Collage: Retro / Vintage illustration with Photoshop

1. Intro: Hi this class, I'm going to teach you how to make a retro looking digital clashing in the photo shop. All guide you through the whole process from the empty Photoshopped campus until we have a finished illustration. I'll also give you the images that I will be using so you cannot load them and use them. Or you can use your own. Doesn't matter if you're a beginner or a little bit more advanced. I'm going to show you the whole process as I'm doing it, how it's going, your which schools I'm using and how I'm using them. So don't worry if you're a beginner. My name is Marcus when others I'm a graphic designer and illustrator. Originally from one side is Argentina and currently living in Heidelberg, Germany. I've been making collapsed in 2007 and I've been really lucky to be able to work for companies like National trip graphics growing Power Rangers, many different projects like motion tropics print advertising patterns. So I'm really happy to be able to show you how it work. And yeah, let's make these retro looking Kalash together 2. Understanding images: I make this simple categorization to help me identify and understand what kind of images I need for my collage. If you have already watched the previous class of mine, you might already know it. But if not, I think this is a quite important piece in the puzzle. The first group is photos. This includes anything that has been taken with the camera. It doesn't matter if it's vintage old or very high. Fine Studio made We Group the Mess Photos. The Second World is illustrations and paintings. These are the ones made by artists who copied reality with a certain technique. They can be been touched scientific from a kids book or a middle age painting there many illustrations and painting styles, but let's group them all together. The third group is three, the images thes air computer generated, and they have a certain look and feel. They are sharp, and although they can get very close to a photo, they still have someone really feel you might notice this in textures and radiance. The fourth kind are vector images. These are also computer made, usually two D, and you'll easily recognize them because they're quite different from the others. You're probably used to see them in logos, webs, mobile applications pretty much everywhere. Pictures are also very important. Sometimes you find a really nice texture like this one, and you want to use it in your goulash, and it might be that you don't know how to apply it and simply my not look good together with the other images that you have. It is a good exercise to analyze element in detail. For example, let's take a look at this texture. It looks like metal machine made, and it has the scratches, as if someone has made them while using it. If you would touch it, it might feel cold and hard. And now this paper texture. It feels handmade and has natural variations of colors, and if you would touch it, it will feel natural, kind off, water colored paper. This image is communicate different things and will fuse nicely with totally different images. For example, if we're making a kalash like this, Avery metallic texture might be hard to mix with other elements because they all come from a natural source. But here it will feed right away as the elements are machine made or artificial 3. Understanding style: Okay. Now that we already understand the styles of the images, what we need to do is to gather references. And for that I find that super useful to use Pinterest. You can do it any way you want, but I'm going to show you in this class how Use Pinterest. So I go ahead and Reid retro Kalash and then find so many artists, so many good collages. And what I do is I created board and I saved the ones that I like the most. So I tried to find the patterns right. I tried to get the ones are quite similar to each other. So I have here my board red trickle ash and there are some were excited from mine and from some other artists that I like. Now it's time for us to start asking questions. These questions will set up a base for us to start working on our Kalash and not do it straight out off our head. But to know exactly what are the rules off the retro clashes that are going to make our clash? Look it, That's basically so the question number one is how does the background look? Isn't a texture, ingredient, photo or playing color so we can start looking for the pattern here. Um, so I see that many of them have this old brown, yellowish paper, right? There's there's not a Grady int on the background. There's note playing color. Even though this might have some, they look like a plane color. It still has a paper texture. So number one paper texture. That's what we need to get. Number two. What is the most use style of images, photos, ministrations? Three, the or vectors? And as we can see, there are two main things here. Some off them use photos, and some of them use all paintings or illustrations. So I have separated three off them here. So, for example, this is an old painting. This is a photo, and this is a photo, but they all look old. That's what we need to understand. If we would get now a studio shot off a model, it's going to look maybe very sharp, very high fire, and that's not going to help us get the look that we're trying to get now. So we know that we're going to use illustrations. Were all paintings. How are the elements placed in the page? Is it to the or three D Doesn't have depth? Are elements floating on the page? So for what we can see on these three examples that I've separated, the three off them look like sticked on a page. None off them have a sense of depth on it. Everything looked like paper sticked on top of each other and hard the colors. As we can see. The pattern here is that the colors are de saturated. We have a lot of reds. We have a lot of yellows. Old faded yellows have a lot of brown's greenish. All the tones are little bit faded, so we need to have this into account to their some colors. Some places to call a little bit the attention. But they are all Lippett faded, or if they're very saturated, they're trusting a specific places. So the last question is, how are the textures our them Hyundai machine made or computer made? And as we can see their old, very old textures, we have it here. This looks like, um, fabric texture with paper textures. Um, yes, everything has, like this paper tone eroded elements none are fed looks new, none off it looks machine made. None of it looks computer made. They are all like as if we would scan all elements from all book pages. So that will give us the key to how we have to look for images, which is what we're going to do in the next lesson. 4. Idea: before we jump to search images, we need to think What is the topic off our Kalash? So if we look at our references, we can say that most of them don't have in a specific message this Thailand we have chosen today. I believe it's more about the overall feeling and overall look. It's about what it communicates through the colors, the textures, the elements. So we don't need a clear message for this practice. I would say it's a little bit more artsy than an illustration with a clear goal. So I thought, OK, what can we different this goulash today? I wanted to do something about Kalash, so the phrase Goudeau Clash came to my mind. When you have no idea what to do, go look for a quote or a phrase and see how that makes you feel which elements you can see by analyzing that phrase. When I say good old Kalash, I think about old times, old Caesar's Ah, watch a clock old paper textures. So a little universe starts to come up in my mind, and I suddenly have words that guide my search. So now let's see where we can find those images 5. Image search: So if you're looking to make a retro looking digital clash, flicker is the place to be. Here You find institutions, galleries, universities that they upload images that you probably won't find so easily. For example, in Google on, then anything. It's also that they share a certain topic or certain style sometimes. So I would seriously recommend you to make an account here so you can start following this place. Is this people, the groups, the library's? And then the results you're going to get there will be based first on those people or places you fault. So, for example, if I go here and right flowers, I will have the results from people I follow. And it's more than half a millions. So you could get images like this ones or, for example, these ones. So if I can give you one advice is, every time you find the photo or an image that you like, go and check who is it from? So, for example, open this in another town, and this is a super nice place to find images, and now I can make another surge inside. So I click here, and as you see, I'm going to look inside this calorie and I can look for whatever I want again and keep going until you get lost and you lost five hours of your day looking for images. So it's very important for you to know what you're looking for before you jump, uh, to flicker and start looking because it can really be time consuming. Another nice thing about flicker is the chicken search and filter, um, by rights by size. So, for example, if I go and look for flowers, I can go to the before I full and then filter again by commercial use and modifications allowed. This is quite safe, and all of these images I can download and use them on my work without a problem and can also go here to advanced and look for the biggest ones. So you have a lot of results here, and you can definitely spend hours and hours. That's why it's better to come here already knowing what you're going to look for because otherwise you can spend your health today looking for images and you keep on finding images are nice and you keep on going, so you just can't take a lot of time. I'll give you some links to galleries that I really like, like the biodiversity heritage in Ivory Internet archive books and British Library and some others So you can go ahead and explore a little bit by yourself. And I'm also uploading all the images that I will be using for the Kalash so you can do it with me. We can do together at the same time. Ah, but feel free to do whatever you want with the images that you find. Also remember that you can upload your progress in your final illustration to the Project Gallery and get feedback from me and from other students. 6. Starting with selections: Okay, Now the fun part starts, we're going to start making our collection. So the first thing we're going to do is to go to the image, um, folder. You can download it if you haven't already, or you can use your own images. That's fine. And now I'm going to select the image that it's going to be my main character. So I'm gonna grab this guy and drop it on Photoshopped. And now I'm going to go to file new and create the file that I'm going to use. So I'm going to go to print and get in a four. Make sure this is in 300 our tribute color. So I'm going to grab this guy, drag it. Don't let go until you're on top of your campus and let go. And why do I do this? I only do this to make sure if the size of the image I know that I can see how many pixels it has when you're looking for it and you download it. But you never have the proper idea of how big it looks on the page. So I you always do that. I just opened the image and drag and drop it on my file that it's going to have the final size. So for now, we're going to use in a four thing that's that's fine for practice, and I'm going to make a selection. So I have this guy separated from the background in photo shop. You have many tools to make selections. In this case, we're going to use the pen tool, but there's not really one tool that, uh, can make everything. So there's not one right to in this case, As I said, we're going to use the pencil. So it's The logic is simple. You make one point, you make the next point and hold it. And while holding your click, you will be able to drive from this little arms that won't generate the car for you. So it's a matter of placing the points and drug in the arms. And as you see, I'm always going one or two pixels inside, and I'm also very, very assumed in, for example, 286%. Why? Because it gets quite hard to make selections when you're looking from far away. And also this elections are not going to be so accurate if you do so. So, yeah, that's how I did. I get very, very close. I'm going to speed this up in this part for the hair. I also don't care so much if it's perfect when I usually what I usually do is to make a lot of little points. So I don't have this perfect curves cause there never. It's never 100% flat. So I tried to make many, many, many small points. And once you're about to be done, you see that if I come to my first point next to the pen tool there salute of circle, that means that it's going to be closed. And now we have a path. So what we can do is to find this path here. But before that, see that we have parts that are that we don't actually need. There's this space between the arm and his body. We can make the selection. We press the pee or go to the Penta again and make that selection. So there's going to be a hole. They're when I finally get the path right, So perfect. No, this is not the marching end. It's a blue line. So that means still, it is still a path. So what I'm going to do? Suppress, common enter to see what happens Now I have the marching ends marching and I have two options. I can either copy and paste it. Or if I come down here, I can make a mask. So right now, I didn't delete any information by by cutting it out off the the original image, But I made in a mask. So this means that the parts are in white are showing in the parts that are in black. They're hiding. So yeah, for example, I'm going to show, you know, I can come back to my pen tool and make this election again for this little part that I missed. I think I'm gonna go on this one. We went to press common enter again, but this time going to grab a brush. And if you see by default, it's going to be black and white. So the idea here is that black commerce and why I chose everything that it's in white. We can see everything that it's in black. We can't. So if I pained with black with my mass selected. I have no hope. But if I paint with white, I have it back. This is very useful for making digital clash. And if you get used to use it from the beginning, it's going to save me a lot of headaches. So I'm going to resize thistle little bit as we see every time I click on this, I have all these anchor points that it's because I have up here Children from controls and also select on layer. I seriously recommend you to have it this way because you will find yourself that you have 100 layers here and you don't really know what you're selecting before you know when you click it. You don't you're not sure what you're actually grabbing, so I'll definitely recommend you always have this clicked so you can resize superfast. And also you can figure out which layer have just, um, touched. Okay, so now we have one element on the page. It's time to save it. So I'm going to go to file, save us and give this name done. I got used to press common s all the time, so I keep on seven it just engage something crazy happens, I always have it saved. So now I'm going to go to my images folder again and I'm going to start drawing and dropping on Photoshopped the images that I think that I will use So I will grab this one, this one by holding command this one for sure. Okay. And I dropped them on the I can see that I didn't do this. I don't drag and drop on Photoshopped like this because I'll get a smart object created and I don't want that. I just want them in separated taps so I can first like them here and then bring them over to my kalash. So, as I said before, there's not one tool that can solve every selection. I believe that depending on what you need to select, there might be tools are easier to use than others. So, for example, here, when I'm not sure what I do, I treats grab the lasso tool. I copied this image and they drop it. So I go to the next one, for example, this one I would definitely use the Pento because it has all these perfect curves that would take me. That would be easier to select with a pencil. Well, now copy. Paste it when your dragon drop this one directly here and, for example, this one. I'll try to see how it works with the Magic one tool. It's the W tolerances on 34. Let's see 33 see what happens. But I'm going to do now. Us. I'm not sure if this is going to work. Instead of trips hitting the lit, I'm going to make a mask. But as we have selected their background and not the moth, what I'm going to do is to make an inverse math masks. So I'm going to press old or option and click on the mask. IPhone. Perfect. Kind of worked. Probably here. You can fix it a little bit, but you will find that when I reduce this image tried on. You said that the full size ups, when we make this smaller, those little imperfections might disappear. So what I'm doing now is just as if you were making a collage with papers. I'm just putting everything on the page. I'll see if this works with the other butterflies. I'm going to press w have the magic one and see here we have a problem. Thes stones are two similares to this one's. So what I need to do is to come to my lasso tool intel Photoshopped. Okay? All this part I don't want. And for that, I'm going to press all or option. So you see that there's a little minus I can next to the tool. And while holding it, I make my selection. And now this part, it's gone. And as I did with the previous one, or, for example, this one too. And I want it because I wanted to be part of the background. So in that case, I pressed shift, so it's ah, plus Aiken. And now I'm going to press, cult or option, and he don the mask that kind of works the moment I make it smaller. Many of those details I will be just fine. Okay, because we're also not sure if we're actually going to use it. I'm going to close this kosaido needed and to close this Kosaido needed to close this side I needed Going to close is because I don't need it. Remember to press coming s everyone's and then so you save it. Okay, I will keep on selecting elements. I'm not really sure off which ones I will use yet, so I will select them and drop them all. Here. Let's go and get some more images. For example, I would like to bring this one. I sometimes like to use very basic tools like the Marquis, too, just to grab parts of it and it copy, edit paste or common V, these elements at little textures or little pieces off other elements that they just make to the whole composition. There are a little bit decorative, but I really like doing that or transcribing the lasso tool. And, for example, I like this. This texture I'm going to copy it, Pace that. Not sure if I'm going to use it, but it adds to to my composition, for example, this image. I'm not sure if I'm going to use. I don't want to waste time going all around this election. So what I'm going to do is trust to drive and drop it on my ankle ash. And if it takes up too much space that just stick it to the back for a little while just because I'm not sure going to bring this image dropping in photo shop. Kind of like this part that has been Hondros so well, it's all hand drone. But I like this part that it's only the outline. So I'm going to make a quick selection of all this. And again, I'm using the last 4 to 1 of the most simple tools in photo shop and making this selection all around be rough. I will live some parts behind. Oh, that can happen. That's the bad part. Off the last tool. Impress common Sit Kamanzi to go back, okay. And like this, I will keep on adding elements. Doesn't matter which toe I use. I just want them to start, um, composing the page. I want them to start playing together on see how they fit in and how they relate to each other. Sometimes I just spring images. I'm not sure if I like this whole thing, but, for example, I like this part. So what I will do is I will get the marquee tool. But while clicking and holding, you get to see other tools inside of this one, and I'm going to go to the elliptical marquee toe and by holding shift I can make this perfect circle. So I'm going to come and see. Come on, V. When did just drop it here? And to close this closing with common w I'm going to bring this one. And again I'm going to make a quick selection with a lasso tool because I like this kind of fabric, like how it folds. So I'm going to tress copy pasted Going to clean this one again because I like this one going to make a quick selection with the lasso tool. A copy? Paste it. Now I see it's very big, so I'm going to go again. Get closer. Go again with the magic wand Tool press one time here one time here by holding shift. So I add parts to this election. I can also press ault or option, and I will substrate parts of this election. And now I'm going to have a nim burst layer by holding option and old or option and clicking on the mask. Good. If I'm not sure if I'm going to use this at this size or not what I usually do, I'm going to hide this little part here with a black, so I don't want it. What I usually do when I'm not sure if I actually want this image at the end to be this size or way smaller, it's I converted into a smart object. Why? Because now the information of this imaged it saved and you can find it by double clicking on the image. You see it now, I have a new tab here, and whatever I do to this image, for example, I can paint here and I press common s or file save. See what happens. It modifies the image on this side, so I'm going to the ladies and save it again. So now it doesn't matter if I make it smaller. If I want it, I can double click, and I still have it here at the original size. So that's a little tip for not joining your images by making them small and then trying to make them big again and pixelated them. Then that's how you can do it by converting them in smart objects and ask. You see, when you use the magic wand tools, you might have some edges. In some borders, you can either use a black brush and paint here, you will hide it. This takes quite some work. That's why sometimes I rather used the Pento ended Choose one time with depend toe. So I don't have to go through this. And I will keep on adding little parts elements that I like again here. I would just take a little part of this picture. Come and see. Come and see. And maybe a little bit of this time. Did I take it before now? Okay. So again with the rectangular Mikey too. Add it. Copy, Edit paste. So I like having all this little details. And as you see, the collection starts to build itself up. This is a little bit like when you make a manual, Kalash, you drop the things on the page, and then you start moving them around, and sometimes they look better when you first through them. So, yeah, that's how it works. Kind of. Okay, so I'm going to leave this year now, and on the next lesson, I'm going to teach me a little trick that I used to come up with a brand new background 7. Background trick: Sometimes I come across images like this one that maybe I don't really like the image itself. But what I like, it's the background. I found this one that has thesis, lecture, old paper, background and I would like to use it for Michael Ash. So I'm going to drag these two photo shop and now I'm going to again drag and drop it on my kalash s. You see, it's quite small. So we have different things that we can do with this image. The 1st 1 you will think. Okay, let's stretch it. But when we do that, we're going to find out that it will start breaking the image. Quality is not that good anymore. So what I'm going to do is to make a selection off all the parts off this image that I don't want, which would be all these lines. And they mentioned the center. So for that, I'm going to get my lasso tool, make sure that I have my layer selected and go around, okay. And no. While I have my marching ants, I can steal, use other selection tools, so I'm going to go to the marquee to and no press shift. So I have my plus I come there, I'm going to select this parts that have some groups that but more maybe hold it. So now I have on this black part selected, I can refine this, but that's fine. And I'm going to go to edit Phil and I will make sure that here it's as content aware our press okay, and look what happens. Photoshopped starts taken information from the surroundings and starts kind of cloning to say it somehow with the information of the surroundings and inventing this pixel information. So this is super helpful because you're not pixelated the image, but you're getting the parts that you want. So what I need to do now is to try to complete all this surroundings with the same technique, then and grab the monkey, too. And I'm gonna get this upper part and again, and it feel in content aware and the reason why I don't with all together at the same time . It's because I will refine it with every every selection. If you go ahead and do it all at once, for the troubles will say Okay, I'll repeat as much information as they can and sometimes the results are not blanket. So I do part by part. And for example, here it grabbed a little bit more because it was too light. I'm going to fix that now and now I'm I'll do it again. Here. Come on. Top of the first part. Cool. Still, I don't think that would look bad because you wouldn't tell if you didn't see this before. So what I'm going to do is to go to the clown stamp too. I'm going to press out or option to tell Photoshopped, from which point I want to start copping and I will start painting. It doesn't need to be perfect. And I'm going to take this to the back. Good. Right? Um, see, there are parts that might not be perfect, but it's fine. It's an old piece of paper things they don't need to be cut perfectly. They don't need to be big sell perfect. So I can go a little bit rough and have this imperfections that will actually add to the clash because we're trying to emulate an old paper old handmade thing with computer which will never be the same. So the more imperfections we have, maybe the better 8. Details: Okay, so now it's time to start playing and started merging the images and combining them and build our composition. So what we're going to do is to use this style of composition that leaves all the elements kind of center. We could make one line here, and then we could make another line here, and you will see that everything. It's kind of stable in the middle. So no, this is what I told you about having the show transform controls. Because if I want to grab this guy, go here and I know where this or this one. I know Every time I click something, I know what I'm grabbing. So I kind of like this idea off the good old Kalash concept. So we have someone. We have the sisters. We have the time represented here, time flying. It's kind of a broad concept, but it works. We're doing this for funding for practice, so it's fine. One little trick, for example, here I actually don't feel like cutting this image. It's quite complex. It will take me quite some time. So one little trick that you can use is double click on the image and on the first panel off blending options you'll see blend if gray Look what happens you can choose to you Red, green, blue. But look what happens when a take this down. Quite cool, right? So now I saved quite some time. I didn't have to go ahead and make the whole selection very mind. This doesn't work with everything right now. What we did is we took this information, this color information and we just hide it. So if you go ahead and double click on it, you can bring it back. You see, you need to be careful because if you go too hard on it, your image will disappear. But that seems to work just fine. And now we can also play with the blending modes. This is a very important part of Kalash. I believe you have display ending most and what they do is they change the way your layer relates to all the layers below. If you see when I go to multiply here, it only changes their relation between this one and the background. But if I do it with this one, it will start changing the relation between this one and all the ones below. So you can go ahead and play with each one of the blending modes and see what you're like the most. I actually, I think that Yeah, well, deploy I just works for now. I'll take the A pass. It e a little bit down. Yeah, that's fine. Okay. And now will start moving the elements on the pitch. I actually kind off like what happened here when we drop them. The elements. I actually think that they look, what? Good. But I'm going to make some things, make some changes. For example, when I have images here that they're like to digitally I can't What I do, I make a mask. So make it selection here. I will select my layer. Sorry, I'm going to click on the mask, and I'm going to grab a brush. And I was like, the brush that has some kind off etch gonna make it a little bit bigger. And now, by holding shift, I'm going to paint. So see what I'm doing. I'm making the edges a little bit softer, but they still have some kind off picture that it's because the brush tip has, um this is like a pencil brush so in it's not so digital anymore. Now it has some some little texture. And the Atriss, which makes a little bit more natural. Cool. Let's see what happens when with this and multiply works. And now what I'm doing. I'm just trying to come up with a combination off the layers. What's on top? What's below? I would like to to play with how images relating this way tried to match them somehow to hide them between each other. And what we're going to do now is to try to build a space for a little bit of text. So I'm trying to separate this part to see if I can put a little something there. Okay. For this style of Kalash, Actually, the fact that this elections there are no perfect they were quite well, So I'm going to make this guy a little bit smaller. Feel free to every time you have doubts of what you're doing to go back to your references were build up the Pinterest board, go back to it, take a look, see how it feels together with all the rest and come back. So, in the next lesson, I'm going to show you how to add details and refined this whole thing 9. More details and final touches: Okay, so let's continue working with our clash. Now it's time to start working on this to make it more personal. Not just We dropped some images that look it, but to add a couple of details to make it work. So, for example, one thing that we noticed when looking for the references is that they tend to cover the ice off the main subject. So what I'm going to do is to grab this little piece of some things I'll hold out or options. He we have a little ghost and drag it. So now we have a copy of it. And no, I'm going to grab the lasso tool. No, this part, I simply don't want it. So I pressed delete. Okay, that kind of works cool. And no, For example, I would like to grab this scissors and make it look like it's in between his arm and his body. So what I'm going to do is to make a mask so I don't cut this. I don't want to lose this information, because I'm not sure if I actually want to do that, and, yeah, just mask it. And this is quite if a simple mask. What I need to do is to think, OK, which parts are going to be hidden and which not. So I'm going to select all that I want to see so I'll close it there and now simply come and click on the mask. See how that looks. That's quite fine. Okay, Cool. And as we have the concept off old Clash, good old Clash I'm going to do is to grab the text two and right. Good old Kulash, This topography, it's the turnpike and I'm going to put it until lines that looks word. Okay. What I usually do is I try to take color from my composition because that makes everything look a little bit on the same page on the same atmosphere. And then I take down the A pass ity chest a little bit, so it merges even a little bit more with the background. Cool. I'll place this better fly, probably talking to this guy. One other thing that I really like doing is to add really, really small shadows to the objects. Because when you make a manual clash with paper and scissors, everything drops a little line of shadow. Even when they're stick together. They're not 100% on the same level, but one is on top of the other. So there is a small shadow. So what? I'm going to do something to select this butterfly and double click on the layer here, and I'm going to find drop shadow. If you don't have it might be hidden here at the effects. Little drop down. I'm going to click on it, not just selected, but also click on it. And what I'm going to do is to start playing with this shadows in order to make it small and really next to my figure. So I'm going to make the size down in the distance down in this bread now. I mean, this is very, very subtle, but id like this small details. So I'm going to choose the color and grab a color from my composition. Why? Because makes everything looks in this the same atmosphere. If I have like a big shadow, it's not gonna look that well, so I'm going to grab a darker brown. The work make it even softer Capacity little bit. That's press. OK, now it's very, very subtle, but still I think it adds a little bit, too, are Kalash. And once I have this shadow, I can place it in other shapes. So how do I do that? I'll find my layer with the shadow. I'm going to press, alter, option and drag the effect to my other layers can also do this to maybe this one. It's very, very subtle, but I kind of like it's a matter of what you like and what you don't. I just want a little bit smaller, okay? And we have also seen that in some of the other Kalash. They're like scratches and marks on the page there quite run them. So how do I do that? I use a welcome into us. Um, you can use any other tablet or even the mouth. But the this advantage with the mouse for the track bodies that you don't have pressure sensitivity here. If you press harder, it will mark harder. If you press softer, it will mark softer. So what I do is I make a new layer layer new layer or trist. Come to this little icon and you have in your layer and I'm going to select my brush. I have here. When I right click, I have brushes selected four style. These are the brushes that I use for my own style, but I know them. Good. This is a little bit like with funds. You can have 2000 funds, but you're going to use top 20 at most. I would say top eight. Um so I have here brushes that I have selected. I took the time to see which ones I like and which ones I want to use in my own work. And I have them all separated, so I don't have to school or scroll through thousands. If you're paying for the adobe subscription, you can go to this little gear here and go to get more brushes. And you will be taken to this page where you can ultimately download all of this. Then you double click them and you have them on your brush panel. They are amazing in a seriously recommend you to go ahead, download them and the whole day with all these brushes until you find yours. So I'm going to grab now a pen brush, pencil brush, not pain, actually, in gravel color. I do this by holding option and to grab this and now I'm going to start making some random lines. This is clearly the current here, and I will take down the A pass ity case. I've done one. I'm making your layer and I'm going to make some markings here to make behind Google Kalash so we can carry the attention a little bit better there. And this is a matter of trial to see what you like. What you don't like, I think the yellowish and reddish colors, they kind of get a alone quite well. And you can do this as many times as you want. We could also, but this color uncover it here, maybe put it on multiply. There's one brush that I particulate early like, which is and noisy brush. See what happens when I paint with this? It adds noise. Maybe not this color. I'm going to pick a color from here. I could dark her our own and going to paint bumps into paint in some parts just to make this a little bit more like rough, a little bit less perfect, less computer perfect. And what you're gonna also do is to go ahead and download any other texture and just put it on top and put it a multiply. This is up to you. You can really wear this kalash down. What I like doing. Sometimes it's grabbing some off the elements and give them a tone that kind of fits with the colors off the other elements. So, for example, double click on this and I'm going to go to color overlay, and you have here a blend mode panel as you have here on your layers. So I'm going to go to the colors and I'm going to pick it color from my composition. It's a little bit lighter, maybe, and now I can start playing with the blending Moz and see how now this seems to be, I don't know a little bit. That's a little bit more personality, but at the same time, it makes to the whole feeling off the Kalash. So kind of like that makes a a little bit of a dark place. Maybe I will put down the contrast a little bit, make it a little bit lighter, So the last thing we're going to do to this Kalash is to add a color adjustment on top off at all. And in order to do that, we're going to go to this little almost Ying Yang icon and go to collar. Look up color look up, works with three D lots and somewhat thinks, but for now, we're going to use the three d. Let's this through the last you can download and then add them to photo shop and you will be able to have this kind of effect. See, it's not just like putting a whole color on top of it, but it actually modifies how delights how the colors work. And again, this is also a matter of preference. Kind of like that. And I kind of like this one too. No, I have downloaded this old and yeah, it will take some time. This is a matter of choosing, and I think I'm going to go for kind of kind of like this creamy ones. This is maybe a little bit too much. And the key now is to find one. Oh, that looks good. Okay. Yeah, This looks I kind of like this one makes it all look quite old. And now you can play with the A pass ity, so it's not so rough and with the blending most, you could also try it. So you have so many options here to play with. You can spend the whole day and night doing this and not so like something. So at some point, you need to say, OK, this is it. This is how it works. And I think that for a practice, it looks quicker. Oh, at one last detail to this, Um, you know this cutting line I thought that maybe this sister could be following a cutting lines. I'm going to just making you layer put it under the color Look up and I'm going to select one of my yeah, my pen brushes. Get a color from here and to get very close and make this line. If you find it hard to make without a pen tablet, then you can do a straight line, maybe by holding shift in your mouth and then grab the eraser and start erasing parts that will make it even easier. So I'm going to erase this one. Yeah, I kind of like that. Cool. So we have it 10. Quick export: Okay, so now we have our Kalash. Let's say I want to export this to uploaded online somewhere. What I'm going to do is to go to file, save us, and I'm going to save it. Us A. J. Peck. Okay, save. That's fine. And now I'm going to find that file drag and drop them photo shop. And this is a very big file for you to upload it to Internet because you don't need that much information. How do we know that we go to image image size and we see here that the resolution is 300? It's too much for Internet. This could definitely be 72. And now you're going to decide how big you want a trip so you can think, OK, an instagram post. It's 10 80 per 10 80 of or if you want to upload it to be hounds, maybe you make it 1400. This depends. This is completely up to you. But I would definitely not recommend to have this file on 300 DP advocates is too much people can downloaded and bring them by themselves. So going to put 72 maybe 1400 and, yeah, that's enough. So I'm going to just either save it 72 orchards breast common s and save it. 11. Final comments and thank you: Okay, so we made it to the end of the class. I hope you enjoyed it and that you could make your own Kalash. I want to mention that what we have just done here, it's just a practice. We have taken a style. We have analyzed it and come up with new kalash. But the more you practice different styles, the easier it will be for you to come up with your own anything. That's the key to at the end, do what you like and do it on your own style. So take this as building your toolbox. Now we have one more tool for you to know what you're like, what you don't like and which tools you know how to use. So if you keep on practicing and making a difference, you don't have a full toolbox. And at the moment off, sitting in front of the computer and making your own Kalash, you won't have to reanalyze everything. But you will come up with your own recipe for what you like and what you think. It's good and yeah, and enjoy doing your own style, which is the key. So I haven't enjoyed it and hope to see you have many of my other classes. But