, but this last one is actually very usable. So I'm going to go ahead with this one. So go ahead and place in your image from Project two. So now we are here in Project two. This is the photo that we want to put into our portrait frame. Now, the easiest thing you can do is just export this as a JPEG or as a PNG and just work with that. Alternatively, you can drag all of these layers over, group these together, drag that over. So what I'm going to do today is just to keep it simple. And what you can do as well is just file quick export as PNG. Find a folder to save it to and hit Save. Back in our mockup file, we're just going to go simply to file. Place embedded and find where we save that and click Ace. And if you hit Enter, this is placed as a smart object, which is why we place it like we do. And let's go ahead and let's size that down. We want to make sure it fits into our frame. And this is actually almost a perfect ratio for our image. So let's go ahead and zoom in. We want to make sure this is as pixel perfect as possible. And I'm surprised at how well ratioed this picture frame is. It is almost perfect. You don't want to go and get rid of the highlights of the edge of the frame. This piece of cardboard in a frame is three dimensional, so it will have lights and shadows on it, and we do not want to get rid of that that'll make our photo look too placed. So let's go ahead and zoom out. Now, in our actual mug up here, there is a light source coming from up here. So we kind of want to reflect that a little bit in our photo. So we're going to do that very simply here. We're going to add in a curves layer, clip that down to our photo, and we just want to brighten up our image. Don't worry about how exactly the image looks right now. We want to wash it out ever so slightly. Like, so have a little bit of a brighter area up top. So let's go ahead and hit GNR keyboard. Make sure you have black as a foreground, and we're going to paint that away entirely. Hit B on your keyboard for brush. Make that nice and big. Maybe like 200 ish, 250 pixels, and make sure you're painting in white. Low opacity, I have mine down to 20%, and we're just going to paint away a little bit of this top corner. And we don't want to go too much on the highlights on the actual image itself. We just want to have a little bit of a sign that there is some external light source on this image. And I may do a little bit down here just to wash out that, make it look like it is actually in our environment. And there we have it. That is one of our mockups done. And we are actually going to do two mockups. That's how fast these go. So let's go ahead and shift, click on all of these layers, Control or Command G, group that together, and let's rename that as mockup one. And let's go ahead and hype that. Cool, so we have one mockup done. Now time for our second one. Let's just go over to edit and generate image. Again, I have a prompt already written just to make things go a little bit faster. So what I want is a mockup of a hand holding a blank smartphone shot from above. So this is from the client that we created the luxury skincare product in the very last project. That client wants us to do is to take that ad that we've designed and put it into a mockup of a hand holding a blank smartphone, especially shot from above. And specifically, they want us to show what it would look like on a social media site such as Instagram or any other. So let's go ahead and generate a mockup of our hand. Again, we want this to be a photo, and let's click Generate. So we have some nice wooden tones here. So I'm not too happy with all of this, even though it is fairly usable, but I'm going to go ahead and specify with a comma, and I'm just going to say earthy tones and hit generate, hit Enter on your keyboard. And let's get ourselves a couple more variations. Okay, so now we have a little bit of a fall vibe going on with all of these, which is very interesting. Sometimes Photoshop will do that. It'll just go with a particular style, but I don't want it to be fall style. So I'm going to keep specifying earthy tones and minimalist. And I want it to be light. Let's hit Enter. And let's see if we can really hone in on what we want, because we want the mockup to match the brand, as well, match the graphic that we've created. So, again, we have a lot of these all items here, which is very weird that it would do that. So this is where we can specify things not to include. So I'm going to say no other items, no all items. That's all I want. I'm going to specify things I do not want in this image. And there we go. I had to remove the earthy part of our prompt, and I got this. So we no longer have all these ball items that we have pine cones and wheat and harvest things. That's not what our brand is. But if it is, then you can definitely use that. So I'm going to go with this. I do like the green tones that we have, and that is a nice starting off point. So before I even get our mockup put into here, what I want to do is get a rectangle going. So let's just hit on our keyboard. Now let's draw ourselves out a nice rectangle. And let's specify the ratio we want this in. We definitely want this to be in a nine to 16 ratio. So the easiest way you can do that is just have the width be 9 ". Let the height be 16 ". Let's hit Enter. Make sure that's not linked. So let's do that. Again, 9 " by 16. And we have our nice rectangle here. If you hold down Shift, it'll maintain that ratio, which is exactly what we want. So there we go. Let's hit Enter. Fantastic. And what we're going to do is right click and convert to Smart Object. So now we're going to double click on this rectangle icon here, not on the name on this little thumbnail image here, and it's going to open up another little file for us. And here we can really have some fun. So let's go ahead. Let's go to File, Place Embedded, and you will find a social media blank template under the project five folder. Let's place that in and by holding down Shift, we can scale that, and I want to scale that to fit the entire image that we have, the entire rectangle. This is going to be the screen of our phone. And we can go through see which one we want to use in particular. The most usable ones will be the second or the third one here. And I think I'm going to go with this third one. Fantastic. Now, you'll see there's a lot of extra space around it. So we can easily just stretch this image out ever so slightly. And trust me, it's going to be okay. Stretch that doesn't have to be perfect. Stretch that back. There's a little bit of back and forth with this, but that is entirely okay. And let's hit Enter. Next, on a new layer, just hit this plus icon down here, hit B on your keyboard. Now I want to get rid of all of this pink that we have. So with a hard brush, full 100% opacity, I'm going to go ahead and zoom in and just make sure that I paint all of that away. Again, being mindful of any other lines that we have. Don't want to erase too much. But with muck ups, it's generally a little bit of leeway that you have, especially with clients. They just want the general idea of what is going on. So let's just take our time. Let's go around and erase or paint over what we have to. Just like so. And just like that, we have that done. And now it's time to actually bring our muck up in our image. So make sure you've exported our project of our luxury skincare product because that is what we're going to be placing in here. So just go ahead and do File, Place Embedded for that image. And once it is placed in, just get it put into position. So we have our template here. Now, we don't have multiple images, so I'm actually going to go over that, bring that up. Just have this fill the space nicely. And I don't want to stretch this too much, but just a little bit will be fine. And now I don't want this checkerboard right behind our image. So let's go back to where we were painting with white, get our brush again and just get rid of that. This is just a basic mockup template, so it is fine if it's not 100% accurate to what the interface looks like of Instagram. So now what we're going to do is we're just going to hit Control or Command S on our keyboard, and that has saved that PSB file. So now let's go back into our mockup file, and you will see that this rectangle has now updated with what we want. So now what we're going to do is we're going to fit this to the phone that is in our generated image. So hit Control or Command T, and now we can move things around. Now, you want to make sure that you hold shift so that it maintains the ratio and the proportions. And what I like to do is I like to bring this to be about the size of our screen. Like, so, hit Enter, and then I zoom in. Especially on the corners here, hit Control Command T. And then if you hold down Control, you'll see that your cursor will change. What you do is you click on one of these points. And once you've done that once, you can now move that one point around. So I'm going to do that again so that you can see. So when you're in transform and you hover over any one of these corners and you hold down Control or command on your keyboard, it'll change your cursor to this cursor icon. You just click once on whatever point you want to move around, and then you can click and move it. So by doing that, I can select each and every point to perfectly match this phone. So let's move down here. And what I'm doing is I'm just lining up the edges of my mockup with the edges of the phone. So over here and down here. We will worry about the curves in just a moment. But we have that done like so. Let's hit Done. And I could probably move this one just a little more like that. Fantastic. So now it has matched the phone just a little bit better. And lastly, we really want to fix these curves. There are many ways you can do that. I'm just going to go ahead and create a mask by clicking this icon down here next to the FX, add a layer mask, hit B on your keyboard, get a nice brush going. And I just like to erase everything before I paint back in white what I want, what's already there in our mockup. So again, with black, paint away with white, paint back where you have the curve. Very simple, very easy and very quick. So again, we have two more curves here. That is one and that is, too. And you see how fast this goes. Within a couple of minutes, you've made a fantastic muck up, custom muck up might I add for your client to showcase whatever it is that they want to see. Now, this corner here is a little bit funky, so what I'm going to do is just paint away just a little more than I probably want. There we go. Now we have a nicer curve. With that, we have a fantastic mockup for our luxury skincare product. All we need to do is just shift click that together, Control or Command G, group that up, and now we have mockup two. Now, make sure to save this. We will be coming back to this project as well in one of the later projects. So just save this. And next, we're going to be using AI within a creative composite setting, creating a fantastic whimsical album cover. This is the one I'm most excited about, so let's move on to the next project. 8. Project 6 - Album Cover: We've now finally made it to what is possibly my favorite part of this entire class. And here, we're going to be using AI to do a creative composite, making an album cover. It's going to be a lot of fun. And we're also going to be exploring different styles that we can create using AI. So without further ado, we can begin or write away. This artboard is also 2000 pixels wide by 2000 pixels high, and it is 72 pixels per inch. And one more quick thought before we jump into generating our image is that for this project, our client has come to us. They've released a new album and they want us to surreal out of this world composite made in Photoshop for their album release, and they're basically letting us run wild with it. The album is called dreamscapes, and the only thing he would really like it to have is to have a robot humanoid somewhere in the cover. That is going to be the focus of it. So with that said, let's go ahead and generate our image. So right here on the contextual task bar, make sure you click Generate Image, and I'm going to paste in our prompt. The prompt that we have is a robot to be standing in the middle of a vast field with nothing but the field going as far as the eye can see. The robot should be humanoid and shot from a straight on view. Now, this is one of the longer prompts that we've used in this class, but we definitely had a little bit more that we needed to specify. I specifically want there to be nothing else around this robot. This robot is lonely. He's alone in the field. So I really want to make sure that the AI captures the essence of that. So I'm going to make sure that this is a photo. I want it to look as photo real as possible. And we're going to go over to effects. Now, the only one that I really want to focus on here is minimalism. So let's go ahead and go down to minimalism. But when it comes to album covers, you can really play around with this. And I'm going to show you in just a moment a few different versions that we can do using these different styles and effects. So let's go over here, then two styles, speaking of that. And the one specifically that I do want to reference is this one over here. We have a door in the middle of a field, and that's kind of what I want to go for something with a similar vibe, maybe even similar color tones. So I'm going to keep that for my style reference. And if you want something else, you could choose that. And I'm going to be showing you a few examples of that later as well. With that, let's go ahead and click Generate and let's see what Photoshop gives us. So let's see if it can take our prompt, even though it's long and give us something that we have in our mind. Okay, we have a very, very buff robot here in the first iteration here. That is totally fine. This is definitely along the lines of what I'm hoping for. This one is not too bad. I actually like this third one the most. I think we can do a little cleanup on the head, but just for the sake of it, let me generate another three versions of this to see if I can get something that's a little bit less janky. Alright, so we have three more here. So I think I will go with this one here. I like the size, the general feel of this, and there will be a little bit of tweaking that I do. But just to show you some examples of how the same prompt can give you completely different results, I'm going to go ahead and turn this layer off, and I'm going to show you just two more quick versions that we can play with. And like I've said before, what you generate is going to look entirely different from mine. So I'm going to paste in the same prompt. This time, I want this to be art, okay? I don't want it to be photo under the effects. Let's say I want the effect of this to be, and you can really go as random as you want with this. I want this to be a cinematic, and I want this to be digital art. For the style, we can keep the similar style, but what I'm going to do, I'm going to get rid of it. And I'm going to see if there's maybe another style that I would like to go with. I would say, maybe something within this style could work over here. I'm going to click that. And let's see what the AI can do with that. Actually, I do like this. This kind of aurora borealis. I do like those colors in that. So hopefully the AI will be smart enough to choose and pull from that. So let's go ahead and hit Generate, and let's see what the AI does with that if it can give us something that is also usable for an album cover. That's a great thing with album covers, is you can pretty much use anything as the album cover. And I absolutely am loving some of these results here. This one is a very cool one. As is this, so these are some really cool generations, and I'm going to do one more before we move on to the next step. So again, edit, generate image. I'm going to paste that in, and I'm going to choose photo. And I'm really going to go crazy with this. I want this to be art deco fantasy, and I'm really picking these at random. I'm really not thinking too much of this. I want this to be modern art. And let's do science fiction. So these were completely random. I have no idea what this is going to give me. As for the style for this one, I'm not going to choose any style whatsoever. So let's generate, again, the exact same prompt. So here's what we've generated in this round. And honestly, all of these are very, very much usable, I think. I particularly like this one. There's very little jenk going on. It looks very, very nice. But for now, what I'm going to do is just hide those layers and pull the layer that we are going to work with up to the top. And I'm going to go ahead and close this dialogue window, and let's do a little bit of fixing on our image. So let's just hit Z on our keyboard and let's zoom in, and let's see if we can fix the face. So I'm going to pick my last little tool, hit L on your keyboard, and I kind of want to change the head entirely, if at all possible. So I'm going to draw around our robot here, and I'm just going to say, remake the head to be more robotic. And let's see what the AI can do for us because there's a little bit of weirdness happening on this side. The mouth isn't exactly good, nor are the eyes. So I would like to see if it can give us something a little bit better. And there we go. That is a lot better. I'm actually going to zoom out, so I see the whole composition. Fan of this particular pace or this one, but this first one, that is actually way better than the first phase. So you can even iterate just on a small little part of the image. Alright, so now that the head is done, I'm actually going to leave this leg over here. I think it is workable. It is usable, at least at this stage. If this were to get into a more refined process, I would go in with a clone tool and probably fix that a little bit. For now, make sure you shift click this layer with the little head edit and the original artwork and hit Control or Command G on your keyboard. And let us double click on that over there and rename it to be original art. Layer. There we go. And I'm keeping these other examples here just because if we ever want to go back to those and use those, we can do that. Now, I would like to add some sort of floating element into our image, something like floating planets or orbs, something of that sort. So let's go ahead and hit Eleanor keyboard to get to our Lasso tool, and I'm going to start drawing, generally speaking, where I want that shape to live. So I want one to be somewhere around here, a nice big planet or sphere, just like that. I'm going to hit Generative fill, and I already have the prompt ready to go, and that is floating orb like planet. And let's go ahead and hit Generate. And here we have our results. Very cool. I do like this one, actually, but I'm not sure this is exactly what I want. So I'm going to do generate again. And now I could do multiple selections and try to generate multiple orbs at once. The problem with that is that sometimes the AI will generate it only in one spot and not the other. So sometimes doing it one at a time will give you better results. So let's go ahead and look at what we have this time. This one is not too bad, actually. I do like that one. And actually, for this one, this sphere works. It's reflecting the sky a lot better than these other orbs did in the first iteration. So let's go ahead. I'm going to keep that, and I'm going to go ahead and draw one more sphere. In fact, I'm going to do two more by the time we finish, but I'm going to do one more right here. Like, so generative fill, exact same prompt and hit Enter. Okay, and we have a couple of options here. Again, some are reflecting the sky, some are more glass like, some are more metallic. I like this more planet like one. So I'm going to go with that, and I'm going to have one more sphere just somewhere down here, maybe a little bit smaller than that. Something like, so generative fill, exact same pron and let's hit Enter. And there we go. We have a couple of options here. Now, this is blending in a little bit too much. I'm going to generate another round. Okay? We have our second round of iterations. And again, I'm not too happy with this. I'm going to tweak our prompt here, floating orb like planet. I want it to be more gray scale, or at least matching colors that would stand out against that orangy that we have in our image. So I'm going to say gray. That is all I want it to be. Ray and I want it to be Rock. So let's hit Enter, and let's see if third time is the charm. And there we go. We have our next round of variations. And looking through here, I think this third one is actually going to be usable. Now, the shadows are opposite to what we have on our robot here and in our image in general. So what I'm going to do is one more quick generation using this exact same prompt. And after several variations, I finally have something that I think will work. I had to do I actually had to erase that layer completely and redraw with the Lasso tool at a slightly different location, and that sometimes helps Photoshop get out of its AI funk. But we now have an orb that is matching some of the colors up in our sky, and it's giving a nicer contrast with the wheat and also is matching the lighting in our image with the light coming from the left and shadows being on the right. Now that our orbs are done, make sure you have this top layer selected. Just hold down shift, and we're going to click down to select Blayers and Control or Command G to group them together, and we're going to rename that folder as orbs, like so. Now, I'm not happy with how empty the top part of this image is. I would like to maybe add in some clouds. So let's go ahead and do that. Let's hit EleonR keyboard to get our lasso tool out, and let's start by drawing some random shapes where we can imagine some clouds living in the sky. Now, make sure you hold down Shift on your keyboard to add to our selection. And let's just draw in some nice random shapes where it would be nice to have some clouds. And let's go ahead and hit generative fill, and we're going to type in clouds like, so let's hit Enter. Alright, we have our first iteration here, and these aren't too realistic per se. However, it could still work. What I'm going to do is I'm going to generate a couple more variations of this and see if we can get something that's stylistic and that still looks fantastic. I do kind of like these swirly almost cinnamon bun looking clouds in the sky here, but let's see what else we can generate. So I have now nine variations to choose from, and I think I have found one that's going to work for us. Now, for some reason, the AIO Photoshop is really stuck on these orbs and planets. And sometimes that can happen when you generate so much of the same thing, it thinks that you still want the same thing. And that's fine. Just keep iterating until it gets the message of what it actually needs to do. So looking through what I have created here, it started to get back into what I wanted it to do because I specified for it to be fluffy clouds for these last three generations. And we have this one here that I think is going to work just fine for us. Was the very last one that we generated, but I like this one. All that we're going to have to do with it is just reduce the opacity of it just to help it blend into our image a little bit better. So down to about 75%, I think, is going to look just fine. And on this layer, make sure you just hit Control or Command G, put that into a group, and let's rename that as Clouds. Next, it's time for us to get the title of our album in here. So our client has given us the name of this album, and that title is dreamscapes. Let's go ahead and hit T on our keyboard, and let's just click anywhere so that we can start typing. And I'm going to go all uppercase or capital letters for this, and just slowly going to type in dream scapes, like so. And the font that I'm going to be using for this is Parcent text book. So make sure that you have enabled that on the Adobe font website. Let's go ahead and hit the checkmark over here, and we need to make this a whole lot bigger. So holding down Shift, we can drag that all the way across. I wanted to fill up as much of our cover as possible. Let's bring that a little bit up like so. And we can make sure we are centered with our image. Like that. So we have that purple magenta line going down the middle and let's hit Enter. Now, I do want to get a little bit creative with this, and I would like to flip some of these letters around, specifically these two Ss and the R. So how are we going to do that in a simple way? Now with Photoshop, there are many ways to do the same thing, but I'm going to show you just one. So let's go ahead on this dreamscapes layer. We're going to right click and we're going to convert to Smart Object, like so. So now, this is no longer editable text. We cannot go in with our type tool unless we double click on the thumbnail here, and then we can still edit that. But let's just go back here. We're not going to be doing any of that. What we're going to do is we're going to duplicate this layer. So just hit Control or Command J on your keyboard. Now we have dreamscapes copy. And what we're going to do with this, we just want to flip this upside down. So you're just going to go to edit, transform flip vertical, just like that. Now, on our original dreamscapes, what we're going to do is create a mask like so, and hit beyond your keyboard to get to our paint brush. We would like a hard round brush, 100% opacity, and we're going to want to make sure we're painting with black. So make sure that is at the very top there. And go ahead and make that brush just a little bit bigger so we can work with it. And on this layer, we're going to be erasing or painting away, masking away the R, this S and this S. Now we can toggle that off and toggle our copy back on, just like so. Now, make sure you have that layer selected, I'm going to create another mask. And on this mask, we're going to be erasing or painting in black away everything else. But what we kept in the very first layer. So we're going to keep the R, the S, and the other S, just like so. So now that we have that and we talk about the other one back on, we have a little bit more of a unique title to our album called dreamscapes. So let's go ahead and group these two together. So with the first one selected, shift click down to the second one and Control or Command G. And we're going to rename that as text Min. Just like so. And we're going to do something else just to mix things up a little bit. So what we're going to do is hit Control or Command J to duplicate our whole title, and we're going to drag that down below our text the main. So now we have our copy below. And we're going to simply double click over here on that folder, and we're going to choose a color overlay. So make sure you check that, and let's open up our dialogue box. Going to pick a different color. Just click that color square, and then we can sample a color from our image. And I would like to sample one of the darker type of orange brown terracotta color that we have. So I like this one over here, and I'm just going to click Okay. Let's hit Okay there. And let's zoom in so we see exactly what we have going on. So now, with our move tool selected, just by hitting V on your keyboard, we can move this layer down with our arrow keys. And as you see, as I'm slowly hitting the down arrow, this is coming down away from our original title. I want to line this up as closely as possible as you can see here to be just touching the layer above like so. And now, what I'm going to do is I'm going to bring the opacity of that down to about 90%, just like that. And now I'm going to repeat this several times. So on this layer control or command, J, we're going to bring the opacity of that down now to 70%. And again, we're going to bring that layer down until it is just barely touching. And rinse and repeat all the way until we get down to 10% opacity, going down by 20% each time. So control or command J to duplicate, we're going to make this new layer, 50% opacity, and we're just going to bring that down just like so. Now, I did notice a little bit, if we toggle this one off, this other one has a little bit of a gap by the A that I don't like, so I'm just going to bring that up so it's nice and snug. I don't want any gaps there. And then we're just going to keep on duplicating and moving this around. So let's go ahead and duplicate that again. Opacity down to 30%, and we're going to bring that down like. And we're going to do that one last time, duplicate opacity down to 10%. And again, we're going to bring that down like so. So gives us a nice little effect of the font blending away. And again, there are dozens of ways you can achieve the same effect, but this is a fun little way to have a little bit of hands on experience whilst AI is doing everything else in this design. So now that we have our main title done here, we want to make sure we select all of these layers. So we have text main all the way down to all the copies that we made, Shift click down, and then Control or Command G, like so. And we're going to now rename this as title. There we go. We're almost done. Now, I want to add a little bit of a gradient coming down from the bottom here in preparation for another step that is coming up. So let's go ahead and hit G on our keyboard, and that's going to bring us to our paint bucket, but that's not what we want. So let's hold it down and let's go to our gradient tool. Fantastic. And let's go ahead and pick one of the darker terracotta colors in our image. I like this one over here. Fantastic. And we're going to bring that up down here. But don't forget in a previous project, we talked about how we have to make sure under basics that we select our foreground color to transparent. So make sure that you've done that. And you can hold down shift or have a slight angle to it. I'm going to hold down shift. I would like it to be a very even gradient, just like that. And then we can play around with some of our blending modes here, and I'm going to make this be multiply. So we now have a nice little gradient going on, and I'm going to bring the opacity of that down. To about 75%. I think that is going to work for us just fine. Now we want to make this look more like a legitimate album cover, and album covers have a few little extras that are on there. Usually you have a parental advisory sticker, explicit content sticker, deluxe edition sticker. So we're going to get a couple of those added into this. So go ahead and do File place embedded and navigate to our class resources. In our class resources, if you go to Project six album cover, you will find two things here that we're going to be using a parental advisory badge and a deluxe edition badge. So go ahead and place both of those into your image. We're going to start with parental Advisory, and we're going to want to resize this. So holding down Shift, we can resize that, and we're going to place this in the bottom right, like so, maybe make that a little bit smaller and then hit Enter. Lovely. Let's go ahead and place in our other stickers, so file place embedded, and then our deluxe edition badge. And this one has some transparency, and that is totally fine. That is one reason why we added in our gradient is so that we can actually see through all of that. Now, as you move this around, you'll see it's lining up with different parts of our parental advisory sticker, and I want this to line up with the very bottom. So just drag it until you see this bottom line appear. And then we're going to drag it over to the left to have approximately the same order here on the left as on the right between the stickers and feel free to use your keyboard to just nudge that around pixel by pixel. And that is looking fantastic to me. So let's go ahead and group these three layers together, Shift click all of these, and then control or Command G. And we're going to rename this as extras. Then let's hit Enter. And finally, we're going to finish this up with our color grading from our very first project, so go ahead and place that in. Like so. Now I want to add in our noise layer as always, but before I do that, I do want to add in a lighten layer. So let's go ahead and make a new layer here with our paint bucket tool selected. I'm going to go ahead and choose a nice dark gray here. Change that to lighten. And what that has done is just kind of given a nice little washed out effect to all the black that is in the image, kind of tying it together in a very nice and way. And the very final step here is, again, I'm going to use the paint bucket, hitting G on the keyboard, and I'm going to fill this with a nice gray. I'm going to go up to filter, noise, add noise. And I'm just going to use our gaussian monochromatic at 331%. Turn that into overlay and bring the opacity down to 5%. Let's go ahead and group these three together with Control Command G, and let's rename that as color plus effects, just like that. And we are basically done. You can see how we went from our very first original art layer, generating our first image, fixing the head, adding in some orbs, some clouds, adding in our title, a couple little extras, and then our color and effects to really tie all of this together. Is an album cover that I can see being used anywhere really from Spotify, Apple Music, anywhere that you can find it, I can totally see this being there. In the next project, we're going to be using AI to help create some concept art variations for a fashion client and then putting those into a moodboard. 9. Project 7 - Concept Art and Mood Board: We are now into the last big project of this class. And in this project, we're going to be creating concept art variations for a fashion designer that we are then going to throw into a mood board. Now, the prompt for this is that a fashion designer has come to you with three different concepts that they would like to explore for an upcoming fashion show. The fashion designer can only really create one of these designs in time, so they need you to create a moodboard of the various concept variations for them to visualize what they want to create and for them to then make it. So we're going to go ahead and set up our file here. Our width is going to be 1080 and our height is going to be 13 50. So that's going to give us a nice four by five ratio, and we're going to stick with a 72 pixels per inch resolution. So let's go ahead and click Create. So we're going to get to generating the image right off the bat. So let's go ahead, click Generate Image. And we're going to be doing a lot with the composition section over here this time. So I'm going to paste in a prompt here and go over that with you. So here's our prompt. We have model wearing clothes made by a fashion designer, and the clothes are urban style. Wearing a streetwear fit with old patterns, setting is in an urban city environment with the person in the center as the focus point. We want to make sure this is a photo, and we're going to specifically go down to the composition here. And this is why if you look in your class resources, I have provided a reference image for our composition. So let's go ahead and click Choose Image and navigate over there here in our class resources under Project seven. We have a wooden doll pose. Now, you can get these all over the Internet. You can look up different pose websites, find one that suits you. But I think this pose, this angle is going to showcase these fashion designs in the best way possible. And I'm going to want the strength to be fully maxed out. I want it to really adhere strongly to this pose, but you can feel free to play around with that. So let's go ahead and click Generate. And let's give Photoshop a second to give us our image. And here we go. We have a couple of options. So let's go through and see what we have as you see, because we had the strength dialed up to the Mx, we have some very good options here. Now, whenever you're working with humans, the AI is still not 100% perfect with Photoshop. You will see some issues with the hands and various body parts to the point where it is not really usable. However, some of these are very much usable and can pass in concept art exploration. So I'm going to go ahead and choose this one for our very first option. So I'm going to go ahead and close this dialogue box and hit Control or Command G on this. And let's just rename that as one. This will be our very first option. So let's go ahead and hide that layer, and we want to generate two more concepts for our fashion designer. Go over to edit, generate image, and I have ourselves a new Pmtier, let's go ahead and paste that in. And here is what we have model wearing clothes made by a fashion designer, very similar. And the clothes are futuristic minimal style wearing cyberpunk style clothes with neon glowing trims. The setting is in an urban city environment at sunset time with the person in the center as the focus point. That is what we want. Again, I want that to be a photo with the composition referencing what we have in our resource folder. Again, this wooden doll post, let's click Open and full strength again, and let's generate our image. And here are our results. So let's look through and see what we have if there's anything that is usable. This one is kind of cool. I kind of like that futuristic type of shorts that this model is wearing. So for this particular one, I'm going to give it another pass. Let's see what else it can generate us. And here we have the second round. So it's really leaning into that neon look. The second one is not too bad. So I would say, for the purposes of this exploration, let's go ahead and stick with this second one. Fantastic. So let's close up that dialogue box. And again, control or Command G on this to put it into a folder, and let's rename that simply as two. Fantastic. Let's close that up. Let's go ahead and hide the second concept that we just created, and let's do that a third time. So let's go up to Edit. Generate image, and let's paste in our new prompt. So this time we have model wearing clothes made by a fashion designer, and the clothes are modern minimalistic style. Wearing monochrome clothing with clean silhouettes, setting is in an urban city environment with the person in the center as the focus point. Again, we want this to be a photo and the composition we want, again, to be this wooden doll pose so that they are all the same. Full strength, and let's hit Generate. And we have our results here. This first one. I'm not really liking what's going on with the arm or with the face for that matter. So let's see what else we have. This one is right but not entirely fashion forward. So I'm going to keep moving forward here. Now, this one could work for what we are asking. This one is a little bit weird with his left leg more in the foreground than his right leg. It wouldn't necessarily work in this perspective, but I'm going to keep this just because I like the fashion that is going on. So let's go ahead and close that up, and I'm going to hit Control or Command G yet again and rename this as three. Fantastic. Now what we're going to do is for each one of these images, we're going to export them very simply as a PNG. So all you're going to do is select each layer. File, Export, Quick Export S PNG and save it to a folder where you can access it easily. So now that we've exported our three concepts, let's go ahead and get our moodboard put together. So let's just go over the File New, and our new file is going to have a width of 1920 and a height of 1080. So let's go ahead and click Create. There we go. And let's get ourselves a nice background color to work with. I would like something that's a little bit on the cream side, so let's pick something like so make sure we have ourselves a new layer. Let's hit G on our keyboard for our paint bucket and fill that in. So it just gives us a nice little warm canvas to work with. Fantastic. And let's go ahead, control or command G, group that in, and let's just label that as background. So now let's go ahead and place in our three concepts that we just created. So simple as going to File, Place embed it and find where you have saved it. Now, I save mine to the Project seven folder, so I'm just going to go ahead and place each one of these one by one. Okay, now that I have all of these three in here, they're all the exact same size. So it's going to make resizing them very easy. So shift click all of these, and let's hit Control or Command T on our keyboard so that we get into our transform function. Let's hold down shift, and let's resize this. We want to have a little bit of space below it so that we can have some text, and we definitely want to give it a nice border up above something like that. Let's go ahead. Let's drag our third concept over here to the right. And let's grab our first option, our first concept, hit Control Comane and bring that out to the left. Just like that. Now, there's definitely not equidistant spacing between these. So how can we fix that? Well, let's select all of these. Again, shift click these three layers. When you have V selected the move tool on your keyboard, you're simply going to go up here and we're going to click this button here that says distribute horizontally. Once you click that, now it has aligned them to have equidistant spacing horizontally. But now I still want to make sure this overall image, all these three are centered within this canvas because as you see, on the left, this space is larger than this on the right. So with these three selected, we're just going to do Control or Command T, and whilst holding down Shift, we're just going to drag it to the left until it snaps to the midpoint. And there we have it. We have our spacing done. Now, one thing that I like to do is when I provide mood boards to any kind of client, I like to pull out the colors of the images to have a nice, quick color palette for them to reference. It gives them a nice idea of the colors that are going on in their designs and can actually be really helpful in their decision making process. I'm going to do that really quickly for these images. So hit Z on your keyboard and let's zoom in to this very first image. Next, just simply hit M on your keyboard to get to your Marquee tool, and let's start by just drawing out a random little rectangle like so, just like that. Then hit G on your keyboard to get into your paint bucket tool, and you want to make sure you have a new layer made above this first one. Let's start by sampling one of the colors in our image. So orange is definitely one of them. So let's go ahead and fill that in. Fantastic. Now, let's do Control or Command D to deselect that. And let's duplicate this three times. Okay? We're going to hit Control or Command J once, twice and three times. So let's go ahead and hide these two that are on top. And for this second layer here, layer two copy, we're going to hit Control or Command and click on the thumbnail, and it is time to pick our second color. So let's go ahead and pick this nice blue and drop that in. Ovely. Now we're going to do that. For this third layer, again, control or command, click on the thumbnail, and let's sample this yellow. I'm going to go with that and drop that in. And last but not least on this third layer, control command, click on the thumbnail. And let's sample this kind of tan color of this undershirt. Paste that in. Fantastic. And now it's as simple as just dragging each layer out with your move tool and holding shift, and it's just going to snap nicely to where you want it to be. Just like so. But now these need to be made into the same width as our image up here. So with these four rectangles selected, just hit Control or Command and now we can move this around. So let's hold down shift. Let's drag it over to the left until it snaps to the left side over here. And then let's resize this. We want to take our fingers off of shift so that we can adjust this however we want. If we held down shift, it would increase the height of these rectangles as well, and we don't want that. I want to keep it the same height. I just want to make it match this width. Fantastic. And go ahead and hit Enter, and you can rename these layers if you would like. So this one on the bottom is one. The second one is actually the fourth rectangle. This one here is the third, which would mean that this one here is the second. So what we can do is just simply drag number one above number two, and let's group those together like so with Control Command G, and let's rename that as Hallett. Just like. So, so now let's duplicate that across and do the same thing for these other two concepts. So Control or Command J once and twice. And now for our first copy, Control or Command and hold down shift as you drag it along, and it's going to snap into place perfectly where you want it. And let's do the same thing with palette copy two. Let's do Control or Command and hold down shift as you drag it across. So now it is important for us to really be organized and label these appropriately. So the one on the bottom here is palette for one, so palette one. Second one here, we're just going to rename that to palette two and drag that above our palette two just to stay organized. And this last one is going to be palette three, and we're going to drag that above our third concept. So let's zoom in here to the middle, and let's get our colors for palette two. So again, it's going to be the same process. Control or command click onto the thumbnail. Make sure you have G hit on your keyboard to get our paint bucket tool, and let's start sampling. So this first color, I'm going to sample that same second layer here, our second color. Let's sample go for this bright magenta here. Let's the select that. And our third one Control Command click. Let us sample. I want this green that is in there. Get some of those neon colors going in. Maybe even a brighter one. Like so and let's do this fourth one. What color could we pick? This one doesn't have too many to choose from. So I might go with this. If I can grab this, this bluish purple within his jacket and deselect. That gives a general overview of the colors in that. So let's collapse that down, and let's move over to our palette three. Exact same process here. Control Command click one. And I'm going to pull some of the colors here from his pants. Like, so let's move on to the second one. And I actually want one of this lighter gray in his pants. This is a very nice monochromatic color scheme here. So for the third one, let's go ahead and sample his jacket here. Like, so it's a little bit hard to see with our background, so I might actually sample something else. This one's a little bit brighter. It should show better. Yeah, that looks a little bit better. And for the fourth one, it's going to be a little difficult with this being so monochromatic, but that is entirely fine. Let's go ahead and sample part of his shoe is a nice light gray. So let's go ahead and deselect that. And we have our three palettes done for our three concept images. Lastly, I want to add some texts just to give a little bit of context to whoever this is going to be presented to or what each look is supposed to be. So let's go ahead over here to our look number one. And hit T on your keyboard to get into our Type tool. Let's click and let's type in Look one. And control or command A to select all of that. And I want the font to be a nice, dark gray. I always recommend people to stay away from using pure black and fonts. Having a nice, dark gray, dark brown, dark, blue, dark green, anything dark is going to look very, very nice. So we have a L one, and the font that I'm using for this is Parcen text Bold. Again, that's an Adobe font. Just make sure you enable it on the Adobe font website, and you'll be good to go. So I'm going to go ahead and have that there. And with the type tool still selected, I'm going to click again and I'm going to type this time urban. That is the style for L one. But I don't want this to be bold as well. I want to create a little bit of hierarchy here, so control or Command A to select all of that. And within the same font family, I'm going to go down to book. As you see now, it's a nice thin font, and I'm also going to decrease the size of it. So control Command A, and we can hold down Shift to resize that to something like so we can line that up. To where we want it to be. And I think about this size is going to look just fine. Now, with V on your keyboard selected, you can move this around with your arrow keys, and we can move this until it looks good. So I want that to have a nice little space above it. And with both of these selected, we can move that over again with our arrow keys to match where the line is of this concept. If you want to make sure that it's lined up, you can also pull in a ruler or a guide off of the ruler of your image. And as we see, this is pretty accurate right here on the first try. I might move it over by one pixel, but I think that is fairly accurate. So let's go ahead and group that together, Control or Command G on those two, and let's give that the name of text one. And let's pull that down above palette one. Let's go ahead and duplicate that two more times, so control or command J once and twice. And let us zoom out so we can see our entire image. And let's rename this text one copy. We're going to rename that to text two. Text one copy two, we're going to rename that to text three, and let's drag them to the appropriate place. So above palette two and above palette three. Now let's take text two, have that selected and then Control or Command T to transform, and let's drag it over until it lines up with our second concept. And the same thing for text three, make sure that's selected, Control or Command and let's hold down Shift as we drag that over to the third concept. Lovely. So let's zoom in here to our second one. Hit T on your keyboard to get into our type tool, and let's change this. This is L two, hit the checkmark, and this is not the urban style. This is the futuristic style. Now, as you see, this is center align, so now it doesn't look very good. We can left line though that still doesn't fix our problem. So control or command T on that, and let's bring that to where we want it, just like. So let's move over to our third and final look. With the type tool, let's change this over to L three. Hit the checkmark, and this isn't the urban style. This is the minimal style. Again, I'll make this left align, even though either way I have to move it around and shift click as I do Control Command T to transform it. And I might need to use the arrows here just to get that pixel perfect as possible. And we are basically done. You can hit Control or Command Colon to hide that guide that you've dragged out, or you can simply just click and drag it off back to the ruler section. This is ready to go. You can export this, put this into a deck, a Power Point, and present it to your client for the different options. In the next and last project for this class, we're going to be throwing every project that we've created today into a portfolio project showcase. This will be a final finished product that you can showcase, you can send to a potential employer, or just put it up onto your website to show the world what you've created. So let's move on and create our final project together. 10. Project 8 - Portfolio Showcase: All right, you've created seven projects throughout this class, and now it is time to throw that all into a portfolio to show it off to any potential client, potential employer, or to just put it onto your website. Now, before we get started with that, I will note that for every single project that we've done, I would like you to export it very simply as a PNG. All you're going to do is go to File Export. Quick Export as PNG is going to do just fine for what we need today. So click that and save it to an accessible folder. And once you have all of those exported, it should look something like this. And as you see, I have labeled each one with what it is. So, for example, Project one is a social media post. Project four was Ad design, Project six album cover. I'll just help as we move on to make our portfolio showcase. So our portfolio is going to be 1920 by. 80 at a 72 pixels per inch resolution. We intend for this to be able to view full screen on any computer, so we're going to stick to that 1920 by 1080. And let's go ahead and click Create. So let's go ahead and get our title page set up. Let's hit GnRkeyboard to get our bucket tool out, and I'm just going to drop in a nice dark color. Our hue is at zero, our saturation is at zero, and our black level is up at 5%, so it's ever so slightly off black. It's a very nice, dark gray. Go ahead and unclick this lock icon here on our background. And let's go ahead and click File, Place Embedded and navigate over to our class resources. In our class resources, we're going to go over to Project eight, and we're going to select our triangle halftone pattern. Let's just place that in and hit Enter. And we're also going to hit File, Place Embedded, and go for this Adobe color palette. Now, as a quick side tangent, where did I get this Adobe color palette Well, let's jump over to Google. You can simply head over to color.adob.com, and you're going to come to this website here. And here, you can do a lot of cool things. You can make your own color palettes based on different color harmonies, which you can see in this drop down. What I like to do is I like to go through the Explore tab or the trends. If you want to see what color palettes are currently trending in the world, just click that and you can explore a whole variety of different color palettes. And this is exactly where I found that color palette I just showed you. If there's any color palette that you like, simply hover over. And you can add to library or download as JPEG. I like to download as JPEG because I don't like to clog up my creative cloud with adding all kinds of color palettes to the library. So if you're ever stuck for finding a good color palette, head over here and find one that works. I'm just quickly going to show you the Explore tab as well. You can go through all different color themes, and you can search for a specific feel. If I want a vintage look, I can look at specific color palettes for that. And there are literally millions of color options for you to choose from. So don't be afraid to exper. Now let's head back to Photoshop. So now that we're back in Photoshop, we can take our color palette that we have and hit Control O Command T on that. And I just like to make that small and have it off to the side. That's just going to be a reference for us to use as we create our portfolio. Now, let's go to our triangle half tone pattern. I want this to be just a nice little detail here on the bottom right. So with that half tone pattern selected, let's hit Control O Command T on our keyboard, and let's play around with this. Let's rotate this. Let's move it to where we would like it to be. Something like down here, and I'm going to click and drag and stretch it out. Something like that. I want to make sure we don't have any hard edges here. So I'm going to make sure that is pulled off the artboard, something like so but I don't really like this color. I don't want whatever blue color that we have here. So let's double click on this layer, and we're going to come up with our layer style dialogue box, and I'm going to do a color overlay. So let's go ahead and select that and open that up. And this is why we have our color palette because now we can click this color and we can sample anything in our image. And I specifically want to sample one of these colors that we have. This one here in the top left I really like a lot. So let's go ahead and click Okay on that. And okay on that to close it up. But I don't like this hard edge that we have. I want it to blend in a little bit nicer. So let's go ahead and create a mask on this layer by clicking down here and let's hit B on our keyboard to get ourselves a brush, and let's make that soft. I'm going to make my brush size quite large, actually. Maybe thinking four to 500 is going to do me fantastic. And for the opacity, let's bring that down to 20% as we paint away a nice gradient. And we're going to be painting with black. So make sure you have that as the foreground color over here. So let's just go ahead and let's just start slowly painting away until we have a nice gradient going on. There we go. I am happy with that. The only thing I'm still going to maybe do is bring the opacity of this down to about 80% just to soften that up ever so slightly. Now we can shift click this halftone pattern together with our background color and hit Control or Command G to group that together. And let's rename that simply as BG as shorthand for background. Now, I would like to add in some page numbers so that if we're presenting to a client, we can refer them to a specific page. So let's hit T on our keyboard. Let's get our type tool out, and let's just click once. And we're going to just type in the number one. And we want this font to be brother 18 16. This is also an Adobe font. So if you don't already have it enabled, enable it on the Adobe font website. And with Control Command A, we're going to select all of that. And using this color selector up here, we can drag that over here, and we're going to pick one of our colors from here. Specifically, I want this one here in the bottom left. I gives a nice slightly cream tone that we see is different from the current color. Let's just hit Okay on that. Let's click our checkmark, and let's do Control or Command T to transform, and let's shrink that down ever so slightly. And we're going to move this over to be in the bottom left of our page to enter, and let's see how that looks like. Let's toggle off our Adobe color palette by clicking the I icon. And let's look at that. This contextual taskbar is a little bit in the way for me right now, so I'm just going to go ahead and hide that. And using the move tool and the arrow keys, I'm going to just slightly move that around until it has a nicer visual balance, and I think that is going to be a great point. Now, I want to add a title here to our presentation. So let's go ahead with our type tool selected. Let's just click, and we're going to type in your name. And on the next line, we're going to type portfolio. So feel free to customize this with your name. If you have an artist's name, you can feel free to put that there. And let's hit Control to select all of that. And the font we're going to use for our title is called Obviously. Again, that's also an Adobe font, so make sure you have that enabled, and we're going to specifically choose the wide bold version of this. Let's go ahead and hit the checkmark, and let's hit Control or Command T on our keyboard. And let's start dragging that out whilst holding down Shift to make this nice and big. So let's move that to about where we want it to live. I'm thinking nice place here. So there's an equidistant space above and to the left of it. Like so and you can adjust the spacing between the lines and the letters if you would like, using this character dialog box over here, but I think I'm going to keep it as is. I like that. And the last thing I'm going to do for this is I would just like a nice little separator line underneath the word portfolio. So let's hit on our keyboard. This is going to bring us over to our shapes. But by default, it is here on the rectangle tool, and that's not what I want. I want the line tool. So just click and hold down on that and let us select our line tool. Let's line that up as best we can over here and hold down shift to make sure it is a nice straight line. And I'm just going to pull it to about there. Now, for the fill, I don't want any fill, so let's just make that transparent. But for the stroke, I'm going to choose the same color that we have for our font. So let's click that and we can change the thickness of our line. And you might not see anything at first, but once we go high enough, you will start to see that. So for this, I'm thinking something nice and narrow, maybe just three pixels. You can type that in specifically if you would like. And let's see. Yeah, I like that three pixel wide line. I'm just going to zoom in here, make sure it is lined up nicely with our move tool. If you click and drag, it may snap to where you want it, but sometimes it's going to snap to the bounding box of the text, not the text itself. So that's when we can simply pull out our ruler. And make sure that our line is not in the way. We can line up our ruler with the font, with the text, and then we can shift, click and drag our line back, and now it is lined up perfectly. We can hide that, and with Z selected, we can zoom out of our image. Fantastic. So this is just our first page. So let's shift click that together everything we've done so far and control our Command G. And this is going to be labeled as page one. So now we're pretty much going to go through every project that we've done and build a page out for each one of those. So with page one selected, let's just hit Control or Command J to make a copy, and let's rename that as page two. Let's hit Enter, and let's open that up. So for now, let's hide everything that we have except for our background and let us enable our color palette, just like so. Now, I don't really need this triangular half tone anymore, so let's go ahead and delete that entirely. And with our paint bucket tool selected and holding down Alt option, let's sample this color here in the top right. And we're just going to drop that in, and that is our new background color. Perfect. So now let's collapse that. Let us enable our page number. So we have number one down in the bottom left, but we cannot really see that. So once we have that selected, we can just simply hit T and our keyboard, get our type tool out, and we can change the color of it up here. So let's go ahead and sample this top left color, that nice, dark brown. And now that is looking fantastic. Let us enable our title. And again, we can do the same thing with our type tool selected. We can change the color of the font, sample that right up here, hit Okay, and we're going to do the same thing for our line. Let's enable our line, and with it selected, you can hit U on your keyboard, and you'll have the fill and stroke, and we're changing the color of the stroke. So just select that, and the previously sampled colors are already there. So let's go ahead and select that so now we are set up and we can hide our color palette. Now, this page is not going to be called your name portfolio. No, we're going to hit T and our keyboard, get our type tool out, and control or command A on our text. And this is our first project our social media host. But we don't need this to be so big. So let's just hit the checkmark up here and let's do Control or Command And let's shrink that down. I only want this to cover about half of the page. Like so. So let's hit Enter, and now I'm going to bring out this character panel, and I do want to decrease the tracking between the letters. So let's just drag that down to about 40. I like how that looks. And let's go ahead, select our line and with Control or Command T. We can simply drag that up a little bit, hit Enter. I like how that is positioned, and we can hit and our keyboard to adjust the length of our line. So you can hold down Shift and it'll maintain the angle there for us. And I just want to drag that in to be smaller. Now, with all of these selected, our line and our social media post title, have those two selected here by holding down Shift and clicking between the two layers. And we're going to hit Control or Command T to transform, and we're going to bring that over here to the right. And I might move that a little bit up. So there's more equidistance spacing on the top and the right of that text. So now let's bring in our project one, okay? So let's go ahead and do File, Place Embedded, and navigate to where you saved all your projects. Here in my class exports, I'm going to select Project one and hit place. And now, whilst holding down Shift, we can resize that. I want it to be equdistant from the top and the bottom, if possible, something like so, and let's drag that over here, making sure we snap it to the center line. And I like how that looks. Lovely. Let's just hit Enter. Lovely. And now we need a little bit more text here on the right. So with the type tool selected, let's go ahead and drag ourselves a rectangle for what we want our paragraph to be. And by default, it's going to populate it with some orm Ipsum. And the font that we're going to be using for this is the din 2014 narrow extra light font style. And this is also an Adobe font, so just make sure you have it enabled and you'll be good to go. Let's click the checkmark on that. So you can fill this in with your own custom description. But generally speaking, you want to keep it nice, short, sweet, and to the point. You generally just want to explain what you did, what programs you used, and if necessary, what the prompt was and your thought process behind it. And one thing to avoid, make sure you never have hyphenated words in your descriptions. So just go ahead and put that to another line until you have no more of those, just like. Now, I want to use the same font from up here, this obviously font down here to add the date. It's a great idea to put the date that you create every single project in your portfolio. It gives whoever you're showing it to an idea of a timeline of your projects to see your development through the months, through the years of the projects that you have created. So again, with our type tool selected, let's just click down here, and I'm just going to put in a very fake date. I'm going to put in December 25 for Christmas in the year it is 23 86. Okay. Any random date will do. And let's go ahead, control our Command T on that to resize that. We want that to be very small. And just in the bottom corner, I want it to snap to our image, and on the right, I want it to snap to our title, like, so, there we go. So we have a nice little container for our content, and that is page two done. We basically have the template done for every single page. So we're going to fly through the rest of this. Let's go ahead and hit Control or Command J, and this is going to be our page three. So let's start flying through this, shall we? So for our background, we're going to change the color of our background, enable our color palette. And with G hit on our keyboard, I want this to be this bottom left color. Slightly different, but it'll give us a nice variation and difference. And we can go ahead and hide our palette. And it's going to be as simple as hitting T on our keyboard and changing all these numbers. So this is page three. Hit the checkmark. And looking at that, I just realized I did not change the number in page two. Let's go ahead, toggle page three off and change the page number of page two to page two. I bet you guys were screaming at me for that. So I have that done. Let's go back to page three. Fantastic. So here, this is going to be our photo retouching project. Photo retouching. Like so. So now, let us go ahead and delete our Project one by selecting, just hit Delete. So let's select our photo retouching title, our line, and our Lum Ipsum, and hit Control or Command T to transform and hold down shift as we drag that over to the left side. I like to create a little bit of variety with each page. And let's select our date, Control or Command And this time we're going to snap that to the left of our text. Let's hit our checkmark. Now we can place in our photo retouching. So let's do Place Embedded. And here we have Project two photo retouching. Now, a great idea with photo retouching, if you really want to showcase what you're capable of, it's nice to have a before and after. So go ahead and place the very beginning image without any of the edits. And there we go. I have the before version of our photo retouching, and we can tuggle that on and off. We have two layers here, and with both of them selected by holding down Shift and clicking the two, you can hit Control or Command T and hold down Shift, and we want to resize both of these to fit nicely next to each other. I'm going to click and drag that about here. Like so. I want to make sure the before is on the left and the after is on the right. So with the after version, selected, control or comante and let's drag that over here. I don't want these to really go off the screen, so I'm going to keep resizing these two wall selected, holding down shift to maintain their proportions until I have a nice balance of space between the left and right of the image, and to make sure they are centered vertically in our page here. Fantastic. And let's hit Enter. And that's it. Page three is done. Moving forward. Control our Command J on that, and let's rename that to page four. Let's hit Enter. So right away, we can delete these two images. We don't need those anymore. And I'm actually going to get rid of the line for this one. I don't want it. We're going to hit T on our keyboard for our type tool and change the title here to be product Showcase. And I want this all to be on one line. I know. It's absolutely crazy. Let's Control or Command T. Also want to increase the size of this because, you know, you're going to have certain projects that you want to have a little extra emphasis on that you have a little more pride in, and this is one of them. Let's place that in there. Let's change our page number to four. Like so. Let's go ahead and paste in our third project. Here we have a product showcase and holding down Shift. Let's resize that. Something like so. And I want to have a little bit of fun with this. I'm going to make this ever so slightly go above our text, like so. So let's go ahead on our product showcase control or command Want that to be a little bit bigger and drag that up ever so slightly. It's always fun to add a little bit of extra visual interest whenever possible, because it adds just a little extra thought to what you've created. Now, our Loren Ipsum text here is kind of cut off, so just hit T and click within that, and now you can edit this box for a text. So I'm just going to drag that in here. We're going to have a narrow bit of text describing what this is. And I'm just going to end it right there. This will be a very short description. Let's just hit the checkmark there. And I'm actually going to bring our date over to the other side Control or Command T, just so that we have a little extra space on the left for our text here. If we can get in an extra line and make sure that it finishes nicely without any hyphens. So let me go ahead and just do that. That'll work. Lovely. And there is a hyphen up here that I am not a fan of, so let's go ahead. Go to erase that like so. And it might seem a little bit annoying having to do all of this, but it looks a lot better without having the hyphens. Fantastic. So now we have page four done. Now for page five, I want a similar design that I had on page two. So I'm just going to duplicate page two, Control or Command J, drag that all the way up, and let's label that as page five. We can turn the other layers back on. And this here was actually our add design. So let's simply rename that as add Design, hit the checkmark there. And let's just move our date over here this time just because and let's place in our image. So file place embedded, our project for ad Design. And I'm keeping our previous image here just so we can have a reference to have a size that is similar height, like so, and you can go ahead and delete that other image, and you can move that around if you feel the need for it. And let's go ahead and change our page number. To page five, like so. And that's page five done. For page six, I kind of want a duplicate of page three. So let's duplicate page three, drag that all the way to the top. And let's rename that page six. So let's go ahead and rename that. This was actually our muck uppGeneration. There we go. And we don't need either of these photos here. Let's go ahead and change this to page six, and we're going to keep everything else for now, but I will also change up the colors on here. So let's go ahead and let's reenable our color palette. Let's go to a background, hit GnR keyboard. This time, I'm going to sample this color over here in the top middle. And let's change that. Lovely. And let's go and change everything else. So for our mockup generation text, so with our type tool selected, we can click this color selector, and let's choose our light color here in the top right. Fantastic. And we're going to do that for all the texts. So we have our date, color in the top right. We have our page number. W that to be color in the top right. We want our Lorem Ipsum, color in the top right, and we want our dividing line by hitting U on the keyboard, change the stroke color to that color in the top right. Now we can hide our color palette, and we're ready to place in our mockups. So place in both of the mockups that we created. Here's our first one, here's our second one. Now with both of those selected, just hit Control or Command T, and hold down Shift as you resize these images, and we're going to be stacking these one on top of the other. So let's just make sure we're going to have enough space for that. I like this spacing here. And with this top one selected, just click and drag that down. And I want this to line up with our date at the bottom, and that is very nice. I like that. Might even bring this one down a little bit. So we have more equidistant spacing above and below. And that is it. Page six is done. For page seven, I actually want to duplicate page four because I really, really like that album design that we did. So let's go ahead duplicate page four, Control or Command J, and let's click and drag that all the way to the top. And let's rename that as page seven. And right away, let's go ahead and change our page number to page seven, hit the checkmark, and let's change the title. This was our album cover. Hit the check on that, and let's resize this. Just like that, and let's make sure we have that centered with our image here. Lovely. And for this one, I'm going to mix it up. I'm going to switch where our date and our lorem ipsum is. So let's have our lorem epsom selected, control our Command T, and just click and drag that over to the right side. Hit Enter on that. And with that said, let's bring our date over to the left. Control or Command T, transform and hold down shift, and we're going to bring that to about here. Let's hit Enter. And I'm going to keep this project three here just so that we have the same size. I want to keep consistency. Let's go ahead, file place embedded, and we're going to do our album cover project. So hold down shift as resize. And we're just going to match it up to that previous project. Let's hit Enter, and we can go ahead and delete that project three. And there we go. Page seven is done. Now for page eight, we're going to do something different yet again. So let's go ahead and duplicate this page seven, Control or Command J. Let's just rename that to page eight. Like, so let's go ahead and get rid of Project eight. We don't need that here right now. And our seventh project was actually our moodboard concept. And variations. And as you see, it's gone off the screen here, so just Control or Command A to select everything. And let's bring that down to a much more reasonable size, something like that. And you can check that you've made no spelling mistakes. So let's go ahead and first of all, change this to page eight, like so, and let's get our image in here. So just go file place embedded and we're going to paste in our whole moodboard, just like that. And now hold down Shift and let's resize that so that it exists within this page. Like, so. Lovely. And for the background, I actually want to change the color of it. So let's turn on our color palette like so. And on our background layer, let's hit G to get to our Bucket tool. And I'm going to select our light color here in the top right. Like so and drop that in. Let's go ahead and hide our palette. We don't need that anymore. And let's start moving things around. So first things first, I want to move my date with Control Command I want that to live up here in the top right section of that. I want our title. Live down here, so control or command T on that, and we're going to bring that down, so might need to move that around with the arrow keys a little bit. So with our move tool selected, with V, you can move that up pixel by pixel. So I want that to live there. I actually want that to be a bit bigger. I want that to fill out not that much, but I do want that to fill out this whole width, if possible, or most of the width. Holding down Shift on each side, and then re centering everything. Yes, I like that a lot better. Now with our type tools still selected with T, let's click into our text box here. And let's drag our corners down here. We're going to want this to live down in the bottom half of our image. So we're going to resize this until we have these two lines here. And again, no hyphens, if possible. Fantastic. And let's go ahead and hit the checkmark. So with V selected, I'm just going to use my arrow keys to just move that around and move that down. So now we have a space to put in our description and extra information. And actually, looking at this, I might remove everything except for one line. I'm going to keep one line here. This can be a very simple explanation, concept exploration for fashion forward client, so we can keep that as is. I want to have a little bit of extra breathing room down here at the bottom. That is page eight, done. And for the ninth and final page, we're going to keep it very simple. We're going to duplicate our very first page. So on page one, just hit Control or Command J, click and drag that to the top, and let's rename that as page nine. Like, so let's change our page number by hitting T on our keyboard and clicking on that be page nine. Lovely. Here, I don't need the line anymore. We can get rid of that. And when you're showing your client your portfolio, it's generally a good idea to say thank you at the end. It's just a very professional and polite thing to do. So that's what we're going to do. Here. So we're simply going to type in, thank you, thank you for your time looking through our portfolio, and we're happy that you're considering us for the position or whatever you may be using this portfolio for. So let's go ahead and center that horizontally and vertically, like so. And that is our ninth and final page. Now, we want to put all of this into one PDF to deliver to a client, to a potential employer or to just put onto our website. And there are many ways you can do that. I'm just going to show you one of so let's go back to our very first page, and we're going to export each page as its own PDF. So we're going to go to File, Save As, and we're going to make sure this is a Photoshop PDF file with the title of page one. Let's hit Save and hit Okay for everything that comes up. And yes, just click for everything, and we're going to do the same thing for every single page. So save as. And this is now going to be page two. And we're going to continue for every single page. And here's our ninth and final page, and that is saved. So now we want to put all of those into one PDF, and it is very simple. We're simply going to go to File, automate, and PDF presentation. And we're simply going to browse and add all of the PDFs that we saved. So here we have all of these, and you can simply shift, click every single one of them. So let's hit Okay, and they're in the right order. We want to save this as a multi page document, all of these in the same document, and we're not changing anything else. So let's go ahead and click Save. Again, the dialog box is going to come up, and I'm going to save this here as your name, underscore portfolio. Like so and just go ahead and click Save. Save PDF and let it do its thing. And just like that, it is done. So here we have our portfolio opened up in Chrome, and you can see just how nicely it's exported out. All of our pages are in the right order, and it is looking very clean, very professional, and quite ready for you to send to any potential client or employer or to just throw this onto your website. It is great to have there as a showcase of what you can do with the power of AI and with our portfolio that means all of our projects are now complete for this class. In the next chapter, I'm going to wrap everything up, give you your assignment for this class, and give some final thoughts on AI and the use of it in your design work. 11. Class Assignment: Alright. Now it's your turn. For your class project, I want you to take what you've learned in this class and create something uniquely yours. The challenge is to combine two or three techniques that we've covered today, things like compositing, generating elements, style variations, or cleaning up an image. Honestly, I want you to have fun with this and choose any format that you like the most. As a starting point, you can follow along and try to do something that we've covered in this class and do your own version of it. A few examples could include an album cover built entirely from AI generated graphics. A showcase that's ready for advertising or a social media post designed to grab attention. The only rule is that all the visuals you use must come from AI. That means no stock photos. I want you to push yourself to see just how far you can take your ideas, especially when you're generating everything from scratch. When you're done, share the project in the class gallery. I would love to see how you combine these techniques with your own unique style. It'll give your classmates a chance to be inspired by your work. Think of this as a chance for you to show off what you can do and not just by following all the steps, but by experimenting and making something that feels original. Have fun with it, and I cannot wait to see what you create. 12. Final Thoughts: And with that, you have made it to the end of the class. Give yourself a round of applause and a pat on the back. By now, you've seen how Photoshop's AI tools can completely change the way we approach design from generating images, placing products in realistic environments to exploring bold creative composites. You've added a whole new layer of speed and possibility to your creative process. But this is really just the beginning. AI Insight Photoshop is evolving incredibly quickly. We're already seeing more control, higher quality generations, and smarter integration with the tools designers have always relied on. AI is here to stay, and over the next few years, these features are only going to get faster, sharper and more intuitive. As designers, that doesn't mean that AI replaces our creativity. It means we get to focus even more on ideas, storytelling, and problem solving. While letting AI handle some of the heavy lifting, think of it as another tool in your toolkit, like layers, masks, or typography or any other tool within Photoshop, the power still comes from how you use it. So as you move forward, keep experimenting. Push the tools, break the rules, and most importantly, use AI as a way to unlock your imagination and just have fun. I want to thank you so much for joining me in this class, and I cannot wait to see what you've created. So make sure that you upload your projects to the class gallery so that we can all learn from and inspire each other until next time, keep designing, keep exploring, and keep creating.