Create Beautiful Product Mockups with Adobe Photoshop | Casey Sibley | Skillshare

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Create Beautiful Product Mockups with Adobe Photoshop

teacher avatar Casey Sibley, Pattern Designer, Artist, Maker

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Introduction + Class Overview


    • 2.

      Photography Tips: Creating Your Own Mockups


    • 3.

      Starting a New Project in Photoshop


    • 4.

      Editing + Cleaning Your Photo Background


    • 5.

      Changing Color of Objects in Your Photo


    • 6.

      Adding Pattern Masks


    • 7.

      Adjusting Pattern Details


    • 8.

      Saving Images From Photoshop


    • 9.

      Styled Mockup Examples


    • 10.

      Online Mockup Example: Paper Bags


    • 11.

      Online Mockup Example: Wine Bottle


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About This Class

Click here and here for the product mockup files I found online for the last two lessons of this class!

When it comes to launching a new product line, one of the most daunting tasks is making and photographing products for your website and catalogs...especially if you have multiple colorways, patterns, or styles for one product. It's expensive and time consuming, and you just want to start selling your awesome work already!

Now you can master the art of the lean collection launch with this crash course in building product mockups in Adobe Photoshop. 

In this class, you'll learn how to:

  • Create your own product mockups from scratch
  • Photograph your product mockups on an inexpensive homemade backdrop
  • Color correct and clean photographs
  • Superimpose your custom patterns and artwork onto products to create beautiful product photos
  • Prepare your photos for your website, catalogs, linesheets, and portfolio

I've been selling my handmade products online and to stores for years and have used product mockups for everything from making scale and color decisions with my original textile designs (check out my Pattern Design Class!), to building catalogs for the wholesale market.

Learning to create product mockups has saved me days (weeks?) of work by enabling me to make and photograph a product once for multiple styles.

Creating product mockups also comes in handy if you are a pattern designer who wants to build a portfolio of work to present to licensing clients. Show them how amazing your work looks on an endless array of products with the skills you'll learn in this class!

Prior knowledge of Adobe Photoshop is helpful, but certainly not required to take this class. While this is not a comprehensive lesson in all the capabilities of Photoshop, I'll demonstrate each step and how to use my favorite tools so you can jump right in and start building your product mockup files with confidence. 

MUSIC: Flutterbee by Podington Bear (

Meet Your Teacher

Teacher Profile Image

Casey Sibley

Pattern Designer, Artist, Maker


Hi! My name is Casey Sibley, and I'm a designer in Lansing, MI. I used to run a wholesale business selling my line of handmade homegoods and accessories adorned in my original pattern designs to shops across North America. More recently, I've been sewing my heart out and designing women's sewing patterns for home sewers.

Over the years, I've taught myself to grow two businesses from scratch by practicing my craft and learning from others who came before me. I'm here to share what I've learned about sewing my wardrobe, creating pattern collections, and building a line of products.

As a full-time designer and creative business owner, I love the work I get to do every day. If you're starting or growing a creative business with the dream of being your o... See full profile

Level: Beginner

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1. Introduction + Class Overview: Hi. My name is Casey Sibley, and I'm an artist, pattern designer and product maker. Welcome to my second skill share class. I built my livelihood around my artwork and my handmade products, and I'm really excited to share with you my tips for how to present your work for whole selling and licensing opportunities in both really professional and cost effective way. In my first still share class, I was teaching my favorite techniques, returning your hand drawn and hand painted artwork into repeating digital patterns. Using Adobe Illustrator in this class, I'm teaching you how to take this pattern and superimposed them onto your product photos using Adobe Photo Shop. You also learned as practices for creating your own product markups as well as had a source and utilize markups you find online. The techniques that you'll learn in this class will really help you to test the scale and the placement of patterns on your products, as well as build multiple product options from a single photo that you can then use for things like your website, your catalogues, you're lying cheats and even your licensing portfolio. The class is ideal for artists and makers who want to find a way to showcase their work on multiple products without having to fork over hundreds or even thousands of dollars to have multiple product samples made and photographed. Those things can get really expensive. And if you're a seller burner like me, you're always looking for ways Teoh save money but also represent yourself in a really professional way. This class is designed as a crash course in just a few techniques for customizing your product photos, so I'll be going over a limited tool set in Adobe Photo Shop specifically for that purpose . However, if you are new to photo shopping and you've never used it before, you should be able to follow along just fine as I'll be going over each tool in detail as we go along. Are you ready? Let's go. 2. Photography Tips: Creating Your Own Mockups: In this first lesson, I'm going to share some of my tips for creating your own product mock ups if you want to create your own and best practices for getting the most mileage out of those mock ups. So over here I have some examples of product markups that I made for myself, and these were basically just my product, but in a solid colored canvas. And this was just some fabric that I had on hand. I also use this in some of the products that I sell, but I wanted a solid color fabric, but I want the fabric toe also have some of the same characteristics as faras, the fiber and the way the fabric behaves in light and those types of things, so that when I start to overly my patterns on these products in photo shop is gonna look really almost identical, if not identical to the product that I'm selling online. So I have this one. This one's kind of in a green color, just a solid green. This is in a solid blue, Um, and then I have ah little travel pouch here that is in a solid gray. The color doesn't matter as much because we're gonna be de saturating the color on these once we take these in the photo shop. But I do prefer to use something that has a darker tone as opposed to a white, because it really helps to pick up shadow and detail in the product photos. And it lends itself really well to that. And that will help us later when we start to superimpose our patterns onto this in photo shop. It's also a really good idea to order samples of the material that you plan to use on your finished product so all of my products are made out of fabric, and I'll order just a small amount of the fabric that I'm gonna use. Here is an example of one of the fabrics I'll be using, and I'll show this in the class, actually, but I like to order a small amount of the fabric just so I can get a good idea of the texture, uh, the color and make sure that I'm representing that accurately on my product mock ups. Here's another one that I'll be using. So you want to see what this looks like in real in real life, because if you're gonna be selling products from these photos that you're creating in photo shop, you want to make sure that it is very accurate so that your customers are getting something that looks like the photo that they saw on your website or online. If you're doing licensing, it's not as critical if you're just building images for your portfolio images that you're just going to show to clients to help them imagine with you what types of products you might be able to create together. But again, it's a good idea always to have samples, to understand what the product looks like in real life and to be very diligent about representing the product accurately online, even though we're using a tool to help us do this much more quickly than if we actually made the product. The goal here is to create an accurate representation of your finished product while also saving time and money on production costs. As a business owner, this also saves me money on inventory costs, and it allows me to test new patterns and products really quickly in the market when I take photos of my products in my home studio, I often use a homemade backdrop made out of pieces of foam core. Taped together, it's super high tech. This provides a clean white backdrop that's really easy to edit. In photo shop, I set up my mini photo studio, either on a table top or on the floor in a bright, naturally lit area, and I always try to make sure that there are no harsh sun rays coming in that air falling across my photography surface. The white phone core on two or three sides of my set up helps reflects some light back onto the objects and on photographing. You want to make sure that your exposure on your camera is also not overblown. We can always lighten images later. So just make sure that your images have enough light to capture the products details, but are not so brightly lit that they're washing out the photo. You can easily adjust these settings on your DSLR or even your phone camera. I also like to take a lot of styled images, if possible, just to show the products in a more riel world use. So once I have all the product photos that I desire, and I'm happy with all the shots that I got. I take it over to the computer to start editing and photo shop, so let's do it. 3. Starting a New Project in Photoshop: All right, So to get started with our product mock up, we're going to open photo shop, and we're just gonna go straight. Teoh, open one of our photographs that we've taken. So you gotta open here. You can also go to file and open to, And I've just created a folder with some original images that I want to use for this project. I'll also show you if you go back here, I have all of the images that I took here in this folder. So I took a lot of images of the products in different scenarios. And as you can see, all of these are solid colors of one of my more popular products my fabric buckets. And I did these Ellen solid colors because it'll be easier to do our mock up with a solid colored item. And it doesn't really matter if the colors are different, because we can. We can fix that later. But we just wanted to I just wanted to have a variety here just to show you guys what's possible with different colored objects and how to change the colors in the patterns on those. So I went through the images that originally took. I just started choosing my favorite ones out of the bunch. And then for the course, I chose just a few of those two you. So I found these three images that I like that I'm going to start with. And I'll show you just a couple of different ways that you can use this course to create images for your product mock ups. So I got a single image here, just the product by itself, not styled. And then I have a couple of images here of products that we can use to create more of a styled image. So I'm gonna start first with the single image here, and I'm open this one in photo shop. So as you can see, I've got my homemade backdrop behind here, this white backdrop that I made out of foam core and we're going to lighten up the background and I'll show you a technique for lightning that background in maintaining some of the shadow around the image. If you still want to have a little bit of ground in that image, and then I'll also show you how to completely remove the backdrop so that you can have a standalone image on a white background, which is nice for catalogue images and fur lined sheet images. In particular, you'll see that this this image opens up in it automatically creates that layer here in photo shop called background. We're going to leave that alone for now. We're gonna we're gonna let that stay locked. It comes in the background layer automatically comes in locked. So what we're gonna do is we're gonna start by selecting the parts of this image that we know we will want to either change the color of or at a pattern to, and that's going to be basically all of the gray. And what I used here for this product was a great canvas, which is really similar to the fabric that I used for the products and the thing you want to remember. When you're choosing a fabric or material for your product mock ups, you want to make sure it's very similar or exactly the same material that you're used for your actual product because that texture of the material will come through. The first thing that I'm going to do. This is one of my favorite tools. It's called a magic wand tool, and I usually will start with that one if you hold down. If you click and hold on the magic wand tool, you can see another menu pops up next to that. There's also the quick selection tool, which is really helpful. So a lot of times I'll try one of these to start to start to select that gray area. So I'm gonna start with the quick selection tool. It's got a little marquis here that comes up and you can click different areas of that right there. It just shows a little dot. But if you click and drag you see, it kind of starts to quickly select all of that gray area. So this is pretty close to what? What I want to have selected that I'm going to start editing. But as you can see here in this top right corner of the product image, it selected a little bit of that interior lining, and I don't want that to be selected. I just want all of the gray, and I also have some little bits back here of that gray poking through that I'll either want to select or delete, but I'll probably select those just so that we have a little bit of the color and pattern that comes in on the back and gets a little bit more detail for that image. Now that I've got this main part selected, I'm going to just do command. And plus it is control and prop plus on a PC. I'm using a Mac so commanding plus Well, let me zoom in there and then I'm gonna hold down the space bar and click and drag so that I can really zoom into this one spot here and I'm gonna zoom in a little bit more so you could do command Plus to zoom in and then command minus to zoom out, do my space bar and drag, click and drag here to move this around. And then I'm actually gonna go over here to the lasso tool. And this is another tool that I use very often when I'm doing photo editing. There's three different options for the lasso tool. You have the just the plain lasso tool, and that was gonna be more of a free form drawing lasso tool. And then to de select that, you can just click inside of there, with the lasso tool still selected. I don't really like this. One is much for more precise work because it's really hard, especially if you're using a mouse and not a stylist. It's It's really hard to get accurate with that, so I don't usually use the freeform lasso tool. The 2nd 1 is the polygonal lasso tool, and I do use that one quite a lot so that one allows you to click and create shapes. But you can also get very precise with it if you zoom in and you can kind of start to select around those edges, and then the third option is the magnetic lasso tool. That's another one kind of like the quick selection tool that can be useful when you're trying to stay close to the edges here and you can see I've just I've just clicked to my mouth and I'm just dragging it along, and it starts to select those areas again, that one, that one's nice that you want to make sure that you have enough variation in your the difference between your actual product in your background. For that to notice enough contrast between the pixels to select the correct objects. So as you can see, I had selected off of this instead of the original thing that I selected with the magic, the quick selection tool has been de selected. So I'm just gonna go up here to my history. This is in the top right corner. There's ah, icon with three squares in the little arrow. That's your history tool. So I'm gonna go to my history, too, when I'm gonna go back to the quick selection and it Reese elects what I had One of the things to keep in mind about photo shop is that you can Onley undo one action at a time. So if I do something and I want to undo that, I can only undo the last action that I just performed. It's not gonna let me undo all the way back to our started. So if you do want Teoh and that just means when I'm using command dizzy to undo something or edit, undo it only undo one of the time. So if you want to go way back to a previous step that you've gone so far and you're editing that you don't really like where it is. You want to do that through the history menu. So that's how you get to that. It's over here in the top, right? If you don't see that menu, you can go up to window and history, and that will bring that up for you. So back to the last. So So we're gonna do the probably gonna lasso tool up here. You can see these little boxes in the top left corner and these air different options for the for the lasso tool. So the one that we wanna have selected is is this one has, ah, solid box with a box outline on top of it because that's going to allow us to subtract from our selection. And I typically like to keep the lasso tool on the subtraction mode and then I'll show you how you can add to that if you want to do that. So we're simply going to start de selecting areas that we don't want. So I'm just gonna can't draw around this and you'll see a little circle pops up when you're when you're at the end where you started. So now that has de selected that now, right here. I have a little spot that it didn't select all that I wanted. So to add to this election, I'm simply gonna hold down the shift key and add that back into my selection just like that . And so I'm gonna continue going around this object and finding any areas that look like they need to be edited in that way. So I'm gonna go in here to these areas in the back, and I'm zooming way in doing the command plus sign again. And you can see I've still got the negative on my little last. So someone a click shift toe ad, these areas and one thing to once you hit shift and you make your first click, you don't have to hold down the shift key because if you do hold down the shift key, it will. Another thing the shift key does is it keeps your lines straight. So you may want to release the ship's key after that first click, because you can continue to add to it without having the shift key continuously held down. Um, and as you're doing this, you can see I'm gonna just kind of drag over to the side here. If you hover your mouse outside of the screen edge, it'll start to drag and drag it over for you so that you don't have to worry about stopping and starting and trying to readjust things. So I'm just selecting all of this around here, trying to get as close as possible to the edge of that gray color that I want scooted over a little bit here. I'm just hovering outside of the screen and continue selecting all of that. Okay, Now, that's added, I'm gonna hold down my space for drag of here. Got a little bit of gray over here. I'm gonna get that settled down shift, click and then start to. So, like this little sliver of gray there are other selection methods that you can use for this . I really have become accustomed to using the lasso tool and the the quick selection tools and the magic wand tool because those were those have become more comfortable for me to use the command in minus to zoom out. That's looking pretty good. Another thing to all of these little stitches. I do want those to stay within the selection tool and you'll see why in a minute? Because those will kind of come through when we do our overlay for the pattern and color changes. Some of this is just come down here. I think I actually want to bring this in a little bit tighter to this edge, so I'm gonna let it stay at the negative. So I'm taking away from this election now. Just gonna Kilic all around here to try to get us close as possible to the edge of this this item. Sometimes you'll have dark shadows in certain areas on your product and you do want to keep those in there. It may be like I may have some some of the product picking through underneath here. You do want to keep that. The whole point is to get as much of the natural outline in this photograph of this product as possible, sir. Now I got all of that selected the handles. I'm not going to change the color of those. The only thing that I'm changing the colors and patterns on are going to be this exterior fabric. So now that I've got that all selected the way that I like it, I'm just going to command C, which is copy. You can also go up to edit and copy. And then I'm gonna open up my layers panel here. Over here, on the right side, it's just these two diamond shapes layered on top of each other. So, as you can see, it still has just that one layer. And so when we copy and paste this, it's gonna automatically create a new layer. So men do command V, which is copy. As you can see, a new layer popped up here, and it automatically pasted it in place. If for some reason it doesn't, it doesn't paste it in the exact same place. You could just command dizzy or undo it, and then go up here and do Emanuel paste special and paste in place, and that will paste it exactly on top of where it was. So now if I toggle this image here, the background image you can see we've just got our fabric for the exterior of this product on this layer, one that we've just created. So now that's how we have started. Teoh, isolate the fabric that we want to change the color off. So in the next lesson. I'll show you how to manipulate the background and then we'll start working on putting our patterns on this product. 4. Editing + Cleaning Your Photo Background: Our next step is going to be to clean up this backdrop that we have here in the photo. So you can see here the seams of the foam core. How had it taped together? Ah, there's a little bit of a scene here between the back in the front. We can keep that also show you how to take that out if you want to. And then I'm also going to show you how to completely remove the background. So similar to our first step of isolating this gray fabric, we're gonna want Teoh isolate the background now. And so our goal is going to be to select all of the white and leave everything else alone. So I'm gonna go back over here to my layers panel. So with the background layer selected, you wanna make sure you have that selected before you start making your adjustments here. So what That selected? I'm going to just start trying to select all of this white back here. So again I can try my quick selection tool to start, and I have a feeling that the difference in pigments between the straps in the background is maybe a little too subtle, so it might try to select all of that. But let's just see what happens. So I'm gonna click and drag and start to select all of this, and it looks like it's doing OK, so it kind of started selecting the straps in with that, too. But that's OK for now. Um, and it did select all the way around this object, but I want toe exclude the straps and anything that's a part of this product from this selection of our white background. So again, I'm just going to zoom in and use some of the same techniques that I used to select the gray fabric. I'm gonna do that to Decent, liked this product now and only have the background selected if you make a selection with your lasso tool like, let's say I clicked out here and I was like, Oh, I didn't mean to do that. You can just do a backspace or delete to undo the last click. So down here, I, instead of subtracting, I want to add to this elections. I'm trying to add just a little bit more underneath this product to the background, someone again hold down the shift key and add to that. Okay, so now I've got all of the white background selected, and again, I'm just going to command, see, to copy and then command V to paste. So I'm just going to If I toggle off this background layer that I have selected, the straps in the interior disappear. If I talk aloft this layer one, then all of the great disappears. And you can see I just have that white left Turn this back on just to show you what we've selected there. So with the background layers selected, I'm going to start cleaning up this image. So the main thing right here, this this film cores fairly new phone call her, so it's doesn't have a lot of blemishes, But if you the technique I'm going to show you can use this to clean that blemishes in your backdrop if you find it. And you can also use this to clean it blemishes in your product if you have does or anything in the way. So what we're gonna do is I'm just gonna command plus zoom in a little bit here and with that layer to selected, you can also rename these layers if you want to, um, to help you remember which one you wanna have selected. All you have to do is double click on that and allow you to rename those but with the layer to selected, which is my my isolated background image, I'm going to start working on this seem and tape here that I have on the background. So this tool, if you come down here, there's a tool called the Patch to Tool and it looks like a little patch, and I love this tool. It's a very it's a very effective editing tool for cleaning up images and getting rid of blemishes in a really seamless way. So I'm gonna click on that, and it brings up this little pointer with the patch icon next to it, and this one is a freeform drawing tool, so I'm just gonna kind of get as close as I can to. That doesn't have to be perfect, and that's selected. And one thing that I want to do is I just want to nudge this up a couple of taps by hitting the up arrow. It actually one might be enough. Let's just due to an alleged that the couple of times there, and I'm gonna zoom out command minus. And so I got this area selected here and then with my cursor inside of the selected area, you can see there's a little arrow next to that icon. Now I'm just gonna click and drag, and you can see that space is starting to pick up characteristics from the area that I dragged this too, and then it automatically I'm just gonna look outside of that to do. Select it automatically cleans that up, and it's it's pretty seamless. This works really well if you are working with an area that is pretty much the same color and texture. So if you have, if you're trying to drag it to another color, you're gonna look funny. And I'll show you that really quick, actually. So let's say I wanted to drag it down here, See, start to get some weird things that are happening here. It doesn't like that what it's trying to do is find similarities between the areas and sort of merge those together in this patch that you're creating on the image. So that's a really effective tool for cleaning up some of the blemishes that might be in your photo. That's also a great tool if you if you have this backdrop, if you want to have a little bit of shadow on your backdrop and you don't want to completely get rid of your backdrop, you can kind of make this look like a seamless backdrop by doing the same thing to these scenes here and again. If I get too close here to this thing, it might do a weird shadow thing. We can try it and see. I'm just dragging it straight down. It looks like it did OK, but actually, let's zoom in a little bit here so you can see here. There's a kind of a strange shadow that's happening, and you want to try to avoid that, somebody I'm gonna command dizzy toe. Undo that and actually let me go back a little bit further here, so I'm gonna go one step further to before I moved it and I'm just going to use my arrow keys. Didn't nudge it over a little bit so that it's not touching that gray right there. So it's not trying to pick up any of the gray off of this here and again. I'm just going to zoom out a little bit here. I'm going to click drag. If you hold down the shift key while you're dragging, it'll it'll drag it straight in the direction that you're dragging so you can see there. That's much cleaner. I'm gonna do the same thing up here. Click and drag. Now. Sometimes you have, ah, situation here where it's really hard to avoid that strange shadow. So if that does happen, one of the things you can do another tool that I really love is the clone stamp tool. So with this selected, what you're going to do is you can change the the pixel diameter of this the size that it is right now. It's fine, but you can you can adjust that here. But that's fine right here where we have it. So what you're going to do is you're going to select an area coming close to this that you want to match, and I'm just gonna hold down the ault or option key and it brings up the little target there and you'll click there. Release that and then you're just gonna come over. You can see it shows you a little preview of what you are going to stamp. So you're basically stamping this area on top of this and something to get come close there and just kind of very subtly make a few clicks to I did that. Sometimes you have to re stamp and come back to really get it. Okay, so we've done that, and now it looks like we have a seamless white backdrop and we've got a little bit of shadow in here. It's very subtle, and that's actually really nice. That's really nice for some product photography situations that you might be trying to achieve. So if you want to keep it that way, that's great. And it looks nice and clean for your cabin catalogs and line sheets. Another option would be to completely eliminating background or brighten it. So maybe you have this backdrop that you're like, Oh, this is a little too grey. I still want that shadow in there, but I want to brighten it up. So with that layer selected, you're going to go up to image and adjustments and then go to brightness and contrast. So this is gonna allow you to do you can see a preview of this as you're doing it. If you drag that brightness up is gonna allow you to really brighten up that background. You can also darken it a little bit like that. You can kind of do a lot with this. Um, I prefer to have really bright back backgrounds on my photos. Um, and Lynn lean more towards having a white background on many things, but that's up to your personal preference. And this is the way that you can start tomb. And if you like that. So if I was going to have a background on this that was settled like this, I'd probably keep it kind of like a brighter, really, really subtle gray background, almost white, so that you can still maintain some of the subtle shadows in there. Um, you can also up the contrast, which is gonna do different things depending on the types of of ah, shadows you have in your thing on this one. The contrast doesn't make that much of a difference. So I'm not really gonna worry about that too much, So I'm gonna take the brightness up a little bit If you wanted to have a completely white background. You can take the brightness all the way up, and then it's going to remove those shadows. Gonna cancel this. But if you wanted to keep it that way, you could say, OK, so let's say that you wanna have an object that has no background and you're planning to save it as a PNG so that when you upload it to whatever program you're using it in, maybe your catalogues airline sheets and you don't want to have the background on their for layering purposes, Then what you can do is with your background layer selected. I'm just going Teoh, use my magic wand tool, and I'm going with with the layer selected that I had for my background. I'm gonna select this, which is basically everything that wasn't selected for my background layer. And I'm going to right, click and select in verse. Okay, so now all of that background is selected. Now, what I'm gonna do is I'm going to duplicate my background layer and you can leave it as background copy or you can rename it. I'm going to leave it his background copy, and now I'm just going to hit delete so that it's now deleted all of that from that background copy layer. And if I turn off my original background layer and I turn off the background layer that I created earlier now you can see that we just have our object here and there's no background . And if you brought this into another program to create an image, it would have a transparent background. So now that we have all of these elements isolated into separate layers so that we can easily manipulate them and get different results from this one photo, I'm going to show you guys in the next lesson how to start manipulating the color and the pattern of this product. 5. Changing Color of Objects in Your Photo: Now it's finally time for the fun part. This is the part where we start adding new colors and new patterns to our product to really see what the possibilities are with this product. So to start, I've just turned on all the layers here, and we're not gonna be necessarily working on all the layers at once. But I've just got everything turned on, and our goal here is going to be to create a new layer for each pattern and color that we want to have as an option for this product. And that way we'll be able to have all of the different options for colors and patterns on this particular photograph for this particular product in one document. And what I'll typically do is when I have a product photo like this one that I know I'm going to use a lot for my product listings and for my catalogs and line sheets. I like to keep all of the different options for that particular product in one in one file , and it makes it really easy for me to toggle on and off the different patterns and save save them out as Jay Pegs and P and G's and also add to that as I add new new product options and styles. So to get started, the first thing I'm going to show you is how to easily change the color of this. So what I'm gonna do is I'm just going to open a photograph that I have created that has all of the different color options that I have for this particular product. So if I go to my catalogue images, I have some photos here that I've created for white backgrounds, and I've got this image here that has all the different colors that I might potentially have for buckets. And this this particular product is a larger style than the one I'm doing today. But you can see this is what you can do with all of the different colors. And I created this these files exactly the way that I'm showing you right now. Someone is gonna open this. It's a J peg. Now I'm gonna open this just as a color reference for the different types of colors that I want to do. So I got that opened in one tab here, and then I'm gonna go back to my original tab for this. And you want to make sure, too, that you save your project, someone go ahead and command and save that. Don't lose anything, and it's going to want me to give it a name. So I'm just gonna call it Small bucket tote PS and leave. It is a PSD Photoshopped document and say that. Okay, so that saved. So the first thing that I want to do is I want to completely de saturate this gray, so it looks great right now, but it does still have a little bit of color in it, and I want to complete I want to take out all of the color of that and so that it's just a grayscale image that I'm gonna overlay these. These patterns on top of that will make it easier for me to add colors that are more accurate later on. If there's like zero saturation in this and it's just great skill. So to do that, I'm gonna select later one, which is my bucket fabric. And I'm actually gonna go ahead and rename this one just so that I can kind of keep myself straight. I'm gonna call this bucket exterior. So with my bucket exterior layer selected, I'm gonna go to image adjustments and then hue saturation. It's gonna bring up this dialog box, and all I want to do is drag the arrow for the saturation all the way to negative 100. And it didn't make much of a change. But you can see now it's a little bit more gray and I'm gonna click. OK, so now that's completely de saturated. And it's hard to tell with this because it was already a gray fabric that I photographed. If you already have a product photograph that's one color, you can easily try out new colors on that by simply taking your photograph, isolating the parts that you want to change the color of like we've done with this one and taking all of the saturation out of the out of the object in the photograph. And then you'll have a gray base toe work with, and it's a really great, easy way to update colors and play around with different ideas you might have for colors. So I've got that completely de saturated. So I'm gonna go back to this image that I have that has all of these different colors that I might use in my product. I'm gonna actually select this orange color. This is a pretty popular color that I sell. So with the eyedropper tool is this little thing that looks like an eyedropper. I'm going to select that. And I'm just going to cook on top of one of these colors that I want to select. So it selected this orange and you can see that it's elected, because if you look up here in that in the left hand column, you can see that the oranges now selected as our foreground color. So I'm gonna go back over here and click on my original document here. So I'm gonna use the magic one tool to select all of this gray fabric that we want to re color. And to do that with the bucket exterior layer selected, I'm gonna click outside of that and so you can see it selected everything around this and then I'm gonna right click and do select inverse. And the reason that I do this is because if I tried to click on this directly, it's going to start trying to pick up different texture. So let's say I decide I want to do it in here and you can see it only select this a little bit because there's so much tone variation in this. So it's easier to select the outside of that and then do a select in verse, and it's elects all of that gray that we had originally selected for our bucket exterior layer. So what that selected? I'm going to go over here to create a new layer, and it just looks like a little sheet of paper with the corner turned up this little icon here on the layers panel I'll click that. That's gonna be later. Three. I'm gonna go ahead and rename that orange. So with that layer selected with our bucket fabric selected, I'm going to just go to edit Phil and then you want to make sure you have the foreground color selected and click OK, All right, so now that looks pretty plastic. It doesn't really have a lot of detail. It's just the color. So to fix that with that layer selected, you're gonna go up here just above that, there's ah little drop down menu and has all of these different options for overlaying that color, and all we want to do is select overlay. So as you can see, that already picks up a lot of that detail and it looks like an orange bucket. But there are some things that I kind of want to adjust with this because it looks it still looks a little fake. I'm actually going to keep the orange layer selected, and I know that this color is a little bit less red than this. So I'm gonna go up to image adjustments, and I'm going to start with brightness and contrast so I can start to kind of manipulate this a little bit. You can see it. It starts to tone down the brightness of that. Um, if I take down the contrast a little bit, that doesn't really do much for the solid colors. That's actually not getting me where I want to go. Someone to cancel that. I'm gonna try image adjustments and hue saturation. So I think I want this a little bit more orange. If you kind of drag this little cursor for the hue around a little bit, you can start to see the color change and this is getting a little bit closer to the orange . That is actually the correct color for this particular fabric. The saturation. I'm gonna take that down just a little bit because it looks a little electric the way it is in there right now. So that's starting to get a little bit better. And I might kind of play around the lightness a little bit so you can see I'm making these little minor adjustments, and it's starting to make this look a little bit more realistic. So I'm gonna actually bring that right about here. See, Is trying right about here, look OK? And then my next option is going to be to edit this bucket exterior layer. So there's a lot of contrast in here. And sometimes if you get too much contrast in the shadows, it can kind of start to make fabric especially look shiny, Which is a strange thing. It's like your brain doesn't really know how to quite process the hat, if that's not the right texture for that fabric. So one of the things that we can do is at it the bucket exterior layers. This is what's providing all the shadow and texture for this orange. So with that selected, I'm just gonna go up to image adjustments and again, brightness and contrast. So in this one, let's say when you take it down a little bit so you can see it starts to really sort of change how much contrast we have in there just by adjusting the brightness, I'm gonna leave the brightness about where it waas, and then I'm actually gonna come to contrast. So if we could bring the contrast down a little bit, it starts to soften things a little bit. You can see and sometimes you want to actually up the contrast because it makes those shadows a little bit more realistic and adds a little bit more texture. But that actually looks a little too much. So I'm gonna bring the contrast down just a couple of notches there and make it look a little bit softer and I'm gonna click, OK? And so that is how we adjust the color of the object. And as you can see, it looks very realistic. And it's ah, really fun. Easy way to start showing the different options that you have for colors of your products So in the next lesson, I'm going to show you guys how to bring in a pattern to overlay on this, to make it look like this was made out of a patterned fabric. 6. Adding Pattern Masks: Welcome back. Now we're going to start overlaying pattern on this product. So as you can see, we still have this orange on here that we created in the last lesson. So I'm just going to open up my layers panel and I'm going to turn off the orange by toppling the little eyeball here. And I have some patterns that I'm gonna choose from to start laying on top of this. So first, let's go ahead and save where we are. Just save, Okay? So I'm gonna go to file and open, and I'm gonna navigate to my pattern vials. Spring 2018. So here are a bunch of patterns that I've been working on. And if you've taken my previous class, I show you how to turn your hand drawn elements into patterns. So for this one, I think I'm gonna do a yellow tropical print that I created Scroll down here. I've got this print called Tropical Golden, and I'm gonna open that. So this is the actual pattern tile that I created, and I teach how to create a pattern tile like this in my last class that I did, um, it's a w illustrator for pattern designers and this tile can be repeated over and over again and tiled together to create a seamlessly repeating pattern. So I have this tile scaled to the actual size, that it is a 26 inch wide tile and knowing that I can figure out the correct proportion for this on my product. So if you're not sure yet how big you want your pattern to be, this is a really great exercise for figuring that out. But it's a good idea to have a general idea of how big your actual tile is so that you can appropriately size it later if you wanna have it printed on fabric or wallpaper or whatever you wanna have it printed on. So I know this tile is 26 inches wide, and I know that that is the scale that it's gonna print at when I haven't printed onto my fabric. So knowing that I also know that the width of this bucket is gonna be roughly 11 to 12 inches wide at the position that it's at right now. So if I'm happy with the scale of that and I know already that I am, I'm going to use my rectangular marquee tool and I'm gonna click that. And then I'm just going to click and drag a rectangle that it's about the right size so you can see at the top here. You've got rulers on the top and the side, so I'm just dragging that to about 12 inches by roughly 14 or 15 inches. And I might actually go just a little bit wider than that just to give myself a little bit of room to play around with it. But by doing this, I know that I'm selecting about the right scale for the product that I'm going to do something A With that selected, I'm gonna do a command, see or copy Edit copy. And then I'm gonna click back over here on this tab for my bucket product. And I'm just going to first open my layers about the bucket exterior selected, and I'm just gonna control the or control paste and automatically creates a new layer on top of the bucket exterior layer. So I'm gonna select my move tool, and you can just hit the letter B just like that also. And I'm gonna click on this and I'm gonna move it around, It came in. I know that it's a little bit too big. And actually, it might not be that far off because I know that this is about 11 inches wide, and I did this a little bit larger than 12 inches. So that's actually probably not too far off on the scale. But if you brought this in and it was too big or too small and you wanted to scale it, you can. With that layer selected, I'm gonna rename this tropical golden. It's not pattern name. So with Tropical Golden selected if I want to resize this, all I have to do is command T or control T. You're on a PC and you can start to move this around. You can see that this is moving in all different directions, and I want to keep the proportion the same as I scale this. So I'm just gonna hold down the shift key, and that's going to allow me to scale this up and down without losing thing. Correct proportion. So that's how you would do that. And you can also move this around, kind of put it on top of there to see what the correct scale would be. So I know I want this to be just a little bit wider than the opening of this bucket, and I'm just gonna move this on top here and you can double click. You also hit inner, and that will apply the scale that you just did to this particular layer object. So I got that selected, and now we're gonna use the same technique that we did to overlay that orange color. We're gonna use that for our pattern. So I'm gonna go back to the bucket exterior layer, going to use my magic one tool, and I'm going to select everything outside of that and I'm going to select in verse. So now I've got all of the grey selected on there. I'm going to click back onto my tropical golden layer, and I'm simply going to hit this little icon down here for a layer mask. And so what this is going to do is it's going to create a stencil, basically of this bucket exterior object. So and it'll cut it. Basically, trim all of that tropical golden pattern. And now all of that is trim to the bucket size Now the reason that we do this instead of just deleting all of that extra pattern from around the bucket it so that we can unlock this now this is this is two objects basically in this one layer, but you'll notice there's a little lock little chain Icahn here. So if you unlock that, take the chain off it kind of unlinked those two things. And now we can go in if we do the move tool again, and we can start to reposition this on our object, and that's a really nice thing to have as an option. So I always try to do the mask tool instead of just leading any extra any extra information that don't want in there. So now that we've got that masked and it's the shape of our bucket, as you can see, it doesn't really have a lot of detail in there. So again, we're gonna go back to our little drop down up here, and we're gonna do overlay and you can see it starts to pick up some of this detail below. Now there's some details in here that look a little fake 7. Adjusting Pattern Details: So like we did with the orange overlay, we're gonna go back to our bucket exterior and we're gonna play around with the brightness and contrast of that just a little bit and see if that changes anything for us. So I'm gonna come and go bright. I think that's a little too bright. Let's go back down dark so you can see we're getting a little bit more variation. I think I'm gonna leave the brightness about how it waas and then I'm gonna go on someone's gonna actually do zero to get back to zero on that for the contrast. I'm gonna try taking the contrast down and see what happens that starts to remove. Some of that detail starts to make it look a little bit less realistic. So I'm gonna bring the contrast back up and see if we can't get a little bit more variation in there. So I kind of have to play around with it a little bit. Um, I'm gonna bring the contrast of just a little bit, okay? And another thing that I'll do sometimes is I will click back onto the tropical golden layer and I want to make sure that I have the actual pattern selected on this layer because if you have this selected, you may not be editing the right things. You want to select the actual pattern, and then you can kind of play around the opacity a little bit. Sometimes that'll let some of the detail come through and kind of makes that fabric look a little bit less bright white. So I'm happy with that. Kind of like it to look a little bit worn. And that's how you get that pattern on there. Now, another thing to that I want to make a note of. You can see I have a seam down the middle here and you know, it would be nice if when I sewed this product the pattern magically matched up on the scene . But I can tell you that I know it will not. So another thing that I can do to make this look even more realistic is I can duplicate this layer. So I just right clicked on the layer and I am going to duplicate layer and then just ask you to rename if you want to. I'm gonna leave. It is tropical Golden copy. Click OK, and then I'm going to unlinked thes again, both of them and with the 1st 1 selected, So now we have two of the same pattern layered on top of its on top of itself. So what I'm gonna do is I'm gonna move this this one over so you can see I want to move it over to about where that seem is. And I'm gonna do the same thing for this one. I'm gonna move it over about where that seem is kind of trying to line those up as much as I can. Let's zoom in a little bit. So command Plus so you can see I'm starting to get a little bit more of a realistic seem here, and you can see where these match up. It's kind of off of the seem a little bit, and I'm actually what I'm gonna do is I'm gonna just nudged. I'm gonna use the arrow key to nudge this one down a little bit because I really want this to look like, you know, it's in the middle of a of the pattern and it doesn't match up perfectly because that's going to be a little bit more realistic, so I'm just moving that down nudging. Okay, so I got those two on there that's looking a little more realistic, but there's some some editing going to do here with ease to make that scene line up with that scene. So again, I've got I'm gonna start. I'm actually gonna start with this one, because that's and you can toggle these on and off to see which one you're working with. So we'll start with this one on the left, and I'm gonna try to move this and distort this one a little bit so that it lines up with this crooked seen. So what? That selected. I'm gonna go up to edit, transform and warp. So it brings up this grid here that has little anchor points that I can start to manipulate . So I'm gonna start here with this bottom one, and I'm trying to just get this line up on the zoom in here this up. I'm really just trying. Get that edge tow line up with that scene and then this This may take a little bit of trial and error. Let me interject, Hit, enter or you can double click. So that when you can see is starting to line up with that scene. And I'm actually going Teoh, do that one more time and try to get up here. You can see it's a little bit off, so I'm gonna do at it. Transform work. This is also a useful tool. If you have an object that is, has got a lot of wrinkles in it. Or maybe it's a pillow. That's kind of like stuff down in the center. You can really start to play around the pattern how the pattern lays on that product to make it look a little bit more realistic. So I'm just very carefully pulling that over just a little bit. Enter. Okay, so now that's that's really lining up a lot better there. So now I'm gonna do the same thing with the other one. So I'm gonna make sure I'm selected on that one again. I'm gonna turn it off just to make sure that's when I got selected. Okay, so I'm gonna go back up to get down here or second see at it, transform and work. So again, I'm taking that little anchor point. I'm just dragging it, and there are different options. There's this tour. There's work. You can kind of play around with the different options to see which one gets the closest to what you want to enter. Okay, that's looking pretty good. Let me go up to the top here and make sure, Okay, so I have a little bit of overlap here. I can see this is extra bright, So I'm gonna do this again, and I'm gonna just adjust that very slightly. Edit, transform, and work may pull this down. And I always start with the corners. You can You can adjust that here too, and really play around with that. Um, I usually start with the corners and then do any little minor adjustments in here that I might need. I'm just pulling that back just a little bit. And so you can see now that lines that more with that seem and hit enter. So now you can see this looks a little bit more like a sewn seam, and I'm gonna zoom in just a zoom in pretty close here and pull it over. And with that one selected, I'm gonna give it just one little nudge and I'm just like this other one. Give it a little nudge. And actually, that was probably too much someone a control z on that. And let's back out and see what that looks like. Yeah, so that looks much more realistic as, ah zone seen. And it really adds to that detail level on this particular thing. So if you're happy with how that looks, um, you can leave these layers separate. I'm gonna go ahead and re link those with their mask. You can leave those separate a lot of times just to keep the document cleaner and to keep all of the different patterns on their own layer. I'm just going to merge these two layers together to make them into one layer. But I want to maintain that masking property if I can, so I'm gonna right click on the one that's on top. Simon emerged down, and so it's going to say the underlying layer has a layer mask. If this is preserved that it will masked emerged to result, apply the mask before merging. So I don't want to apply the mask before merging. I want to preserve it because I want these two different pattern tiles to come together as one. And then I want the mask apply to those. So I'm gonna preserve. And now we've got all of that onto one layer, and that is how you add a pattern to it. So in the next lesson, I'm gonna show you guys how to save this and different formats, depending on how this image is going to be used. So I'll see you guys in the next lesson and show you how to do that. 8. Saving Images From Photoshop: in this next lesson. I'm just gonna go over a few options for saving your images, depending on how you're going to use those images. So for an image like this, that's just the product itself. Not really styled. I'll typically use something like this as, ah catalogue image. So I'm gonna be using this over and over again. So to save this, if I'm going to use it on my website, I'm most likely going to save it as a JPEG. So right now I have all of the layers turned on have our background layer turned on that has a little bit of that shadow in there, which is nice for catalogs and for your website. So to say that I'm just gonna go up to file save as and I'm gonna save it in my final images folder that I created. And I'm just gonna go to the format pull down menu and select JPEG and small bucket tote J peg. I'm happy with that click save. Okay, so now that saved is a J peg. Now, another option that I might want to have especially for catalogue or my website, is no background, but I want the background to be just solid white. So if I want to do that, I've got all of my layers turn on except for that original background layer. But I'm gonna go in here and I'm gonna turn off the isolated background layer that we created earlier in the lessons. So that turns off everything, takes the background away. It's now we just have this. And right now the background is transparent. So I'm gonna say this at the J Peg and it's gonna flatten this image, and it's going to make the background white. So do the same thing file save as make sure that's going in the correct holder. Final images. I'm gonna say this one again as a J peg Small bucket tote. I'm gonna call this one small bucket tote two so that it doesn't right over this one that we've created a minute ago. Save, click. OK, so now that say that as a J peg with a white background. So the third way that I'll save this is as a PNG. So I'm gonna leave that background layer turned off and saving it as a PNG is going to mean that in certain programs it's gonna come in with a transparent background, which is really nice for layering. And I use this option a lot for my catalogues in line. She's just because I'm placing images really closely together, and it saves me from having to crop images over and over again. It's just a really nice option for layering without covering up images that you're placing it on. Top of that makes sense, which I will explain more about that in a moment. So to say that as a PNG you're gonna get a file save as but in the same folder here, final images. We're gonna save it as a PNG. So just scroll down com P and G Small bucket toe. PNG is good and I'm gonna save that click. OK, I've got the smallest file size selected here. I don't really need this to be a huge file size, but if for some reason you think that you need this to be larger, you have different options here for large, medium and small. I'm gonna do smallest, smallest file size. Okay, so now that I have those three different file formats saved, I'm just going to show you really quickly how those might behave in another document if you were importing those into another document that you might be creating. So I'm gonna go to file and new, and I'm just gonna create I'm not gonna worry about naming this anything. This is just kind of a document to test what these will do. I've just got a 15 by 15 inch document I'm gonna create, and then I'm just gonna import these images into this document and show you how they might layer on one another. So I'm gonna goto file place linked or embedded. Either one is fine for this test. Um, I'm gonna start with the PNG. Bring that in. There's our PNG and you can tell right now, but it's basically just this object that's in this file. So I'm just gonna kind of scoop this over here a little bit. The next thing I'm gonna do this file place linked, and I'm gonna do the J peg the first day pick that we did with the gray background double click. And then I'm also gonna bring in the last one the same way. This is a small bucket toe to J peg. This is the one with the white background. So now I have got all three of these images placed on this test document, and I'm going over here to my layer is it automatically brought them in on different layers . And I'm just gonna bring this 1st 1 It brings them in and order with the most current on top. So this 1st 1 down here at the bottom is our PNG. I'm gonna drag that to the top here, So it's on top of everything else. And so you can see that this I can move this around and there's no background. It's just the object by itself, whereas this piece is has a background and then the same thing goes for the other one that we did. So I'm gonna move this one up to the front here so you can see when you don't. When you do it is just a J peg. It's gonna have a background. It's gonna be if you put that on top of something that backgrounds gonna cover everything at that you do to the P and G. You can more easily layer these pieces on top of one another, and there may be some other creative things you want to do with your photography by exporting is A P and G. The P and G is really nice for bringing it into your catalogues and line sheets to really quickly and easily get several different options in a grid next to each other in reposition , then re scale them really easily without the backgrounds overlapping and that's it. 9. Styled Mockup Examples: So I wanted to show you a couple of options for using those same techniques that we learned in the previous lessons and applying those two styled product photos so similar to that bucket that I was showing you guys. I took a bunch of product photos with solid colored products and I've gone in. I've already created a couple of documents. I'll go ahead and open this one here. So I I went in and I started adding color and pattern to the So if you look here, I just added a layer with color similar to how we did the orange. Have a layer here on this smaller object with a pattern. So when I started with these this particular image, this is what it looks like. I had sort of, ah, light, greyish colored bucket, and then I had a smaller one that was like a very light blue. I just isolated the product where I wanted to add the color and pattern. I isolated those on two separate layers, and then I added in separate layers for the colors and the patterns individually. So when I finished, after doing all of those steps and taking out the saturation and everything. I ended up with ease, and you can see I also did one with a different pattern here so you can see there's There's so many different things that you can do with this, and you can get a lot of different options out of very few photos. This is a great option if you are trying to save money on your product photography. If you are like me and you create a lot of different patterns and colors and you come out with a lot of different styles, this is a much more cost effective way to start to show your product in different ways without spending a bunch of money on creating samples and product photography. And I go ahead and open up this other one that I created with one of my travel pouches. So let's see LTP holding That's the one. So this is one of my other products that I make and sell, and this one started out as this light grayish blue color and again, I use the same techniques, isolated the gray, took out all of the saturation on this layer and then added in the pattern in the same way that we did before. And this is such an awesome way to get many options for one product when you have so many options to share with people, and it allows you to also see how the finished product is gonna look before you actually make it. So this is just a couple of examples of styled photos that I have done the same process with. I've been doing this process for a really long time. It's my go to process, especially when I'm designing product to try to understand how this is gonna look when it's a finished product. Now that I had these images that are very, very simple images that are easy to apply, color and pattern to, I can use these images for many, many product releases to come. So it's a really great way to get your patterns under products, see how they're gonna look and present them to your customers and clients as well 10. Online Mockup Example: Paper Bags: So in this lesson, I'm going to show you guys some options if you don't want to make your own mock ups. But you find some online that you want to use, and they're fairly easy to find online. They're really easy to use, and this is a great option if you are looking to build a portfolio and maybe see your your designs on other products that you maybe don't make yourself or you don't want to make, Um, and this is a great option for building a portfolio for licensing as well. So I just went online and started Googling mock ups product mock ups. I found several Resource is for free mock ups, some that are paid, and this is one that I found recently called Mr Mock up dot com. And I found this cool paper bag mock up that I thought would be fun for potentially, like a coffee company or something along those lines, but a branded product for another company. So I found this when I downloaded it. This one's actually a free one that I paid a little extra, just gave a little donation to this website as a thank you and another place. That's a great great resource for finding mock ups and other design elements Is creative market dot com So I went over here and I found a wine bottle mock up. I've always thought would be really fun to see some of my designs on wine bottles. So I also downloaded this one. This one was only $3 to download, and they range. They have so many different ones that you can you can purchase. And some have several different products in one mock up file. So I downloaded these. These are Photoshopped files and I'm gonna open those in photo shop to start with the paper bag mock up. So when it comes in, it's it's gonna be already probably branded the way that the listing was shown on their website. If you open up their layers, you can see they have different grouped layers here. So let's look at if we can be in contact, go through and see which ones are which. So that's the small paper bag. Ah, this version to paper bag V two is the big one and then the background layer. So if we click on one of these arrows here, it's gonna open up that group and these air gonna work a little differently than the one that we created from our own product Photography thes have a little bit more information in the layers. They have a little bit more like shadow effects and those all those types of different effects. So what we're gonna do is to edit the content that is showing up on these bags. You'll see that some of these layers are going to have what looks similar to our masking layer. But it has this little extra box inside of here. And if you actually click on that, it's a smart object. So if you double click on the smart object, it's going to bring up the artwork file that they're using to overlay on this this document . So what we're gonna do is if you click this down error for the design, this was just a bunch of their texts and everything that have grouped into a separate layer . We don't even really need any of that, So I'm just going to hide that now there's a color fill on here. We're probably not I'm not gonna do a black, but I'm gonna insert one of my patterns here. But I'm just gonna leave that color feel turned on right now. And I'm actually gonna zoom out some of the command in minus just is the amount a little bit And then I'm gonna navigate to my patterns and I'm gonna open up one of my patterns. So let's open. We're gonna go to this is a pattern file here. So we're gonna go. I think I'm gonna do this tropical cobalt pattern. Open that. And I think I want this scale of this pattern to be kind of large. I don't really know for sure. And for just for this, this particular exercise, I'm just gonna show you how you would get this onto that artwork file and then on to the actual paper bag mock up. So I'm just gonna select a portion of this and I'm gonna control C. And to select that I just use the marquee tool. So I select the rectangular Marquis. I did a click and drag to select a portion of this roughly about how big I would want this on my bag. I'm gonna do a command, see, and then come back over here to this rectangle 111 dot psb. This is the file we opened up from the mock up. And I'm just gonna pace the so control V or you can paste. I'm going to see how that looks. I just kind of roughly pace that in there. I don't think it matters so much. This color feel is on or off. I'll leave it on for now and then I'm going to command s or file. Save that. And so by saving this, it's gonna automatically update the paper bag market because this is linked. So if we click back over to this now, this is in our paper bag mock up file. So a couple of things here that I would change immediately is I think that I want this to kind of have a little bit more of a faded look on this paper bag. And so with that layer selected, I'm just going to go appear to capacity and bring that down just a little bit and give it a little bit A little bit of a washed out feeling. I think that would look kind of cool. Kind of play around with that a little bit, okay? And then for this top piece here they have another layer set up. So it's got a color fill. We could turn off that color fill and leave it just as it is, or we can add a pattern to that as well. They don't have a layer currently set up for for that to do a smart object the same way. So for now, I'm just gonna leave it, leave it the way it is. If you wanted to add a pattern to that, you could use some of the same techniques that we used to create our mock ups from our own photography toe. Add in that option if you wanted to add in another pattern on the fold over. So I'm gonna leave that one as it is, and then we just do the same thing. So we're done with that one. That's the first paper bag. So for the paper bag to again, we're going to find the layer that has the smart object. So in a double click on that little icon for the smart objects, and then I'm gonna turn off the design and I'm going to actually take a different pattern. I think for this one, I'm going to open. Let's see here. I think I'm gonna do kind of Ah, I want to do the stones pattern. So I've got this kind of nice blush stones pattern. Open that. And again, I'm just gonna kind of ballpark it where I think I might want it. Choose that control. See, we're gonna come back over to this one for the big paper bag, and I'm gonna control V or Paste. And then this one came in kind of small. So I'm gonna control t to scale that. And I'm gonna hold down the shift key while I scale this a little bit bigger, and I'm gonna reposition that just a little bit and double click or press enter. So now I've got that on my paper bag Art, and I'm gonna save Okay, so now that's on there. And that's actually pretty nice. I might address the, uh, capacity on that as well. Just a little bit to give it a little bit more of a warren look. And now we have this super cute set of paper bags, which is pretty cool. And actually, I think I want to make the top of this small paper bag the same color as the top of this. So I am going to go here to the top of this paper bag this color, Phil, I'm going to double click on that. And that's going to bring up this color picker. So I'm just gonna copy this hash code down here. Come and see and cook, Okay? And then I'm gonna go back, Teoh our first paper bag the small one, and go back to the top. And I'm going to put that same color in there, so I just turn that back on. And there you go. Now they look a little bit more cohesive. We've got to really cute little paper bags. And this. This is a nice idea that you could present to a client that may want to do some some really cute patterned bags for their brand. Or maybe they want to do a special collaboration with you. This is a really, really awesome way to show your work on a different product. So that's that. And in the next lesson, I'll show you guys how I do the wine bottle 11. Online Mockup Example: Wine Bottle: in this lesson. I'm going to show you really quickly how I would put my pattern on another product mock up for a wine bottle. And this one is really similar to the paper bag. It's set up with groups layers and you can see here we have a layer for the wine bottle. You later for the grapes and for the box. So I'm actually gonna turn off the box and the grapes, and I'm just gonna focus on the wine bottle for this. And if you again collect this little arrow to open up this group, you can see all of the different components of this object. And this one is set up with smart objects for both the cap and the label. So let's start with the label on the main part of the bottle. So again, you're gonna double click. And this one's really nice because it gives you a little bit more instruction on how to edit that. So depending on where you're getting your mock ups, you're probably gonna have some that are going to be a little bit more confusing than others. But if you kind of know to look for these basic elements. You should be fine. Okay, so we're gonna double click on that smart object. And so here's the label. That is it already in the document. I'm gonna turn this off, and I'm gonna actually just go and turn that off. I don't think we need it. And I'm gonna navigate to my patterns. And I think for this one, I'm going to do the doodle pattern. This is kind of fun. I could picture this on a wine bottle, so I'm gonna open this, and I'm just gonna do a control A to select this whole thing and then control, see, to copy and then come back over to this and Control V. So I'm gonna zoom out so command and minus to zoom out. I want kind of all of these elements to be sort of falling off of the edge of this kind of one of just reposition this so that there's something at every corner and every edge discarded over about right there looks pretty good. Okay, so I like that for now, I'm just worried about getting the pattern on here, but it might be fun to actually come in here and add in some other elements and you would put like a white box here and then adds and text if you wanted to get creative and maybe make up your own name for your mind that you're doing. Um, but for now, we're just gonna focus on getting the pattern in there. Basically, anything that you put into this file is going to be. Once you say that, it's gonna be over laid on your wine bottle. So I'm going to save this, and then I'm gonna check on our wine bottle here, so that looks pretty cool to have that label on the wine bottle. So now I'm going to go in and do the cap. Some of double click that and that brings up this one. I think for this, I'm attempted to actually do just a solid color. So I'm gonna just get that off there. Is this Okay, so that's like a grid. I don't think we need that right now, so I'm going to actually just add a solid color to this, and I think I'm gonna pick something kind of funky to go with that purple. So maybe, like a fund turquoise would be cool. Okay, And so I'm just going to command a to select all of that. I'm going to create a new layer. So I'm just gonna click on this little icon down here from New Layer and then I'm going to edit and Phil that entire layer with the foreground color that I just selected. So I'm gonna do foreground color. You can also choose your color here. If you click on the the pull down menu and go to color, it will bring up a menu. But I'm gonna cancel that. So I'm gonna actually do the foreground color click, OK? And I'm going to into to release the marquee on that. I just clicked inside of it, and then I'm going to save control s and let's see how that looks. That looks pretty cool. So you can kind of play around with different colors and patterns like maybe you would want to do to different patterns in here. Maybe you want to do it all the same and it's really quite versatile. It's a lot of fun. And, um, you can do so much with this and that concludes this lesson