Creative Compositing in Photoshop - Design Striking Magazine Advert from Scratch

1. Intro: The Hello. Welcome to the course about compositing where you can really work and play at the same time. My name is Anna, and I'm going to guide you through this process where you can unleash your imagination completely while creating a content that is very useful and very much applicable in different fields of design. Composite image can be very striking, very effective because you can make whatever you like, a scenery that is not even possible in real life. So you can imagine it can be very eye catching and you can use it in a design to promote a product, to send a message, to communicate general. So this is what we are going to do here. Also, we are going to work on a design project that you can later include in your portfolio. We are going to make magazine advert where our composite is going to be the main mean of communication. It is going to grab the attention of the audience and hopefully stuck in their mind for a while. I really hope that you will not look at this course like a recipe that you need to follow literally step by step every time, but rather as a series of guidelines that can be used in different situations or completely different results, you know, And you are going to learn so many new stuff here. We are going to plan the composition and distribution of the elements on the page, and I'm going to guide you how to gather and take photos that are appropriate for this purpose, and you will learn so many new options and tools, AI based and manual that are going to help you to retouch the imperfections. Transform and isolate the objects from a background to put them in a new surrounding, adjusting attributes like color and tonality, so you can, in the end, blend them all together into one scenery, where we are going to add some text and product so that we complete that advert of ours. Though it might look as a difficult task, I will explain every step of the way. And if you're already familiar with some part of the process, well, do it yourself and skip to the part where you will learn something new. For me, compositing is really way to mix work and pleasure because you can literally play during your work hours, and I really enjoy it and hope you will, too. You're Michael usega You're usega. 2. The Idea: Okay, let's imagine we are hired by official care product company to promote their anti blemish serum. Always give yourself a specific task to see if you can answer the specific demands. It's always much harder than work on free topic. So I'm thinking, I'm writing, I'm sketching, I'm scrolling the Internet. I'm searching for inspiration. I don't just wait for it to come to me. And I'm thinking redness, redness of a face, anti blemish, reddish face. Oh, reddish face. That can be interesting because it can stand for a face that's a bit red, but it can also stand for the face of reddish vegetable. Well, reddish doesn't have face, but we can make it have one. And also, this joke will help us illustrate the problem, but not too dramatically. And on the same page in the same advert, we will offer the solution promoting our product. So it can be really good. Okay, we are going to start compositing very soon. I just wanted to clarify very briefly what we are doing exactly. What is composite image. That is the term that we often meet in the video industry, CGI VFX, you know, but it can be a steel image used in graphic arts and different fields of design, and that is our field of interests here. We are working on steel image for printing purposes. Yeah, but what is composite image? Composite image is made of different images from different sources. So is it like a collage, maybe? Well, not exactly. In the collage, we sometimes deliberately leave those elements different in color, style, maybe sometimes with rough cuts and edges. We don't mind they differ. We like the different. But in the process of compositing, we are usually trying to make an illusion. All those elements are really the part of the same scenery without any traces of any interventions. So it demands great skills of photo manipulation, a lot of adjusting, lot of patience, as you can imagine. Nowadays, you can maybe ask KI to do some part of the work for you or maybe the whole job. But it's very important that you know all parts of the process and the manual tools, so you can make write demands, write prompts, and maybe some corrections afterwards to get exactly what you wanted. Like a boss in some company should know the job very well, though he maybe does not do the heavy work himself. 3. New Document: As I promised, we are going to start working in Photoshop right away, and we are using this program because we are mainly compositing and processing the rest images here, and that's what Photoshop is for. Start your Photoshop, and you can simply click on the new file button of the welcome screen, or you can choose the command new from the file dropdown menu, shortcut Control N. Either way, this window appears. And, first of all, you need to choose the purpose of your document. And it's very important because print documents and web documents are very different in color. In resolution in typical sizes, et cetera, so you have to choose that right away. We are working for print magazine, so I will choose print, and that will let me choose from a lot of presets, lot of sizes is typical for printing. And I can choose the A four as something close to magazine size, and you can also print it later on your house printer to see what you created. So A four is what we need here, and we can see the width and height here. You can choose the orientation, and vertical orientation is what we need now. It's portrait orientation because we are working for the whole page of the magazine. But if you work for a half of the page, for example, you will choose a five, which is half of the A four size, and you will then choose the horizontal orientation because it's only on the half page, upper half of the page, for example, is horizontal, not vertical. Now we have the whole page here, so we are choosing the vertical orientation it's okay. And the next field is very important. Next field is resolution, and it's very important because resolution is like density of your picture. It's a number of pixels per inch, as you can see here. Pixels are the building blocks of your image, and you need 300 pixels per inch for printing purposes, nothing less than that. In order to see your picture clearly with a lot of details, you need to think about the resolution now right away because you don't want your ad to be printed in so many copies all over the country blurry. You lose the client. Your company can lose the client. You can lose the job because of that. You have to get rid of these rookie mistakes right now. So 300 pixels per inch is what you need, and you need to check every photo you are using in this work for the size and resolution, and we're going to do that. Also, you need to think about the color mode. AlgB color is okay for house printers and some digital printing, but magazine is going to be printed in the offset technique. So for that purpose, you're going to choose C and YK color mode. And it's best to choose it right away because later on, it can affect your colors and layers, et cetera. So CNYK color mode and 300 resolution for printing purposes, always. Okay. You also have in advanced options you have profile, but you have to talk about color profile with the printing shop you're sending a work because they will tell you in what color profile the machines are working. So then you're choosing what they suggest. And let's say it's Gated Fograth nine. And just click Create in the end, and this is your document. We are going to put all our pictures here and we're going to blend them here in this document, which is adequate for printing purposes. So here is your workspace, and it's pretty logical. You have your Canvas in the middle and you have your common line at the very top with dropdown menus and everything. And beneath that, you have your option bar with different options for each tool you choose. And your tools are on your left. This is your toolbox, your too bar. And this little contextual menu also have different options for different tools, and it is going to follow your cursor unless you click on these three little dots on the right and choose to dock it wherever you want. On your right, you have some panels, different adjustment panels, layers panel, et cetera, and we are going to learn a lot of tools and panels along the way. But for now, I would like to show you how to set up your workspace to look exactly the same as mine. So you can go to Window dropdown menu. And workspace sub menu and choose essentials, which is you can see default workspace. When you start a Photoshop, you will have essentials workspace. But if you share your computer with somebody, then you want to go to Window Workspace, essentials, choose essentials, and you can even reset essentials if somebody have changed something in Photoshop because you can do that. You can set everything according to your needs. So go to essentials and reset essentials. Now, your workspace matches mine, and you can also reset your toolbox. At the bottom of your tool bar down here, you have these three little dots, this dotted line where you can right click on it, and click on Edit toolbar, left, click on Edit Toolbar. And here you have Restore Defaults button. Just click on Restore Defaults to reset your t bar and then done. Now your workspace matches mine and you can find everything I'm using and you can follow my steps. 4. Photos: Now we're going to check and import the photos that we need, and you can use mine, but if you want to use your own and at some point you certainly will, you need to think about the light. Always, when it comes to composite photo, you need to think about light because you want to create the illusion that all the motives are captured at the same scene under the same source of light. So you need to capture all the photos at the same or similar light conditions. If you're taking all the photos by yourself, the easiest way is to capture them at the same place during the short period of time, and they will all have the similar light conditions. But if you're using the photos from the Internet and some of you on from different situations, you really need to match the light on every photo. So take one of those, for example, one that you have downloaded and take a good look at the photo trying to locate the source of light. It is not always visible, but the shadows are visible, and the shadows are the opposite from the source of light. So by the shadow on my face from this side, you can imagine my light sources from that side. It's coming from there. And then you're trying to recreate the same situation. You're positioning your motive the same way or the light, or you're searching the Internet for the photos taken in the similar light conditions. Also, you need to think about the nature of light. Sometimes it's direct, and it is creating very strong shadows and highlights, very, very sharp touched, you know? And sometimes it's diffuse, creating very soft shadows and highlights. And if you want that, you better go to some shade where you will still have enough light, but you will not be directly exposed to it. Therefore, shadows and highlights are going to be very soft. It is also important to think about the background because most of the time you want to get rid of it. So the best way is to choose some plain background like white wall, gray wall, neutral, and different color from your motive. So your motive can later be easily isolated from the background. You also want to move your motive away from the background, at least one large step so it doesn't throw a shadow on it, which would make the process more difficult. 5. Composition: H Perfect. Here are my shots. I would like to show you the first one just to tell you why I have chosen it and how it inspired me for the composition of an advert. I would like to open it in Photoshop just to sketch a bit to illustrate you that. But I will not drag it to surface of a document we have just made because I want to open it as a separate file to check the size and resolution of it. So I will just drag it to an empty space next to the tab of the document that is already opened here. And it is opened as a separate file. Now, you can see here is my radish, and it is not perfect. As you can see, it is completely unperfect, but I'm okay with it because we are going to retouch it later, and we are going to remove whatever we don't like. We're going to retouch the texture radish, the broken stems, everything we don't need. But why I like it. I like it because of the position of the radish on this page. You can see it has this line that naturally flows from upper right corner to opposite diagonal. And you can use it in design to lead the eye of a viewer and to point out important things in a page. Let me just flip it. I would like to flip it because in this part of the world, we are reading from left to right and from up to down. So this is going to be more natural line that our eye is going to follow easily, is going to read this picture very naturally, you know. So my eye is going to follow this line. When I'm looking at the picture first, I'm going to see this part. Then I'm going to spot the important part of a picture, and then my eye is going to follow this line to the end of the story. This spot here where my composite is, it is going to drag attention naturally because it's in a good spot by the rule of thirds, and my eye is then going to follow this line in this way. And here on a relatively empty space, I can put the picture of my product. So first, we see the problem illustrated by composite, and then we get the solution in the picture of our product. So it's very good line. And here I have more empty space where I can put some text. It is going to confirm what we have just seen. I also have a little empty space here where I can put maybe a logo of the company. This is roughly the composition of my Albert, and I will distribute the elements this way and try to lead the eye of a viewer through page to point out a few important stuff on it. Your Michael uses Your Michael Rusia. Your Michael use has. 6. Check and Import : Your Enthusiast. You enthusiasm. Now we're going to copy this reddish to our working file. Just let me go back, go a little back in time using this history panel before I draw all of this on my picture. You can see the last state at the bottom and all the previous states above it. So you can choose to go back to any point of your workflow. But by default, you will delete all the states after that. You can also use the shortcut Control Z to undo all mistakes you have made. And if you haven't flipped it around, go to the image, image rotation, and flip horizontally. But before I copy it, I need to check the size of resolution and color mode to be sure it's appropriate for this purpose. So I'm going to image dropdown menu, and I'm choosing the image size. And this little window will help you check the size and the resolution of your file. You will use it to check every file you download from Internet to see is it big enough for your prints and how big it is going to be when you print it. In order to see that, you need to change the resolution to 300 pixels per inch. Just be sure that this resample check box is off because you don't want to resample the picture. You just want to change resolution and see how it affects the size. Because those two are correlated. So this is off and then type 300 pixels per inch here, and it's approximately 50 by 67 centimeters, and it's like this big, and our magazine page is like this big, so it's bigger, it's big enough. You can always shrink it. You just cannot enlarge it without the loss of the quality. There are some algorithms that can enlarge the raster image for you, but don't use it unless it's necessary. Always work with best quality maximum size photos. And you will have quality material afterwards. So our photo is big enough and click Okay because you need it in 300 pixels per inch. And always adjust this according to your document. Okay. And then you need to check the image mode, image mode. And you see it in RGB color mode, and we need it in CNYK color mode. You can just click it here or you can, if you know the color profile, you can go to Edit dropdown menu instead and choose convert to profile options. It will switch the color profile to one your printing company is using. So choose color profile and choose coated Fogra as we agreed already when we were making our new document and say, Okay, so this picture is now the same resolution and same color mode as this one. Okay, there are many ways to input this picture in your new file, but I will show you how to place it as a smart object, mainly because it may even be the easiest way to do it, but also because smart objects have some qualities, other layers don't now, let me just tell you two things about smart objects. First, it preserves the original size and resolution of the document. So if you at some point, wish to scale it down, and afterwards, after you work on it and even close it and open it up again, you wish to upscale it again. I won't affect the quality of your picture because smart objects still has the information about the original size and the resolution. And the second thing, any change that you make on this type of layer remains editable. For example, if you add filter to it, it will be smart filter, and it will be placed in your layer panel, and it will remain there. Every time you open the document, you can access it and you can change your changes. You can change any parameter at any point of your creative process. So it's great. That's it for now. And let's see how we can do it. Just save it, file, save us, and save it to the same place where you opened it from, and now close it. Okay. And now you can just click on the button in this little contextual menu, or you can drag it from the place where you saved it. Just drag it to working area. And confirm position and size. It's a bit shorter than I need, but I will just deal with it later. But take a look at this just for a second. I need to explain you the layers panel very briefly. Layers are like sheets of your sketchbook placed one above the other. So until now, we only had the background layer, white background, and now we have a picture one above. And content of the upper layers is covering the content of the layers beneath them, just like my reddish picture is covering my background almost completely unless the layers on the top are transparent or semi transparent, and you can make them transparent by using the opacity slider in the same panel. But I don't want to do that now. And this layer is smart. You can see that by a mark in the lower right corner of a thumbnail. So when you drag your picture into your working pile, it is by default converted to Smart Object. But even if you have some layers that are already in the file, you can convert them to Smart Object by right clicking on them and choose the Convert to Smart Object option. Let me show you, for example, on one new layer, it's an empty layer, but I don't mind. Right click on it and you have Convert to Smart Object option. You can also find it in the layer drop down menu. Smart Object, convert to Smart Object. And in the layer options, convert to Smart Object. I will drop it in the trash can because I don't need it. Now, let's work on this file. 7. Retouch 1 - Remove Tool & Healing Brushes: Okay, what should we do here? We can move it using Move tool, okay, to this position maybe. And we need to remove a few things like little thing here. I can use the retouch tool for that called remove Tool. It is here in your toolbox. You can just use the right click or just hold the left click to see all the tools in the same group. But it won't let me change my layer because my layer is smut and it is protecting picture from destructible changes. So I have to make a new layer. Click on the plus button in the layer panel, create a new layer, and then when I'm using this tool, I will go to the option bar and find sample all layer chatbox. So it can sample from the layer below and create content in the layer above it. Sample all layer chatbox. I can also set the size of my brush. I will make it a bit bigger. I can remove this part here. I will just go over it with my tool, and it will do the job for me. It will process it and Wala, it's removed. It is no longer there. So I can try the same thing with this shadow here. It's too strong. I don't need it. So I can just go along one edge, along another, and I will just go to the point where I started. And it will remove everything in between, so you don't have to paint over the whole area. You just have to round it. Okay, I can do the smaller imperfections. The broken stems with this remove tool. Let's see what it's going to do. Wow, it's great. It looks very good. Zoom in Control plus, and try to remove this little thing. I don't know what it is. And remove this, it's great. And you can choose here if generative AI is on or off. And if it is using AI, you have to be online and you're spending your generative credits. And sometimes it's not necessary. It's working very well without AI. So I'm switching it off, and I'm working without AI. It does really good job. And I will just continue searching for all the imperfections. Can I maybe add something I don't have? For example, the stem? Well, it's not perfect, but I can go over and over until I'm satisfied. And so on and so on. I don't like this part very much. I will also go over it again. Okay, much better now. I will try to add some leaves afterwards, but this is much better than it was. You can also use the history panel to see how it looked before. And how it looks now. So much better. You can also make some changes on the texture of radish. You can remove some imperfections. You can make it smooter maybe. I will just zoom in Control Plus to see the texture of radish, and I'm not going to remove everything because I need it to be realistic. So I will just go over this area and so on and so on. I will speed it up a little bit. The reason why I did some corrections at the background is because I'm thinking about using this background because I like it. It's also not perfect, but it's maybe better than a plain white background because it has some soft grain and some soft shadows. And I can make those shadows even softer later. But it has some texture, and it is more airy and more natural than plain white background. And let me try to remove this part here. I really don't like it, so I will just try to go around it. But I'm not satisfied with this part here. I can go over it again. Okay, this is better, and this is much better. And because it is on the new layer, you can scale the opacity down and some texture visible, and you can also erase some part of this layer or mask some part of this layer because everything is on it, and beneath is the original dish. Now it's time to name and save your work so you can close it and find it and open it again when you need it. And we recently have saved one picture, but we haven't even thought about the file format or name or anything. We just clicked on Save. So it's time to think about it now. That one that we have saved the radish, it was T format, and we just agreed to save it at the same format, and it's great because T format is very good. For saving large images for printing purposes because TIF can save your picture without any loss of quality, which is not the case with JPEGs. JPEG is really a kind of compression and not even a useless compression. Every time you open it, work on it, and close it again, you're compressing again, and you are losing a bit of your image every time. So don't work on JPAxs you can use TIF for your working files, but it's most common to use Photoshop PSD files when you're working in Photoshop. So just follow the same path as before, go to the file drop down menu, save us. Choose the place where you're going to save it. I will save it to materials. You can choose any place here and type the name of the new file. For example, magazine AduT. Okay. Then here you can choose the format, and the one on the top is the one that we need PSD file, and then click Save. And agree with maximizing compatibility with other applications and versions of Autoshop. Okay? So you can find it where you have just saved it. It will be always here, Magazine AdvertPSDFle, and you can see here it is PSD with a new name. So that was the remote tool. Very effective, very easy to use, but only one of many retouch tools and options in Photoshop. I obviously cannot explain all of them in this course, but I will demonstrate a few more because we still have other photo to retouch. And this time, I will give you some alternatives for the remove tool, and I will show you completely different approach with the clone stamp tool and the clone source panel. In the end, we are going to check out a skin smoothing filter and see what it can do. So let's open the photo with my face or your own, if you took it and see what we have here. Just a quick reminder. For this picture also, you have to set the resolution to 300 DPI. Change the color mode to CN YK or the Hull color profile to coded Pograph 39. And finally, save the file as Photoshop PSD so you can later just save the progress. As you know, this is very important and also a great practice of what we have learned so far. If you don't know how to do this on your own, check the previous lessons. Okay, here it is. And it's even worse than the first one, but I still don't need it to be perfect. Luckily, I don't need a hair. It's complete mess. I will just work on the face area. And I also don't need a face to be perfect. I don't need a supermodel. I don't need a perfect face because this advert is addressing the common man with facial imperfections. But I will retouch it because I still need it to be appealing, cute in the end in the result because this is an advert. So I will just remove these spots, these dark spots. These wrinkles, maybe. It is not anti wrinkle product. So dark areas around the eyes and these wrinkles at my forehead, very strong ones. This gray hair here. I will use not the remove tool, but the two in the same group, it is spot healing brush. It works very similar to remove tool. You just click on the imperfection. I will just make another layers, so all changes will be in this layer one, and I have to check the sample layers checkbox in the command line, so it can take samples from background layer and I will click on the imperfection. And it will retouch it with surrounding pixels. It will not cover it completely. It will try to blend the imperfection into surrounding pixels. So you can make short strokes. You can even make longer strokes, but short strokes works better with this one and spots. Okay. So I'll just speed this up a bit. You can retouch wrinkles. If you click on one place and hold Shift and click to another, it will connect dots with straight line, so you can use that. And if it's too much, it's all on different flare. And you can erase what you don't need on it, or you can make it transparent and maybe a bit more realistic, you know? So I can work on this one. I will speed it up again and you will just see the result and you will do it yourself. As I explained, it is using surrounding pixels to make the interventions. If you don't want it to use surrounding pixels because I have some eyelashes here and it's adding eyelashes where I don't want it undo, you can choose the healing brush tool. And with this tool, you're sampling pixels yourself. So when you hold the Alt key, you're sampling pixels where the skin is smooth and clean like here. And when you let go of the lt key, you are pasting them over the imperfection. And it is again trying to blend those together. So with lt key, you're sampling, and when you let go of the key, you're pasting. Be sure that all layers on because it is sampling from the background layer and affecting the layer one. Okay, let's see what we have. This is before and after interventions. We still have the skin texture, but we just removed unwanted parts. 8. Retouch 2 - Clone Stamp, Neural Filter: And I would also like to show you the clone stamp tool because it's a bit different from these tools. It is also sampling pixels from one area when you hold the old key on your keyboard, and it is pasting them over the imperfection, but it is not blending anything. It is completely covering the imperfections with selected pixels. So it's like copying and pasting tool, you know. So you can use it for different things. You can copy the pixels from my eye into my forehead, so I can have a to die if you like. But I like to use it as some kind of virtual makeup, virtual face foundation tool because you can set the transparency of this tool. You can lower the opacity in the option bar, you will see. And then I use it to gradually add skin tones over the imperfections. I sample from a clean pot of skin, and I'm pasting over the imperfections over the dark areas over the wrinkles, over some shiny pot to soften it a bit. So I'm just like adding the face foundation to my face virtually. Let me show you. For this purpose, I'm going to turn the visibility of layer one off. That's the layer that we use for healing brush and spot healing brush. That doesn't mean that you can't combine these tools. I just want to show you how the clone stamp works. So I'm going to make a new layer for the clone stamp exclusively, and I'm going to choose the clone stamp from my toolbox. It is not in the same group as the remove tool and the spot healing brush. It's a different group below those tools. And I will go to the option bar to check if everything is okay. And for the start, I need opacity 100%, flow to 100%. And I needed to sample all layers because I'm sampling background and I'm pasting in the layer too. Okay? So I will just show you when I'm holding the alkey, I am sampling, and I will hold the alkey and click on the area of my eye. Okay? And then I let go of the alkey and I can paste the I wherever I want. I can paste those pixels. To this place, for example. And as you can see, there is no blending. I'm completely pasting over this area, so this is white, this is black, no blending at all. So you have to be careful with this tool because, for example, when you're sampling this clean part of the skin and you want to paste it here, it's too bright. For this area because there's no blending, so you cannot use D. You have to sample the similar pixels, similarly colored pixels to go over some imperfection. Okay, you also have to notice this checkbox aligned. If it is off, it is always going to sample from the same place. My right eye, my right eye, my right eye. Wherever I paste it, it is going to sample from the same place. But if it is on, it is going to follow my cursor. So when I'm sampling from my right eye, and move to the left. Then I'm going to paste my left eye because sampler is following my cursor, so I'm sampling from all over the picture, you know? Okay, so this is really scary. I'm going to erase all of those eyes. I'm going to history panel, and I'm going to a point where I have made a new layer, and I'm going to show you what more it can do. Okay? For example, if I don't like something around this area, I can maybe sample this area here and I can use the clone source panel to flip it around like in a mirror, because our face is relatively symmetric, and I can use maybe left corner of my lips to retouch right corner of my lips, et cetera, et cetera. So my clone source panel is here. I can switch it on here. I also have it in the window dropdown menu, clone source. And it turns on this panel where you can flip sample pixels. You can also this is horizontal flip, but you can also vertically flip them. Okay? You can upscale them, downscale them width and height separately or linked, and you can rotate them. So you can do whatever you want. So if I'm sampling this part of my eye, I can maybe paste it here in my other eye. As I said, I can downscale the sample. So when I'm pasting this side here, I'm adding little eyes here and little mouth here, whatever I like. So just be sure in the end that you reset all these changes because those are going to remain in this window even when you don't need them anymore. And you have five different presets of changes to save in these five little fields. Okay. But I don't need that also. I'll just go to the History panel and back again to the point where I have made a new layer. And I was talking about the virtual makeup thing, and I'm going to show you how I do that. I'm going to the option bar where I'm going to lower the opacity of this clone stamp tool. I'm going to slide it down to about 20%, and I'm going to sample clean, smooth part of skin, for example, somewhere on my cheek using the alky, and then I'm going to paste it over some imperfection. And I'm not covering it completely. I'm just gradually covering the imperfection several times to cover it more. So I'm just, like, putting some virtual foundation on my face a little bit here. Then I'm sampling the darker skin, and I'm putting a little bit there. I have to click more times over the dark spots, as you can see, so I can cover them completely. I can always downsize my brush and bring up the hardness if I need, but I like this. For now, I can maybe go over this dark area a bit, and I can even go over this light area a bit to even them down. And this dark area here and you can use this to sculpt your face a bit, so I can go over this light area here to make it a bit darker. And I can go over the wrinkles just to make them a bit less visible. And also, I can do that to shadows. Can make this shadow softer, okay? So I'm already much younger. Just let me finish this area here. Okay. And we will go to the layer panel just to see what we have done until now. Okay? I will just switch this layer visibility off and down again. Okay, difference is big, maybe a little too much for me now. And if you don't like it, if it's too much, you can always, well, you can throw this layer away. You can throw it in a trash. You can also turn the opacity down to make it a bit more realistic, but you can also erase some part of this layer that you don't like. This is razor and with the opacity of 100, you can completely erase any intervention in the area of my eyes because I don't want the skin tones in my eyes. If it's accidentally pasted there, I want it erased. And maybe I can make this brush harder and I will size it down, and I will erase any intervention in the corner of my mouth around my nose. I want these areas to be sharp and to have contrast and not to have any skin tones in them. Okay. You can raise every area that you don't like, and you can then turn the opacity of your eraser down so it can erase gradually. I will lower the hardness, I will make my brush bigger, and then I will raise a bit this spot because it doesn't look real and so on and so on. So you can choose or combine these interventions. These are the both layers together. This is just first one. And this is just second one, okay? So you can choose whatever you like. You can do whatever you want on your face, but sometimes it's important to save the texture of the skin, and there are many methods that can do that, but those are advanced methods, and they combine all of those simple tools and options to make complex and advanced interventions. Okay. Now I will switch off the visibility of layer two, also, so I can show you what the neural filter does to this picture. I will do that on background. I just have to make that layer smart, so I can always edit my filter or throw it away afterwards. So I will unlock this layer, just click on this log. Okay? It's unlocked now and right click on it and choose Convert to Smart Object to option, and it is now Smart Object. And you can go to filter dropdown menu and choose neural filters. Well, those are all very intelligent filters. And right now I'm interested in this skin smoothing filter. I can just turn it on and wait for it. And here it is. Here are the results. A little bit too fuzzy, too much for me right now. So what can I do? I can just lower the blur with this blur slider or smoothness with this other slider. And let's say this is okay and I just click Okay, and I have that smart filter in my layer panel, and I can always switch the visibility off and on again. I can throw it to trash can, and I can always access the parameters if I change my mind about anything, so I can just double click to these neural filters. And window appears again, and my parameters appear again. So I can change my mind about blur and I can lower it a bit. And when it finishes, I say, Okay, and it's still in my layer panel, and it will be even when I close and open the document again. So now I can choose. I can use only neural filters, or I can switch it off and turn on, for example, the spot healing brush. Let me rename this layer so we can know which intervention is on which layer. You just double click on the layer name and type in desired title. So this is mainly spot healing brush. And this is how it looks with spot healing, and without that intervention, okay, big difference. And I can also only use this one, which is mainly clone stamp. Okay, or I can combine those interventions or some of them. It's up to you. And this is how my interventions look without the layer zero. Both clone stamp and spot healing. Clone stamp. It's very transparent and fuzzy and just spot healing. M. 9. Select & Mask: And before we move our second photo to our working file, I would like to point out that we don't need a whole picture. And that's usually the case with compositing because you are collecting so many different parts of different sources, so you need to know how to select what you need and how to mask what you don't need. Selecting and masking are very important things not only in compositing, and you are going to use those on daily basis to tell the Photoshop which part of the picture you want to work on. Well, Photoshop is kind of smart now. It doesn't only sees pixels. It can recognize the objects in your images, faces in your images. But it doesn't know what do you want to change exactly? It doesn't read your mind. Yet. So you really need to select the part of the picture that you want to change if it's not the whole content of your layer. And that's the reason why your selection tools are at the very top of your toolbox. And I'm pretty sure that you have noticed a little button in your contextual menu that says, remove background. And yes, it's pretty magical, and it probably can do the great job in this photo. But there is always, but sometimes you need to alter those automatic selections and masks, and I will show you some manual tools that can do that, and I will show you the way to use your drawing tools on your masks to alter them. And I will show you some options to refine edges of your selections and masks. So there's a lot of work for us in this lesson. But those are all important things that you're going to use every single day. So pay attention and try everything out for yourself. And now we are going to deal with selection. First of all, if I want to select something on my layer zero, I have to click on the Layer zero. I will make really, really quick tour through selection tools, because you really need those. Later on, we will check all the automatic options. But sometimes those options are not perfect. Sometimes those options cannot recognize the objects that you want to select or areas or just parts of the picture that you want to select. So you need those manual tools here. Those tools are at the very top of your toolbox. There are three groups of tools. First of all, you have some geometrical shaped tools that you can use to well, to select some geometrical shapes. Like this rectangle. But I would also like to point out that you can always add to selection with this button in your option bar and also with a shift key on your keyboard. You're adding selection to selection. So you can just hold the shift key and you're adding. And when you want to subtract, you can just hold the out key to subtract from your selection, to make holes in your selection, to subtract some parts of your selection, and to make much more complex shapes than the first rectangle you have made. Okay, you also have the select drop down menu. With a lot of options only for selections. And notice di select option because you will need it, especially in the beginning and Control D shortcut. You will use it a lot at the beginning. Okay, Control D, D selected everything. So we can now check out the second group of selection tools. We have some lasso tool here, and on top of the Lasso tools, you have selection brush tool, and it works like a pink, transparent brush until you finish with this tool, choose any other, and your brush strokes turn into selection. So it's precise as a common brush. You can change size, so it can be bigger, for example, and it can have softer edges. Your future selection can have soft edges if you choose, but that's it. When you choose another tool, it becomes a selection. Okay, I will deselect again, Control D to show you lasso tools. Below that, you have a common lasso tool. Lasso tool can be used to draw free form selections in your picture. And it is very quick and very precise, as you can see, and you also have a polygonal lasso. Which can help you to draw some straight lines around the straight shaped subjects in your pictures. And with this tool, you have to connect the end of the line with the beginning of the line. You can always double click and the end and the beginning will be connected, and everything in between will be selected. Okay. But the third group is more interesting. Here are some tools that have ability to detect color of the pixels. And those are trying to include similar pixels in your selection and to exclude everything that is different from your selection. Like helping you to make more precise selection. I will start with a quick selection tool. It is very simple to use. I will just deselect everything, Control D to show you how this tool works. And by default, it's always adding selection to selection. You don't have to hold Shift key. So I will just go along my hair. For example, I'm trying to select my hair. Okay? And it got my forehead. I will just hold the Alt key and try to exclude this part of the selection, and it works much more precisely when you're adding and excluding from selection than in the beginning. Okay. So this is how it works. And you also have magic wand, and it works like this. You just click on one pixel, and it selects similarly colored pixels. You have to notice the tolerance field in the option bar, and if we set the tolerance to just one, it will just select one color of your picture, you don't even see it now. I have to zoom it very much. Okay, here it is. Here's my selection. It only caught a few pixels that are the same color as the one that I clicked on. Okay, so I will turn the tolerance up to 20, for example, and I will zoom out, and I will click on the same place, and now it has selected much bigger area with similarly colored pixels. And if I set it to, I don't know, 50, and click on this area. I now have got the part of the wall that is kind of yellowish. Okay, and it will only select the connected pixels because this checkbox contiguous is by default on. If you switch it off, it will find all, for example, blue pixels in my picture everywhere. Or those browns. It will find it here and here, those pixels don't have to be connected if contiguous is off. So if I, for example, want to select all the blues of my sweater, I have to hold the shift key and to click on some different sheets, dark blues, lighter blues, different parts of my sweater to select all blue tones, and now it has selected part of my hair and eyes. Those are not blues, definitely, but those are some dark tones that are similar to those that I clicked on. So what can I do? I can just grab the Lasso tool and hold the old key on my keyboard and just go around this area that I don't want in my selection, and it will exclude those pixels from my selection and so on and so on. Okay, maybe magic wand isn't the best tool for this weather. I would definitely use the quick selection for this. And I will now try to select to deselect everything and to select just, for example, just my head and maybe neck to show you how the selection edges look when you use these tools. I need to be much more precise around my ear because this is very difficult to select. Those are very similarly colored pixels, so I need to use the alt key Okay. And also, I can combine it with other tools. For example, magic one to exclude this little pot inside my earring, zoom in to click on the right area. Okay, Old and click. Okay, it's excluded now, so you can combine tools to get what you want. And now we see only this marching end line as the edge of selection. I don't see the actual edge, and I will try to show you how it looks really. I will just add this little area here. Okay, this little area, but I cannot click on every hair of my hair. So I will use one advanced option that is called Select and Mask. And you can also always find this option in the select drop down menu. You can have a selection or you can select inside this option. It works either way. So just click on it. I have selection now, and I just want to refine the edges of my selection. I will just click on the Select and Mask, and it opens a whole new working area, selected set of tools. On my left and with some options on my right. And this is my working area. And what is red here is not selected. You can see and what's not red is selected. And that's just one view. You can choose the view here. You can see your selection on black on white, whatever you like. You can change the opacity of this red mask of the unselected areas. Okay. So now you can clearly see what's selected and what needs to be selected, and you can see the line of your selection. And I'm not satisfied with this line around my hair. Because it's very rough, and those hairs are not included in my selection, and I need them, and there are some pixels that are included and that I don't need. So what can I do? I can use this second tool. It's refine edge brush tool. The first one is quick selection. You can always use it to add something to exclude something from your selection. But this second refined AgbushTol is very interesting because it is going to try to find similar pixels to those which are selected and to add them to your selection. And it will additionally find different pixels and exclude them from your selection. Will just click on Color Ware. I want to find similarly colored pixels, and I will just go over those areas that are not selected, but I want them to be selected just outside of the line of my selection. I will go along this hair here, and it will process those hairs and look at it. Those hairs are not red anymore. They're included in my selection now. And this little area here will be excluded. So I will just go along my selection edge. It recognized those grays as something that is not similarly colored, so I need to use the quick selection tool again to add them to my selection. This is actually my hair I needed. I'll just go back to my refine edge tool and I will spit it up. Make some short strokes and wait for it to process. Okay, this is how it looked. This is how it looks now. Much better, much better. And I would also like to point out that you have refined hair button in your option bar. Okay, don't hate me. This doesn't work was very nice and you can try it out. We will just reset everything on this little button here down and click on the refined hair to see what it can do. It works nicely to some point, but I don't like this part here, especially. I see some reds here inside my hair, so I don't like it. So I would have to correct it with my refine edge again. So it's good that you know how refine edge tool is working because you need to correct this option sometimes. And you also have to use some quick selection tool here to add what you need to add my here to my selection, and so on and so on. So you have to correct it. And when you're satisfied, you need to choose the output method. You need to choose, do you want your refinement to be just a selection or mask. When you turn your selection to mask, everything that is not selected will be hidden. It's a good thing when you want to get rid of the background. So this background is now red. It will be hidden if I click on the layer mask. But if you just want to do some work on the figure to change color or anything, you will choose selection, and you will just say, Okay, and you will get your marching and line around your figure, not the mask. Okay, so I will choose the mask because I want to get rid of the background, and I want to explain you masks. But I will also choose this option, new layer Whittle layer mask. It will make a new layer whittle layer mask and just click Okay. Here's my new layer, and here's my picture. It's my head, my big hat. Okay. Without the background. It's just my face and my neck. I don't even have a background anymore. It's like deleted, but it's not deleted. And that's the best part because it's just masked. I can bring it back whenever I want. When I erase it, it's raised, it's gone, and when I mask it, I can always change my mind and bring back any part of it in any point of my workflow. So take a look at the layer panel. This is my layer zero. Now visibility of laser is off. I can bring it on. It's the layer with background, okay? And this is my new layer with layer mask. This is a thumbnail of my layer, and this is a thumbnail of my mask. You can see everything that is black, is hidden here, and everything that is white is visible. So I can also all click on the thumbnail of a mask and it will be shown on your working area, so you can see it closely. Everything that is black is hidden and everything that is white is visible. I'll click again. You can also shift click on a thumbnail of a mask to disable it for a while and then shift click again to enable it. Okay. Uh, so this is my mask and what's good about it? I can alter it. I can draw on my mask, and we will do that later on in our work, but I will show you now how it works. If I want to draw on my mask and not on my picture, I will just click on the thumbnail of a mask. If I take brush, it uses the foreground color. Foreground color is here, the square in front. And I know the blacks are hiding parts of the picture. So if I work with a black brush, I can just hide some parts of my picture, for example, something like this. It's like I'm working with the razor, but I'm just hiding it. Best part of it is that I can switch to a white brush on this little arrow here. It will bring the white color forward. Now, white is the color of the foreground, and I will use white color to bring back this part of my picture. So I can always bring it back. It's not erased. I can just remove it and bring it back whenever I want. And I can also change the size of my brush and bring it back completely. It's the one way to work with masks. There are a lot of way. You can make gradient interventions and mask and so on and so on. Also, you can throw your mask into trash like this, and it will ask you, do you want to apply your mask? If you apply it, you will permanently delete everything that is masked. So I don't want to do that. I really want to delete mask and to have my background back, delete and my background is back. My layer doesn't have a mask anymore. Okay. And that's how mask is made using select a mask option. But you can always make it when you have some selection, any selection. When you click on this little mask button in your layer panel, it will hide everything that is not selected. So just click on it. And here is your mask. Everything that wasn't selected is hidden. I will throw it away again, delete. Okay. And now I will bring this layer panel back. I will click on the layer zero. Okay, I will throw away layer zero copy. I don't need it anymore. What I want to show you now are those automatic options. And actually, we have one more tool left in the third group. That's Object Selection tool, and it will find and automatically select objects in your picture. So when I'm moving over some areas in my picture, it texts for the background, and then parts of my face, eyes, eyebrows, lips, neck, sweather, hair, everything in the picture. Okay, so it's just enough to click on one part and it will be selected like my lips now. And I will deselect because I don't need this selection, actually. So I want to select whole figure. Okay. I have this little button in the option bar that says select people. And when I click on it, you can see this little thumbnail of me up here, and then you have some buttons down there. The first button says entire person. So you can select individual pads or entire person. So I will click on the entire person and apply. And now I have whole figure selected. So I just need to switch on the mask for that selection. Just click on the mask button in the layer panel, and here it is. It's not bad. I may miss some grace and a little part of my ear, maybe, but it's actually pretty good. And you can still select parts inside this selected area. And I will throw away this mask also just to show you another way to do that. You have select subject button in your option bar and also in your contextual menu all the time. So you can just click on it to select the whole subject. And just wait for it because it's working on a cloud and works better when relying on the Internet. So now it's selected person, I will just switch on the mask again, and this seems even better than the last time. I think I have my ear now. Those hairs are good. But I will also throw away this mask just to show you the third way, which is easiest right next to the select subject, you have removed background, which is maybe the easiest way to do what we need to do here. You can just click on that button and it will mask the background. It will not erase it. It will detect the object and mask the background in your picture. T I have here, I have all the hairs. You can always correct it using selected mask options in your option bar if you need to. Okay, we have our subject now selected without the background, and we can move it to our working file. This is my PSD file. You can rearrange the tabs, if you like. And here is my picture too. And sometimes you need to copy just the content of one or few layers to a new file. And in that case, you can just drag the layer to a new file. Or you can select multiple layers holding Control button on your keyboard. Then you can drag both layers. For example, I'm not going to use a clone stamp. I just want a healing brush. I could also select the clone stamp if I want it, but I don't. And you can now drag those two layers into a new file like this. I'm holding the mouse key until I get to the working area, and then I release the mouse key, and those layers will be copied to my other file. This is too big. I would have to transform this. And if I want to move or transform at any point of my working process, I need to select both layers again. Using Control key or I could link them in the layer panel options. You have the option to link layers that you have selected so that I can always move them together. If you have more than a few layers in your PSD file, well, you don't have to do this. You can then just, for example, switch off the visibility of the clone stamp and save your file, control as on your keyboard. File is saved, you can close it, and you can well, you can just drag the PSD file from your folder to your working document like we did last time with the T file, and it will be placed here. You can just confirm and it's just one layer, but smart layer in my layer panel. So when I need to change something, neural filter, spot healing or just change my mind about clone stamp, I can double click the thumbnail of Smartayer and it's open in another file like a PSD file again with all my layers, so I can now, for example, switch on the clone stamp. And I can then save the file, saving, and Clone stamp is then on in my second file where I'm using this smart object. So this is maybe the better way to work with PSD files that have multiple layers. So you can always change your mind, but they don't make mass in your layer panel. There are not too many layers here, but you can always access those interventions that you made in another tab. You can also look at your history panel. Here's State Update Smart Object. So this was before the update, without the Clone stamp, and this is with the Clone stamp after the update, and you can always update it again if you wish. My object is automatically fitted to this document size, but it's still a little too big, and we need to flip it like we flipped the radish, so we need to transform it now. 10. Transform: Now you're going to transform. And usually in everyday practice, you are trying so hard to transform proportionally. You don't get to distort things unless you have very good reason for it. And very good reason is not, for example, when you have some very narrow vertical banner and you want to squeeze your landscape photo in it. That is not going to look good. That is not a solution. That's more like, well, a problem. So you have to find another way to deal with it. And also, you cannot distort text and logos. Those are all protected work of your fellow colleagues and somebody worked very hard on proportions of every single letter, and you're not even allowed to do that. But in some cases, like compositing and, for example, virtual mockups, you can distort, stretch, warp, squeeze, whatever you need to make something completely new, original, and even more believable. So today, I'm going to just scale and rotate, but I'm going to show you all options so you can do whatever you need with your photos. You can find your transformations in the ddt drop down menu. Here you have a transform option with some specific transformations, scale, rotate, skew, distort, perspective, warp and flip horizontal vertical and rotation. But you can always choose free transform just above it. Control T is the shortcut for transformations on your keyboard. And this bounding box appears and you can scale and rotate, but you have all specific transformations on the right click on your mouse. So you can scale rotate que, et cetera, et cetera at any point of the transformation and go back to scale to scale it down. Okay? So when you're scaling, you can just drag the corner of the bounding box towards the center, and it is scaling proportionally by default. And you can rotate when you click just outside of the bounding box. Then you can skew. You can drag it to one side or another. And you also have distort, where you can drag just one corner of the bounding box. You can distort picture. You also have perspective to put your picture in the perspective horizontally or vertically. And warp is very interesting. When you hit warp, you also have this button in the option bar like a little switch from transformation to warp and the other way around. And when you're in the warp option, you have grid and all these grid options in the option ba. You can choose three by three, four by four, five by five grid if you like with divisions and subdivisions. You can also add your own subdivisions like this horizontally, vertically or both ways, and you can distort your picture just by dragging the points of this grid in any direction. Or you can use some presets from your option bar. So I don't want to do all of this. I can just go a few steps back or I can just cancel everything. And hit Control T again. Okay, I need to flip this round the same way I flipped dish horizontally, and I need to scale it a bit down. So my face fits in the shape of the dish, and I will lower the opacity temporarily so I can see the redish behind my picture so I know how much the scale. I will bring it back afterwards and I will scale proportionally because I don't have any reason to distort my face now. But you can do whatever you like with my picture or with your own, as we already said. Flip is on my right click. Flip Horizontal this way. Okay, this is still too big. And if you need to squeeze or stretch something, you have to hold a shift key on your keyboard in order to do any unproportional scaling. Okay, this is maybe enough, maybe not. But we can always transform it again when we decide, we'll just confirm this. You can click on this. You can double click on your picture or you can just choose any other tool and this transformation will be confirmed. So double click is enough, and I will bring opacity back to 100%. Now we need to mask everything that we don't need, for example, body, hair, edges of my head because my new head will be reddish. So you already know how to mask. You add an empty mask to this layer, and then you take the Brush, too, and you choose black for the foreground color. And if you don't have black and white colors in your toolbox for background and foreground, you can click on this button, or you can use the D key on your keyboard as a shortcut. Choose very soft brush for this one because you need to blend one picture softly into another. And you can also choose the opacity if you don't want to hide something completely, but you want some parts of the picture to disappear gradually, et cetera, et cetera. So you know this. Try this on your own, and I will speed up my process, but you can always check it out and slow it down if you have any troubles doing this. Ah. B. Okay, this is very roughly masked for now, but you can always change your mind at any point. You just switch the foreground color for white. You can use the X shortcut on your keyboard for that and then reveal the part that you want and switch it back to black. Okay, so black is hiding. White is revealing, and you can change the opacity. I have now lower it down to 26%, so I can just hide gradually some parts of my picture. And when we switch the color of the face to red to reddish, well, it will be more realistic. And then we can again change our mind of the mask and reveal something that we already hidden and so on and so on. So we are not erasing, we are just hiding things, and this is good for now. Cs. 11. Generate: This is what we have so far. We still have this hole in the bottom of our picture, this empty space without the background. And I also said I would like to add some leaves on the stems of my dish to make it look a bit fresher, a bit more appealing. So this is maybe the right moment to try to generate in Photoshop. This area will be easy to generate and leaves might be a problem because we need radish leaves, not any leaves. I have a reference photo for that and we will try out different options. First of all, we have two layers. We have dish in one and we have these interventions in another, and that might be a problem for generative fill options. So I will just merge these two layers into one so I can generate according to that one layer. And that will restize my smart object. And I'm okay with that because this layer is not intentionally smart object. We didn't convert it to smart object. It is just smart by default because we dragged it to working surface of our document. And this object has only one layer, no filters to edit, nothing. And also, we already know the final size and resolution of our document, so we won't lose any quality by scaling down and up again. So we don't need a smart object here, really. I will keep this one smart because I know I have some layers in it and I can change some options, but it's okay to merge these two layers into one. I will just select those two layers using Control key on my keyboard, and then I will go to Layers Options, and I will merge those selected layers, merge layers option. Okay? This is just one layer now. Okay. So how to fill the space. First of all, we will select this empty space, and the easiest way to do that, for example, is Magic Wand tool and click on this empty space. It's selected. Now we can just click Generative Fill button in our contextual menu right here. And it will offer me to type in the prompt, but I don't need a prompt. I will just click Generate and it will generate according to rest of the picture. You know, I will just fill in the gap. Okay, this looks good. We should check it out. We will zoom it in 100%. It looks really good. Noise, softness, everything is the same tone, so it's okay. But let's see what it will do with those leaves. You have different options to generate images in Photoshop. One of those options is in edit dropdown menu. You have option generate image. So when you click on it, this windows appears, and you can type in the prompt, for example, reddish leaves. Okay. And you can choose art or photo. I would like photo quality because everything is photo in my picture, and you can choose reference image for style reference image for style or composition. So I will choose my image. I have one leaf or reddish. It was in one of my pictures, and I prepared it for you in your materials. So I will choose the reference photo. It's not perfect, and it's upside down here, but it's okay. I will say open, and I will click on Generate. And it generates the picture of the whole document, and it has a background, even. You have three versions here in properties panel. You have your prompt. You have your reference image, and you have three versions, one, two, three versions of this photo, and you can choose any of them. For example, this one. And in your contextual menu, you have those options where you can find remove background option. Just click on it. It made a little hole here. It's not perfect. And you also would have to click on the thumbnail of the image and click Control T to transform this leaf and to put it where you want it. So you will basically deal with this picture like with any other you have imported so far, masking, transforming, et cetera. But can Photoshop even do that for us? I will just switch visibility of this layer off and we will try some other options in Photoshop. I will click on Layer one again. And I will try to generate leaves where I want it on this picture. It will also be generated in another layer, but I have to select the area where I want leaves to be. So I will just choose some tool as selection brush tool, for example, and very roughly select the area where I want leaves to be, for example, here, maybe some here, maybe one here. Okay, something like that. This will be the mask of my new layer, and it will generate leaves inside this area in this shape approximately, and we will just click congenertive fill like the first time when we fill the gap in the bottom of our page. Reddish leaves, reference image, and generate. Okay, look at your properties panel. This is one version. You have your prompts here, you have your reference image here, and you have second version and the third version. And I wasn't so lucky last time when I tried this, so maybe your photos are not so good, not same as mine because Photoshop is making a original image every time. So you can always try to if you're not satisfied to generate again to make more detailed prompt or anything you like. And after all of that, if generator options still don't meet your expectations, well, you will have to do some manual compositing and add some leafs manually like you have already added everything else. I can also import my leaf that I had for reference photo. So let's just pull it in. Okay. I just have to transform it and get rid of the background. So I will see remove background. Let's see what it is going to do. It's a bit rough, but it's good for now. Let's click on Control T, and let's just scale it and rotate it to fit it in our picture. We can put it maybe here or we can rotate it some more. Something like this is okay. We have a lot of different greens here, but we will match those greens afterwards because we are going to work on the color and tonality adjustments. So we will deal with it later. Okay? I can move it using arrows on my keyboard more precisely, and I can mask what I don't need this part here, maybe, et cetera, et cetera. If I want to mask anything, I would have to click on the thumbnail of a mask, grab a brush, and you know the rest. Okay, I can refine edges of this mask when I click on it, and I click on the selectin mask button. You have it always in your properties, and you can always refine the edges of your mask even afterwards. And we can maybe add some feather. You can pull the feather slider to the right to make edges a bit more soft if they are too sharp and too rough, maybe a bit more. So original. Okay, and output settings, layer mask. Okay. It's a bit softer than before. It will be much better when we match those greens. So this is how it looked before generate option, and now it looks better. We have the whole page. We have the leaves, and now it's time to deal with the colors and tonality of the picture, and we should import the picture of our product so we can match the reds from reddish with reds on our product. 12. Color & Tonality: Let's just clean up a layers panel a bit. I will just throw away these layers that I don't use and that I will not use. I don't need them. And this one generative fill, it's just the bottom of my page. I can put it right above the background, maybe. Okay, take a moment and look at this reddish photo very carefully. It looks, well, a little bit pale because it was probably a bit overexposed. So I would like to make this reddish and the leaves a bit darker, but not the background. If you remember, I wanted to make the shadow in the background a bit lighter and softer, so I need to treat these areas of the same picture differently. And therefore, I need to select those areas and make different adjustments on each one. Let's start with the background. This part here is tricky. You know how to select, but this part here is tricky because the pixels of the background are very similar to those pixels of the radish. I will use the object selection tool again and then maybe correct it if it's not perfect. It recognizes the radish we leaves and it recognizes the background. I will just click on the background. It did a very good job. I just have to correct some things. I'll speed it up. Just a few touches of selection brush here and there would be enough, and also, I needed to include this area here using simple rectangular marquee to offer selection. And in the end, I would like to soften the edge of my selection with just a little bit of feather. Okay, I have my adjustments here, and maybe in your case, those presets are the first thing visible, but we are not going to use presets. Now, we are going to make our own adjustments. I'm going to use the single adjustments. This first line, all of these are for tonality, and these are for color corrections. You can see brightness contrast and you probably have tried brightness contrast even on your phone. It's very easy to use. But these levels can do everything that brightness and contrast can do, but even more. So you can use this levels adjustment because it's very easy to use and it can do more than brightness contrast. I will just click on the levels, and it created new layer adjustment layer in my layer panel, and this layer has a mask created according to my selection. So it will affect only the selected areas of the picture. When you don't have any selection, it affects the whole content of the layer and all layers below it, everything that is visible below it. And you have all adjustments in your properties panel. Here you have your histogram. It's a graphic presentation of the whole range from the darkest to lightest tones in your picture. So in this histogram, we can see we have only light grays and some highlights, but it seems like we don't have mid tones and dark tones in our picture. And it's completely true because we have only selected our background and we don't have any dark shadows here. We just have light gray and some light gray noise in our picture and some highlights, so it's true. And how these levels works. Well, you can drag those sliders. If you drag the black slider towards the center, you will darken the shadows. And if you drag the white slider towards the center, you will brighten the highlights. As you can see, this is increasing the contrast in your picture. Well, this is too drastic because you can see we have completely lost the texture of the background. So everything that was light gray just turned white this way. So this is too drastic, and I will bring those sliders back. And what you can also do, you can drag the gray slider. It is for the mid tones. If you drag it to the right, you will darken the mid tones, all mid tones. And if you drag it to the left, you will brighten the mid tones. So this is something that I wanted to do exactly. I wanted to brighten those grays in the background. I can do it a bit more. So I still have my shadow, but it's much softer, much brighter than before, before, after. Okay. And I would also like to tell you about this scale below. It is completely opposite from the scale above. We don't need it now, but in case you need it. If you drag this black slider from the scale below toward the center, it would lighten the shadows. And if you drag this white slider toward the center, it would darken the highlights, so completely opposite. It is decreasing contrast in your picture. I don't need it now, I will bring those sliders back again. Okay? So this is how it works, and this button is also very important. It is important if you want this adjustment to affect just the layer below, just one layer. You have to click on it. For example, to affect just the layer one. In this case, I want these levels to affect all my visible layers. I want it to affect the background on the layer one, but also on generated images. So I have to put it above all those visible images, and now it's affecting all my layers below it. This is without levels, and this is with levels. Now I want to work on the reddish, so I need completely opposite selection than before and I don't have to select it again. I can bring it back always because I have my mask and it's always in my document. Even when I close it and open it again, it will be here so I can click on the mask. And in the properties panel, I have this button that will turn my mask to selection again. I will not lose mask. It's still here, but I have selection that I had before. And I don't need selection of the background. Now I need opposite selection, so I can go to Select dropdown menu and choose inverse. It will invert my selection. Now only the reddish with leaves is selected, not the background. It's very useful. So try to remember that. And now I can choose levels again. But I will work on the reddish this time because you can see my mask is allowing this adjustment to affect only the reddish with leaves. So now when I turn this gray slider to the right, my reddish and my leaves are becoming darker and richer in color before, after. And you can just add some highlights, but not too much, and you can add some shadows, but not too much. Be very careful with those two sliders. Keep them in the very beginning of your histogram. If you don't want to lose some details in the dark gray and the light gray areas, you can see it's very sensitive. So this is how it looked before and how it looks now. You can always change your mind about these adjustments that you applied because those layers are always going to be in your layer panel, and you can always switch them off, throw them away, change their parameters, anything you like. We are going to work on colors now, but you have noticed that your tonality chinges have also affected your colors. So always be sure to adjust your tonality before you continue working on your colors. We are going to even down all the greens of leaves and the reds of our reddish and of our product, and my face is going to turn very red very soon. I want all my leaves to be the same green color to look fresh and healthy. So I would have to cool down, bit those reddish leaves. They look a bit yellowish, and I would also need to well, to warm up, bit this picture tree. It looks kind of bluish, to me, and the stems of reddish are also yellowish. So I will start with reddish leaves too. And I have one adjustment photo filter can correct the gamma of your photo. It can cool it down a bit. It can warm it up. I will just click on it, and you have your options in the properties panel. First of all, you have three warming filters, and then you have three cooling filters, and then you have some solid color filters you can put over your image and you have density. By default, it's 25%, and you can see how it was and how it's now. Now it's even more yellow. I don't want to warm it up. I want to cool it down a bit, so I will try those cooling filters. But you also have other two cooling filters, this, this, and you can put some solid color, for example, green over your picture, of your leaves. Now it is affecting everything below. If I want it to affect just the reddish leaves too, I have to clip it on the layer below. Now it's not affecting my reddish. I use the green filter with 27%. I can use that on my stems too. I just need to click on reddish and I need to select my stems. And now I will click on Photo filter again. Now it comes with a mask and it is affecting only the stems, and I will choose the green filter again up to 27%, and it should look the same as my leaves. I don't like the fact those generated leaves have erased some part of my stems here, here and here. I can just correct the mask of that layer. I can choose everything that is not a leaf and painted black in the mask thumbnail. You can always add some feather to your selection. You don't have to go to the select and mask option. If you just want to add feather, you can go to the select dropdown menu and you have a modify sub menu with feather option. So you can add some feather, for example, two pixels. And now I will click on the mask Tumnail and I will fill this area black. Edit, fill. Black. You can choose white, black or any color you like here. I could also paint it with a brush, but I wanted to show you this also. Okay. Now it's hidden, okay? So I will just bring back the reddish now, deselect Control D, and I have my reddish and my stems nicely colored. Okay, this area here, I forgot about this here also. I'll just grab black brush, and it's hidden. Okay? Now I will work on this leaf. It's a bit bluish. I need to put, for example, some warming filter to it, maybe this one, and clip it on the picture tree, so it doesn't affect all the layers below. You can see the difference now. This photo filter is affecting only picture three. Filter one is affecting only generated leaves, and filter two is affecting only the stems of my radish. Okay, so it's very important to remember this button and to clip every adjustment to the layer that you want to change. Now it looks better. I will just go back to filter three and lower it down a bit. And the best thing is that you can always change your mind about these changings to change color, to put any color you like. Adjustment layers are always here, and we can always access those. Okay? I don't like this edge. It looks a bit rough, this part of the edge. So I will try to soften it a bit. I could add feather to whole selection, but I just don't like this part of the selection, so I will just grab black brush and work a little bit more on this mask. Okay, it looks very good now. It's time to import the product picture to even down the red of reddish with red of product. So my picture is here. It's a T file, but I also have to check it out. I will open it as a separate file, and I will check out resolution, which is 300, it is okay and color mode of my document, which is RGB, and it is not okay, so I need to go to Added drop down menu, convert to profile, and to choose coated Fogra again, same as the other pictures that I have used in this composite. I will save it, control S, and I can just drag this layer to another document to copy it here. I will just place it in the bottom of my page and I will scale it down. Control T, remember, free transform. I will just scale it down a bit proportionally. Okay, something like this. So the eye of a viewer is going to see this composite first, and then it is going to end in the picture of my product as we wanted it. Okay, let's see those reds are really very similar. We are lucky. Maybe this is a little bit different. So if you want to add some yellows to it, you can use the photo filter like we already have before, but we are going to try something else now. I'm going to click on layer one, and I'm going to select only the red part of the reddish, the root of the reddish. I'll choose the object selection tool and the Lasso mode, so I can go around the red part, the root of the reddish. I don't want to change the leaves, so I will just go around the root really good. Okay. And now I can choose another adjustment to show you. This hue saturation is really what I like to use for very drastic changes, but it can also be used for very subtle changes. You have the hue slider, which can completely change the hue of your object, very drastically. For example, it can turn your reddish blue if you like. And you also have saturation which can add or remove saturation of your object, and you have lightness slider, which is not for tonality changes. It is just there to find the exact color you're searching for. So combining those three sliders, you can find any color you like. I will just reset those because I don't need to change this so drastically. Okay, so you notice that when we slide this to the left, it will go blue, and when I slide it to the right, it will go orange and then yellow. So I need to slide it to the right just a little bit, just like plus five maybe. Just a bit more yellow than before. This is how it was. This is how it is now. Very, very subtle change, which is now affecting only the layer one. And because it has a mask, it is affecting only the reddish on the layer one. Now it's time to tell you about a little improvement that happened along the way during the creation of this course. Our contextual menu bar has been improved. When you click on the regular pixel layer like layer one, for example, you have the button that says adjust colors in your contextual menu bar. So you can click on that button. And you have prominent colors of your picture listed here, so you can choose which colors you want to change. You don't need to select the reddish anymore if you want to change all the reds in your layer one. I can just click on Red and little window appears with sliders for hue, saturation and lightness. And you have your new adjustment layer in your layer panel, but it has an empty mask. Unlike my previous adjustment layer, this mask is empty, but it will not affect anything but the reds in my picture. So when I turn this slider left, my reds are becoming blue. And I have this color picker that can choose color from my picture, also, and I also have this one with a plus. So I can add some more colors that I want to change. And here I can see the range of colors that I'm affecting. So I can move these sliders and affect even violets or blues, et cetera, et cetera. So my reddish can turn blue, for example, if I want to without any selection or mask. That's the easy way to do this. But if you have red somewhere else in this picture, it will also affect that red part, and then you need to select what you wish to change. Okay. I don't need this layer. This was just for you to see how it is working now, and I will throw it away again. Now I will change the color of my face. So I'm just going to turn on the visibility of a picture two, and I'm going to click on the picture two layer, and then I'm going to choose Hue saturation again, and I'm going to clip it on the picture two. So it can affect just the picture, too. Okay, now you have a lot of different colors on this space. So what we can do to change it all to red, we can click on the colorized Jack box. Here, you have to pull up the saturation. Again, it's desaturated now by default. Okay, when you pull it up again, it's reddish now, everything on the face is red, kind of red. Now you have to find right tone, something like that. But also, we have to set the lightness to lower it down a bit, and now it's more like it. Let me zoom it in. But it seems like it doesn't have any blacks and whites on it. So I will also choose levels. And clip it on the icture two, and I will just add some black because it seems like I don't have any black in the picture, but I will also darken those mid range tones a bit and maybe highlights on this lower scale. I will just bring them down a bit. Okay? It's more like it. I will change it more later. Don't like my eyes are red. I would like just the skin to be red as the reddish. So I will click on the mask dumbnil of a hue saturation adjustment, and I will take my brush, my black brush, and I will just mask this area where my eyes are. Now hue saturation doesn't affect this area that I'm asking. I'm masking just the eyes. I have to be more precise in some areas, and I can always use the white brush if I masked something by mistake. Now, my eyes are white and everything has more contrast. We have black hair, we have white hair. Now I can correct it if I want a little bit more. I can go back to levels and check out the huge situation again. Okay. And I would also like to work on this face because it's a bit small and not very well placed. So I would like to enlarge it a bit, and I would go to Control but I need to select all three layers now. Otherwise, it will just enlarge my face and this mask is going to stay small, so it's not going to mask my eyes anymore. So select all three layers and then hit Control And then you can proportionally enlarge face a bit, just a bit. Something like this, maybe. Maybe a bit to the left. Something like this. Okay. And I would also like to work a bit more on the mask of the picture too, because we have masked it before we change the color. Now we can maybe change our mind about the mask. So I'll click on the mask thumbnail and I will use the brush, black and white to mask again what I need masked and to unmask what I need to reveal. Okay. So black is hiding and white is revealing. You're Michael Muscat. You're Michael Methusga. You're Michael you worry about one, You're Michael Euse. Okay. You can always change your mind about any settings, maybe a little less saturation. I can also add levels to my redish. And you can copy the mask if you like, hold the old key on your keyboard and copy the mask you already have to another adjustment layer. It is asking if I want to replace the mask, I'll say yes. I have seen mask of reddish on my levels layer now, and I can correct the tonality of redish if I want. Okay. That's it for now. We can always work on it more later. Okay, it's time to look at the results and also take a look at our Layers panel. It's so complicated now, and this is what you have done until now. You have learned all of these operations and adjustments, everything. So these were the light and color corrections that helped us blend everything nicely together. We have our composite now. Let me just switch off the picture of a product, switch off the visibility of this layer, and I will turn on the visibility of generate fill. I forgot that, okay? So this is our composite picture. It looks nice, but I must say I'm not completely satisfied at this point, and it's okay because everything is editable. I can change whatever I need in any point. And this is actually the point for some fine touch work, which will make a difference between good and great work and which will help you achieve that realistic look you were searching for. You just need to be patient and do some subtle changes on your adjustment layers. And maybe some more retouching and everything you have learned until now. So it's also good opportunity to practice. But my result cannot be exactly the same as yours. We are not going to correct exactly the same things, but I will tell you what I'm going to correct, and then I will speed everything up, and then you will look very carefully at your work and you will decide what you are going to correct. I'm looking at my work and I see dish is a bit dark. I will maybe add some light on the face. And my stems are still pretty different in color. Leaves are okay, but stems are not, so I'm going to correct that. And also, I will maybe retouch this part of the reddish because it's still very rough and I don't like it in combination with my face. Okay, so reconsider doing those things on your work or something else you don't like. So first of all, I will work on this retouch of reddish, and the easiest way is to switch off all other layers. A click on the visibility will switch off the visibility of all other layers, and you can always out click on it again to bring those back. It's useful shortcut, so I switched off for everything else, and I will do some retouch of radish. You're fusa You're fusas. And always check out how it looks with other layers. Okay, it's much neater now, but it's still much lighter. So I'm thinking I will change this levels adjustment that affected all reddish. I will use it to affect only this part of the reddish and mask everything else. I will speed everything up. So here I am clicking on the mask of levels layer, and I'm masking the upper parts of the picture, so they won't be affected with levels anymore. And then I'm setting up the levels here. I'm darkening the lower part of the image. And here is my mask. And then I'm masking some more, but I'm realizing I need a selection. So I don't affect the background, which is on the same layer. And I'm selecting with a quick selection and finishing up the mask and levels setting. So this is the result. Okay. This was really difficult, but I used some selection and some masking of levels layer to make it work only on this part of a dish, which was pretty much lighter. And now it's similar to the rest of the image. So that's one change. And I will also make my face maybe a bit brighter. I can change levels. To make face a little bit more bright. And now I will even down the color of the stems, so I need to click on the layer. This is, yes. This is the photo filter that affects only the stems of my reddish. Okay, so I can correct it, maybe make it a little bit more cold. Choose some color green color that is similar to the other stems. It should be green but bluish green maybe. Something like that. And let me check the density. Now, they look similar in this part and the leaves look similar, so it's maybe fine like this before and after. Okay. You can always check the history panel and see what it looked before and after those changes. So those subtle changes make a big difference. Just be patient and work on every little thing you notice. You're Michael fuse hands. You're Michael Mfushans. 13. Text: Now we need to put in some text, and as you can imagine, it's not easy because there's a whole field or discipline dedicated only to text arrangement and appearance on the page called typography, and we cannot possibly cover it in this course. Even the choosing and pairing fonts is a great skill, and it takes a lot of knowledge and experience to feel comfortable in this area. So until then, try to keep it very, very simple. And that's what we are going to do here. We're going to choose only one font and to write only a few words, but you're still going to learn a lot. You are going to learn type tool and two methods of text input and how to set up parameters in option bar character and paragraph panel. And we are going to add a layer style to type layer and set up everything we need enough to finish this advert and just enough to make you think about it in the future. So here is my type tool. Click on it, but don't start typing until you check out the option bar. You need to choose the typeface. It's a rile now, and it's whole family. That means you have different styles to choose from. It's regular now, but you always have italic bold and maybe some other styles of this font family you can choose from. And when you choose specific size, then you have font. So a rile is not a font. It's a whole family of fonts with the same design characteristics, but different styles and sizes. So when you say you're choosing font, you're actually choosing all three parameters in the option bar. And you also have some options for alignment, but only three of these are in the option bar. We will check out some more in the paragraph panel later, and you can choose the color here in the color picker. Okay. And there is an option for text warping. You can warp text, but I don't recommend it, as I already mentioned, unless you have some real reason for it. Don't distort text. You also have these options in your contextual menu and you have it on your properties panel, but not until you type something in and don't do it yet, because I still need to tell you about two methods of input. One of them actually is to just click and type. We will use it later. But I need to tell you about the other method. When you have the whole paragraph of text, you will not just click and type. In that case, when you have a lot of text, you need to use the marking method to drag and draw a bounding box of your text. Okay, you can change it later, of course, but when you drag it, it is automatically filled with Lorimepsum text. Lam Ipsum is used in the graphic and printing industry since the early 16th century. It's related to Latin text from first century BC by Cicero, and it is just the replacement text that you can use until you get the original text. And if you use this paragraph input of text, then you will have some more options of alignment. You have those justify alignments. And this first one with the last row aligned left is the one that you will often use along with this first one left alignment, because in this part of the world, we read from left to right. So this and this alignment will be mostly used. So you don't have these options in your option bar. You only have it in your properties panel, and you can also open the paragraph panel from the window dropdown menu. Paragraph, and you have those here, and you also have your options to indent left margin, first draw, right margin, et cetera, but only if you use the paragraph method of input. We don't have this much text, but I need it to show you this. So I will just click on Cancel or escape button on your keyboard. To cancel this operation, and then I will use another method that's point and type. You will just click on your page, and only two words are here, Lauren Ipsum. This method is meant to be used if you have only few words. So for titles, short messages, et cetera. We will use this method for our text. It is still selected, so we can choose the typeface size, et cetera, but you can always change your mind afterwards. It remains editable. You can change it anytime you like. So let's choose the typeface. And I'm going to choose Calibri. The reason why I'm using Calibri because I've noticed the name of a product is written in that font. It's easy to recognize it because it was the official Microsoft typeface for years. And it has those distinguished roundings and corners and stems. So it will go well with a picture of my product. And it also looks very soft and friendly and playful, and it's adequate for this purpose, I think. And I also like it is not too complicated. It is simple, and it will not drag attention from my picture. My picture is supposed to be seen first, and text will follow it and complete it. I will finish the thought. It will make a little joke about the picture. So picture first, then text to complete it, and then our product as a solution in the end. So we have clear visual hierarchy and trying to maintain that because it's very important to lead the eye of a viewer step by step. It's wrong to have everything on the picture equally important and equally complicated because it is well, frustrating and confusing for the viewer. You don't want to have your viewer frustrated and confused. If you don't like Calibri, choose any other fonts from Adobe fonts from any other site. Just click Download and you have it right away in Photoshop for use. Okay, it's Calibri, but it's a light style. I want at least regular and maybe bold for my keyword. So regular for now, you can change this at option bar, also. I can choose 60 points for now. Okay. And black color is okay for now. We can change it later. And you have this leading. It's distance between lines in your paragraph. We don't have paragraph, and this is tracking. It's distance between every letter in your word. You can make it smaller or bigger. And for now, let's be sure it's in the middle zero. Okay. And all those buttons should be switched off. You have all of these options also in the character panel. And if you don't have it open, if you like to use it, you can use it from the Window dropdown menu character, and it's always in the group with paragraph panel, you should see all of those settings here also. Let me move this. And always be sure to reset all those settings. So you don't use something that you don't want that remained from another user maybe. So switch off all the buttons, zero, automatic 100% for height and width to be sure not to distort your topography, so everything should be like this for now. And now we are going to type. I will type every word in different layer because I want to move them around easily, and I want to add a layer style to just one word. So my sentence will be reddish face, question mark. So my first word is A, A. I can move it around, but I can move it later also. And then I will type second word reddish. And the third word face. Okay, we have all three words now. We can rearrange them anyway we like. We can change the parameters. And now, first of all, I will move all those layers on the top of my layer panel above everything else. And I will move a reddish face, and I will just choose the reddish word now. It's my keyword. I will make it a bit bigger, bit bolder and different in color, maybe, so it pops out a bit. I will choose bold for that word and maybe I can make it a bit bigger. Ben other words. And now I will show you how to put a layer style on a layer. You can add a layer style on any layer, but we are going to add it to type layer now, and you can do interesting things with layer styles. You have a whole panel dedicated to layer styles, but you also have this little button says affix here, and it's like a shortcut, two different effects that you can add to your layer, and you can combine them and make layer style for yourself. Okay, I want to add, for example, inner glow that can be a bit red. So those letters can glow from inside, but those letters are black for now. I can make them white, but I also want to show you something else. I can make them transparent. If you sometimes need to have sent letters with stroke, for example, don't use opacity because opacity will make both letters and stroke transparent. Use fill slider. I will move this fill slider to the left all the way to 0% and my word disappeared. But if I add stroke, it will be visible. It's a bit strange. It's gradient, let's choose some solid color stroke and smaller size. Okay, something like this, so you can see it. Just to show you my word is transparent, but my style is not. So the fill is affecting only the word, not the style, and opacity is affecting the content and layer style also. Okay, I don't want stroke. I want, for example, inner glow. So I will switch off the stroke. And I will click on the interglow and there I have options for Inerglow now. So I will set the color, not black, but some red color from my picture. You have joke and size here. So you can move size a bit to right. You can see how my letters are reddish now, really, maybe a bit more, okay. So I'm satisfied for now. And for my other words, A and face, I selected them using Control, my keyboard. I can choose the color. A can be black, but maybe I can make it a bit more gray and warm, something like this, maybe. And then I can move those words around anyway I like. Well, if this save stands with radish, it should be the same size. So Radish is 72 points, A should be 72 points also. Okay. If I want, I can use free transform to resize my text proportionally. Okay? And word face. The pink lines are smart guys that can help you align things, center, left side, right side, and they disappear afterwards. And try different combinations until you're satisfied with the result. I would like to make this A, squeeze down the ED so I can have radish instead of radish, but I will leave that for some animation, maybe. Okay. So something like this, maybe. Just switch on the visibility of a product so we can see how it looks together. We just need to put in one more element. I will open my materials, and I have this logo here. I can drag it in my work and I can place it somewhere in the bottom of the page where I have free space. Well, I'm thinking maybe something like this, or you can put this logo in the left side to balance this text on the right, or you can put it right in the middle Be careful to leave space for every element. So your elements don't poke each other like this A is poking now my dish, et cetera. So leave space for every element, but rearrange them until you find the balance. Okay, be sure to make a little break to move away from the computer, to flip it horizontally, to look at it black and white, et cetera, et cetera, until you're sure you have a good composition. So this is something like we have planned. I was going from this side, looking at this first, then reading a message to confirm that and finishes here on the product picture and logo exiting here. What we have here, we have one visually heavy element. It's dark. It's rich in color. It's full of content, and it's very heavy. It's like weight here. And you can oppose few smaller and lighter elements to one big element. You don't have to have perfect symmetry for balance. I'm thinking the word face is maybe too small, maybe it should be as big as the word reddish. The contrasting color is enough. We could also make the background and reddish bit bigger if you like. But then you should select all layers related to it, everything below the product. Be sure that all important elements are in the safe zone, not touching the edge anywhere. It's okay to cut the leaves because we have enough leaves here and it's not the main element. So leave the margins so we can rest our eyes and hold a page of magazine and still see everything that is important. It's okay for now. Everything is editable, and guess what? We have our advert. It's complete. 14. Save PDF for Printing: Okay. We are certainly going to save our working file for any further editing, but we need to set up and save one version just for printing. What do we need for printing? Well, we certainly need our 300 DPI, and we have that and CMYK and adequate color mode. We also have that. What else the printing shop usually asks for? Well, they usually need some bleed. Don't worry, you don't have to bleed for them. That's just an expression. They just need a few more millimeters extra. For cutting your work from a bigger sheet, they're pramping it on. So they're asking for a bleed of two to 3 millimeters. So you are going to add two or 3 millimeters from each side so they can cut it and avoid any imperfections during the cutting and gaps between the cutting line and the edge of your document. And how you should do that. You could do that at the very beginning of your work, but we can do that now also because our work, as you can see, is already bigger than the size of our paper. And how we are going to do that. First of all, I'm going to add some guidelines to the edges of my current document so you can see the difference later. And I'm going to do that by simply dragging the guideline out of ruler. I'm clicking and dragging the guideline to the edge of my document. I'm just holding the mouse key until I drag it to the very edge of my document, and it will snap it to the edges. So I'm dragging all four guidelines from my rulers to the edge of my document. Those guidelines will not be visible in any print. You can also use them in your work for aligning. We could use them to align our text with our product or something like that, and they won't be visible in the end. Okay, now I'm going to use the Canvas size option. I'm not going to use the image size. I'm not going to enlarge the contents of my document. I'm just going to enlarge my document. So I'm going to image dropdown menu and Canvas size, which is just below the image size here. And there I have options to enlarge my document and to shrink it down if I want. So if I add 3 millimeters left and 3 millimeters right, it's 6 millimeters total in width and also 6 millimeters in height. So I can set this up to millimeters if you want. And instead of 209 plus six, it will be 250 in total. And instead of 297, it will be 303. Three up, three down, three left, and three right. So now it looks like this. So these guidelines are the previous size of our documents, and those are actually the trim lines. Our work is going to be trimmed here. My background should go over the trim line all the way to the new edge of my document. It should be from edge to edge over the trim line. Okay? And after the trimming, it will be trimmed to a previous size. So be very careful not to put any important elements near the edges of your document. If you don't want them to be cut out or to be near the line of cuts, and it's okay to cut out the part of the background and these leaves. They're not very important, but my text, my product, and my composite are all inside the safe margins of my document. So I have everything they asked for. So you should call the printing shop and ask them for color profile, for bleed, and for format. You should send them your work in. And if that is PDF, as usually is, you can ask them which preset do they prefer? Okay, I will show you now how to save it in the adequate format. Should go to File, Save As option like you're saving the new file. You can just choose the place where you are going to save it. And instead of PSD, you can also choose between those formats which are all very good for printing. As we already said, TF is great for printing. You can just choose the useless compression or without compression. And you can also choose the PDF, which is very common for printing. And you can leave this profile embedded in this file and click Save. And Photoshop will warn you that you can overwrite your Photoshop settings with new settings, and you have to be very careful about that. You will say, Okay, but you will pay attention to some settings in this dialogue box. First of all, we have to choose the right preset, and high quality print is okay for some digital printing, but this work is going to be printed in magazine, and it's probably going to be the offset technique. And for that, I would choose the press quality. Or some printing shops are asking for specific preset. For example, they might be asking for this PDF 2001 preset, so you can choose that. But I'm going to choose the press quality because my work is going to press. And then I have to check out those options. In general, options, I will switch off the preserved Photoshop editing capabilities because printing shop is not going to edit my document, and this option would dramatically increase the size of my file. So I will just switch that off. I should also switch off the optimized for fast web preview because I'm not sending this as a web preview. I'm just sending this to print. So everything is switched off here and I'm going to compression. Can enter the 300 here. So all images above 300 should be down sampled to 300 pixels per inch, which is what we need for printing. And you can choose your compression here, non on JPEG, and then you are going to check out the output. Okay, this is very important. You should not let it convert your profile to any other. It would convert it to US web coded, and we don't need that. We already have set our color profile to code it for graph 39, and this is just in case you haven't done it yet. You can do it here, but we don't need it, so we are just choosing no conversion. Here and we can choose to include destination profile. You also have some security options here, and you have some summary where it will sum it up for you, everything you have set until now, and you can save your PDF for printing. That's it. Now, in your materials, you have your PSD file you can work on and you have your PDF file you can send right away to your printing shop. 15. Outro: Y. Well done, if you have completed decided, I must say, great job. Though I classify this course as beginners because you could really start it from scratch and without any previous knowledge, the result is not beginners result at all. You have learned so much, or maybe you have just polished your skills. Either way, I must advise you to keep on doing this because if you don't, you will forget it. And also because it can be so much fun. You can make your own new original fantastic sceneries and magnificent creatures and also practice skills that are applicable in every field of design. Really hope we'll meet again, maybe in some advanced course next time. Bye. Cass You're mic enthusiast.