Photoshop Composite Masterclass: Flower Face

1. Introduction: Who gets scared when they hear the word Photoshop? I know quite a few people actually and rightfully so, because photoshop can seem quite daunting to those who have never used it before. But also for more well-versed designers and photographers might feel overwhelmed at the bus amount of features that are available. But the beauty of Photoshop as i, you can create anything that you can possibly think of. If you can think you can make it. Today, I'm going to be showing you how to create a really simple yet elegant Photoshop composite that you can apply to any portrait. Welcome to Photoshop composite masterclass, flower face. My name is Tom Chi and I've been a photographer and graphic designer for almost 12 years now. I'm from the United States and I travel around shooting photos and design for various clients and companies. But I specialize in fashion lifestyle and commercial photography and design. It's honestly the best job because I'm able to be creative every single date. You'll see a few examples of my work going on the screen now. But if you want to see more, you can check out my website at www dot the real-time chi.com or look me up on Instagram at the real time kind maybe even leave a follow two. I am really excited to bring you this course today because I know just how important having multiple skills is in the design and creative world. Think of this course as another tool in your tool belt that you can use to fix creative problems. The skills learned in this course can literally land you clients or get you that job that you want. Odd because it can set you apart from the competition. I can tell you from experience that I've landed big advertising and marketing campaigns just because I was one of the few designers who were well-versed enough in Photoshop compositing that it put me ahead of the crowd. In the creative fields, Time is money and my time is very valuable. But more importantly, I value your time. I remember way back over a decade ago when I was a clipping myself with all the different skills and knowledge. But at the time, there weren't good enough resources to learn from. So that's why I've made it so that this course can fully equip you and give you all the skills that you need to get started with and to keep creating stunning Photoshop composites, discourses to anyone who wants to add one of the most relevant and highly sought after Photoshop skills to their toolbelt. Whether you create just for fun as a hobby or you want to make money doing this type of creative work. This course is for you. Okay, I think that this introduction has gone on for long enough. Now, let's dive in and get started because this course is going to be very information dense and informative. So I hope that you decide to enroll in this course. And if you do, I'll be seeing you in the very next video. 2. Where To Find Images & Brushes: All right, since you're here, it means that you've decided to enroll in this course, which is a really awesome. But before we get started, we actually need to get our resources. We need our images, we needed our brushes. Where are we going to find these? While let's jump into my web browser and i'm going to show you exactly where you can get completely free to use images and brushes. And here we are in my web browser. And the very first site that I'm going to show you here is a brush easy. This is my favorite website to get free brushes that you can use in all kinds of different composites. You have different splatter brushes, but what we'll be using today will be some vine brushes. I will include everything for you to download, but this is a great resource for you to get even more brushes. So let's go to Browse category. They have a lot of really cool categories. I highly recommend if you have some time, just look through this. They've really cool and save different textures. You can add a grudge texture of wall texture, really, really cool stuff. But let's go over here to flowers. And we'll see they have a lot of really interesting russian via some IV brushes from flour brushes, butterfly. So you can really use these very effectively in your composites. Now, we have our brushes, right? But we actually need images to work with. We need photos. Where are we going to get completely free to use photos? Won't let me show you a few websites that I personally really like. First, we have pixels, pixels as fantastic. They had so many high-quality images. Any videos that you can use for your composites, anything you want, you can just search it and they will probably have it. So let's just go in here. Let's search for car through and to have a car in one of our composite. It can be something like this. Just cut it out very nicely and you are good to go. It is fantastic. It's such high-quality. They really cater their photos to be top notch quality, which is why I really like it. Now another one site which is fantastic for free images is Pixabay. Pixabay, it's really cool because they have almost 2 million photos. How crazy is that? Anything you want you will find here. And I really mean anything. For example, if I want to look for some kind of a monster, let's say I have a Halloween themed composite that I want to make. I can type a monster and they will have different scary monster themed images of vectors, illustrations. And you might find something that could be really usable in your composite. For example, they've 3D type of images here which you can use. So you can get some really unique images from Pixabay. Now, I'm going to show you my favorite website for getting images right now. Now my favorite website to use by far for free images is on Splash.com. Personally, I found them to be the most reliable for quality. Amongst all the photos, you can scroll down and find anything that you need. A, for example, let's go ahead again and let's just search. Let's just search car. And again, you have very good images or even easily cut out in using any kind of composite, which makes us a fantastic resource. Because a really source from high-quality photographers and not only that on splashes, all these categories along the top here. Now personally, a lot of what I do has to do with fashion. So I spend a lot of time here and the fashion tab, looking for ideas, looking at what other photographers are shooting and getting good image sources. You can look through all of these at your own leisure. You can find some really, really cool things. You can even find branded content that you can use and it's completely free to use, for example, Phelan to use a shoe. There we go. We have Nike shoe floating in the air. We have Puma with all kinds of shoes that you can use if you wanna create some branded content to fill out your portfolio. This is a fantastic resource cuz you can type in any brand that you want. I can go here, just type in Nike and you'll come up with all the different shoes and branded content for that particular brand. Now, what images are we going to be using today? Well, let me show you. But before I do, make sure you download everything because we'll be using everything today. Okay. So let me go ahead and let me show you what we're using today. For the first composite will be using this image of this woman model. Very well lit in a studio. We can see very soft lighting. I really like how this image looks. And now one other thing, when you download your images from unspliced, instead of clicking the download button here, make sure you click this drop down because there are different sizes that you can choose from. And I recommend that you always download the original size. That's going to be the largest file size and give you the most quality and information to work with. Alright, so now that, that's sorted, knowing also using this image here of some pink roses and a wicker basket. But we'll cut out the roses from this later on. And I'm going to have this coming out of her face is going to be really cool. I'm really excited to show you. But we're not only going to do one composite, we're gonna do two composite set. It's going to be fantastic. The second one that we're going to do is going to involve this man looking dramatically out over a balcony here. And this is a side profile. So I want to show you a few different ways that you can do this. So we're going to have a side profile here. And we're gonna be using some of these Vine images that we have here, going to be using this as well as some brushes that I've also included in the download. Now one thing that you want to be mindful of whenever you think of images for your composite is the direction of the light and the angles at which the various objects are in. So what does that all mean? Well, let me show you. So for example, for this composite, we have this one. She's looking fairly straight on. So if we go over here to pictures of roses, we're not going to want to have an image like this because this is too far on the side, is gonna look very awkward having this image coming out of her face. It's not going to be at the right angle shown to keep mindful of that. And that is why we chose this, because this is a very good angled image to have coming out of her face. So we have that sorted. Let's keep going. In the next video, I'm going to set up Photoshop with you, import all the brushes that we'll be using, get our photos imported and setup the workspace to be in the most efficient way possible for compositing. So with that said, let's keep going and let's continue on to the setup. 3. Let's Setup Photoshop: All right, we finally loaded up Photoshop. Now mind you, this is the newest version of the Creative Cloud version of Photoshop 2021. So if you're not already updated and make sure you go into your creative cloud app and make sure you are updated to the newest version. But let's get started, shall we saw before we even create a new document, we have to think of where we are going to be using this. This is going to be for Instagram, is this for your website, your personal portfolio? Because if you're using this for Instagram, for example, there are certain ratios that look best and work best depending on what platform you're going to be posting to. So in the example of Instagram, the best ratio is a four by five ratio. So for width five height ratio, that could be any amount of pixels that you want as long as it's that ratio. So keep that in mind. Let's go ahead, let's click Create New. And I'm going to set up the document for our first composite. So I want this to be a nine by 16 ratio. That's the ratio that I want. Certainly have a custom one main here, but for now let's set it up in inches. Okay, so the width, I want it to be 16 inches. And I like working with large canvases, gives you a lot more freedom and more flexibility and you see a lot more detail. And the height, let's go nine. So we have our nine by 16 ratio, or keeping that in inches resolution, we're gonna keep that at 300 pixels per inch. We want all the nice detail in there. And I'm just gonna go ahead and click Create. And I give that a second. And there we go. We now have our canvas. Now your photoshop interface might look different from mine. You might not see brushes here on the left. So how are we going to get that? So let's go ahead and do that and, and explain why this is so handy in just a second. So for now, let's go ahead and let's reset essentials. I work in the Essentials workspace. So make sure you're working in that two for this course. So I've reset it. This is what it will probably look like if you're loading it up for the first time or if you've never changed anything about your Photoshop. Now right off the bat, you'll see some things here on the right. Properties are usually drag the properties over into this tab. So you see whenever you see that blue line, that's gonna show where it's going to attach. So here we can attach it to this left sidebar here, to the right bar here. But I want it to be right below there. So if I have to adjust any properties of anything, I can just click that and adjust it right there. Now for this section here, I prefer to have it show the adjustment over the libraries. In fact access any of the colors that are in my library, I just simply go over and select them. So for now let's get adjustments because you're going to use far more adjustments then you will colors from your libraries. Now when it comes to the color here, you might not have this color wheel. You can simply click this button here in the top right. And you'll see a few different options. You have a hue cube, brightness cube, color wheel, RGB sliders. So there are few different ways in which you can select colors here. My personal preference is the color wheel, because I can choose the Hue. I can choose the saturation, and I can also choose the black level. So no matter what collide thick, this b here is going to add black and drag that color toward elec. The opposite does not drag it toward white. So be careful this is not brightness per se. This is a black level of that particular color. So you can get very specific colors. And whenever you have this triangle here, that's a color that is not going to print well. So you can go ahead and find one similar to that that will print. So if this is footprint, that's something you will want to keep mindful of. Because these are an RGB. Alright, and now let's focus on the left side here. So why would I want to have my brushes here? So for example, let's say I'm in the middle of doing a composite and I'm using my brush so you can just hit B on your keyboard to get the shortcut for that. But for example, let's say I have a soft brush right now and I'm doing some kind of a shading or for some reason I now need a different brush wall. That means I have to click this after scroll down to find the brush I want. Let's say it's in the dry media pressure. Let say I want this, this particular brush here. I go ahead and change the size. There we go and I can continue. That can be very time consuming, especially if you are using 45 even ten different brushes. So how do we fix this? Let me delete this layer that I just made. You can just click Delete on that layer. What I'm gonna do is I'm gonna go to window and I'm going to click on rushes. Now we see it's not unlimited, but something has popped up here on the right. It looks similar to what we had, right? Oh, you're going to just drag this whole bar here. You're gonna see it detaches. And we're gonna pull it until we see that the blue line here on the left and is now anchored to the left. And look, we now have all the brushes here. So now if I'm in the middle of painting, let's say again, I have this nice soft brush here. I'm doing some shading on whatever I'm doing here. Oh, I need another brush. Okay, quickly I can just click, click. And I keep working. It's far quicker and you will save minutes doing this. And in the long run over many projects, this can see the hours. I'm fairly confident that just having my brushes here on the left has saved many hours over the years. And like I said, Time is money. So let's go ahead and delete that. And we essentially have our canvas and our whole Photoshop setup, but we're not done just yet. We need to import some of the brushes that we got to make sure you download the brushes that I've included for this course because we're going to be accessing knows. So how do we go ahead and install brushes? Won't have very simple. So in order to import your brushes to Photoshop, it is very, very simple. You're going to click this little icon up here. And you're gonna go down to import brushes. And you want to know, you're going to want to navigate to where you have your brushes that you've downloaded. You want to make sure that you extract the zip file. So you have them like so. Now I've already imported IV brush1. I'm going to import IV brush too, but it's exact same method. You click on the brush that you want to import. It's an ABR file. And you're gonna click Login, is it? And it's right here. So we now have our IV brushes here. We can go ahead and paint weather them however we would like. So it is very simple and I'm going to include the IV brushes and any other brushes that will be used because I will use one or two others. So now that we haven't that setup, let's go ahead and get our images in here. How exactly are we going to get our images onto our canvas? Well, it's very simple and it's gonna go to File, Place Embedded. And you're going to want to make sure that you navigate to where you have your downloaded images. So for this first one, we're going to use a model by on splash and roses by Virgina Tom. So let's go ahead and let's get our modal image first. Let's just place that in. Let's give it a second and just hit Enter for now. And let's do that again, File Place Embedded. Now, let's get our roses and here. Lovely. Now why do we place as embedded? Well, when we place an image onto our canvas, it turns it into a Smart Object. Now what does that mean? Well, let me show you. So smart object. You're gonna know that by this little icon here in the bottom right of the thumbnail of that layer. But what does that mean? So let's let, let's make a duplicate of this layer. And for now, let's just rasterize us layer, which means we're making it not a smart object anymore. And let's go ahead on this layer. Let's blurred, let's say for whatever reason you want to apply a blurred to it. So let's go to Filter blur and Gaussian Blur. And let's say I want it to be very blurry, just for example sake. Okay, so let's turn that layer off. Now on this smart object layer, let's do the same thing. Filter Blur, Gaussian Blur. Again, the exact same thing. Let's hit OK. Now did you see the difference here in this layer that has been rasterized and that is not a smart object, does not have the smart filter applied. It applies it permanently to the image so I can't fix it. I can't adjusted, I can't undo it within reason. Not that flexible. For example, if I have this image, because I have the smart filter, I can just double-click on the Gaussian Blur and adjusted after the fact. You can not do that if you have a non smart object, if you have a rasterized image. So that is why we always use smart object, because it allows us to do this kind of stuff and also preserves pixel density on our images. So for example, if I have my rasterized image and I resize it multiple times, it's gonna get more and more pixelated. However, with a Smart Object, a keyset detail all the time, all the way through beginning to end, secondary size it as much as I want and it's never ever going to degrade or lose quality. So always, always edit with a smart object and edit in a non-destructive way. That's exactly how we will be editing today. So let me get back to my original photo here. He's gonna do Control Command Z until I have just my smart object layer. There we go. So now we have our model and we have the roles or getting ready now to get started with our very first composite. And that is exactly what we'll be doing in the very next video. So let's keep going. If you haven't set up your Photoshop like I have, make sure you pause it. Do everything like I said. And let's keep going to our first composite. 4. Composite 1: All right, we're finally ready to get started with our very first composite. I'm really excited for this, so let's get started and let's focus on our model layer first. So if you didn't follow along with the previous video, make sure that you do and setup your photoshopped v exactly like mine. So let's get started. I want to resize her first of all, to fit the full width of this image. So just control commodity on her layer. And let's just drag these sites out. And then we can bring that to a nice level, something like this. Let's just set enter. Very nice. Now I am using a drawing tablet. You don't need one, but if you have one, it will make certain parts of this composite a little bit easier for you. You can definitely do this without a drawing tablet. In fact, I've done composites with a laptop trackpad. So you can really do this in any way. It's completely fine. Now, first thing that I want to do is cut her face off completely. And I wanna make this a hollowed-out face here. Now there are a few ways you can do this. You can choose your Lasso Tool and then just try and get a nice edge around here. But as you can probably see, it's not the best, it's a little bit shaky. I'm able to get the best possible line and it's not going to look that good. And for being completely honest here, as you see, that's not the best. So let's just do Control Command D. And the shortcut for lasso is L, by the way, oh, we're not going to use the lesson. In fact, we're going to use one of my favorite tools, and that is the Pen tool. Now let's just hit P on our keyboard and let's zoom in and I'm gonna show you a few quick pointers about our little friend here, the Pen tool. So you can click different points if you want. And it's going to create a path for you. That is one way you can use a pencil, but you can also click and hold. And you're gonna see these two little nodes come out from either side. And you're not gonna see much different from the very first that you put down. But once I put another point down and I start dragging is going to create a curve. You see that it's creating a nice curve. And I can drag that all the way around and do any kind of shape that I want. But what if I want to go back and edit any of these nodes here? Well, if I hold down Control or Command and click on one of these nodes, I can then go ahead and adjust them after the fact. But what if I only want to adjust 1.5 of this? So for example, for this node here, I only want to adjust this a left side here. If I hold down Control or Command, I'm adjusting both sides again, that's not what I want. So you see the cursor, there is an outline of the main cursor. It's right in the middle. Now if I also hold down Alt or option, you see that turns black. And now if I click on that node, it's going to adjust that one node independently. So this can allow you to get really fine tuned and really nice lines and curves in your image. All right, so now that we've covered the basics of this, we can get into creating the shape for the phase. But one more thing, you can also adjust the location of these nodes. So for example, let's say I want this not to be somewhere else. I can hold down control or command on my keyboard and click that one node and drag it around. So if I want to move this a little bit more over here, and you can do that as well. So that is the basic setup for the pendulum. So let's go ahead and create our outline for our model space. I don't want that to be a little bit of an outline left of the outside of the face. So we want to keep that in mind as well. And I also want to keep in mind the whole three-dimensionality of the face. So for starting on the cheekbone here, we're going to want to end on the cheekbone here, not all the way in by her hair line. Okay. So let's just get started and you'll see what I'm talking about. Such start over here. And with a pen to you really wanna take your time and make sure that you're doing this as best as possible. Now, there are some eyelashes that are peeking over here. We can take care of that later on and is completely fine. It's not an issue. Let's go ahead and pull this down here. And if you ever want to undo one of these points to say Control or Command Z on your keyboard. And you will be good to go. So now I misplace this iOS, it's a little higher than I would have liked. So I'm just going to hold down Control or Command and drag that down a little bit like some. Okay, and now we're going to keep going. And I'm going to start curving up at this point. And as you see on Nakamoto into her hair light here because I'm trying to mirror this left side. It's only going to go to this point of her head. So that is what I'm hoping to go. And again, you can always adjust these points at any point during this. And if you ever wanted to pan around, your image will assume dangerous hoedown space. You'll see this hand pop-up and then you can click and drag around like so. Alright, let's finish up her forehead here. Lovely. Now might actually bring this point down just a little bit so that it can meet up. And a nicer way. There we go. So now we have a nice path made of the face of our model. Hackles up. So how do we turn this into a selection very simple control or command and enter a going now, have marching ants going around that area. Now alternatively, you can also go here into paths, and you'll see the word path that you may. You can right-click that and make a selection. And you can choose if you want to feathered or not. I haven't for a 0 pixel feather right now. And it's going to do the exact same thing for you. So now on our Layers panel here, what we want to do is we want to mask out this inner section. So what we're going to do here, let's zoom out a little bit. We're going take Control or Command Shift I, that's going to invert our selection. And now you see everything else is selected. But per face, what we're gonna do is we're going to click this mask tool and boom, her face is now gone, is less about her face. We can see that here on the layer mask, the black area is the area that's been painted away. Okay. So now we have this set up. So just so that we can see a little bit of how we're working here. I'm going to actually add black to the layer below it. So let's just make a new layer. You get this plus icon. And I'll just drag that to the layer beneath our model. And now I'm going to hit GO my keyboard for the Paint Bucket tool. For any challenge, your G defaults to this gradient tool. You can just click the three lines down here and select the paint bucket tool. So I have both of these on G. And now if I want to quickly default to black as my main color, you just hit D on your keyboard, you see the color over here changes. And we now have black. Never go. So already one step closer. Now, I like to stay away from pure blacks in my images, some numbering, a nice grey. And in fact I'm going to have the gray instead. Okay? So next thing that I want to do is actually I want to get rid of her eyebrow and this eyelash. I want to clean up my model layer a little bit. So how are we going to do that very simply, has called her model layer. Let's make a new layer above her. And let's cool down Alter option and we're going to clip this down. Okay, so let's zoom in here. And all we're going to do is we're going to select s. And this is going to give us our clone stamp tool. And I'm going to make sure it's soft and at its full opacity. So whenever you click or hold down Alt Option on your keyboard, it's going to sample an area. So let's just click anywhere here. And now we see we have the area sampled is like a ghost image of that over our cursor here. Now you can also select it to be all layers if you want, but I haven't current and below. And we're going to do is we're going to sample a layer near her eye and just slowly bring that down until it blends enough. Lenzen nicely. And because of the mask, we'll never going to paint in here. So for example, if I have this and I paint in here, nothing is going to happen because that area is masked out. Okay. Don't worry about going over the line here, keeping mind her face over here. That's what's important for some children to sample a bit of her cheek there. Grab a little bit. That should get that nice, somewhat natural curve to the face if at all possible. And you can lower the opacity. It can help with the blending. Took a little bit nicer. So definitely take your time here. Because we want this part to actually look proper. Let me sample sum of thought part of her. Very nice. So I'm just going to fix her hair a little bit in some places. There we go. So we have that side sorted out. And now we also see here her finger is spin mosfet where we'll fix that as well in just a second. Let's fix her eyebrow on this side. Again, this is very simple. Just sample an area and it's gone. This side is actually a lot easier. I guess we don't have to worry about eyelashes coming out of nowhere and we're good to go. But now I do want to fix this area with her finger. So it's very simple. We're just going to come here to the mask layer. We're going to zoom in. And again, there's multiple ways that you can do this. The way I'm going to do this is I'm gonna get my brush. For now. I'm just gonna get a hard brush. Let's make it small enough so that we can see it. There we go. And now if I paint in white, so let's just switch these colors around. Can also hit X on your keyboard to switch between the two colors. Now I'm gonna paint away her finger and her nail. Okay, so we have that there. But now I just want to paint back everything but her finger and nil. So you can just use your brush if you're careful. You can just go like so. And this is a small enough area where this should be fine. And you can get a small brush and then gone to this nicely. Like though. I can also come in with your pen tool fallen to get this nice sharp edge here. I can just go like so. Hit Control Command Enter can get the brush out. Now we now have a sharp corner there. So we have the general hole for her face, but there's no real dimensionality to it, right? Wanted to be a little bit to her face. So we need to add a nice little rim going around and how on earth are we going to do them? Well, it's going to be very simple actually. So let's go ahead looking like a new layer above all this. And then let's go ahead and zoom in a little bit so we see what we're working with. And let's go ahead and get our pen tool. Very nice. Press on this layer that we have up here. Let's just get started. And you wanna keep in mind the angles and everything. And I want us to be a fairly narrow edge here. So I'm going to try and stay as tight as possible to my original outline that I've made here. And it doesn't have to be completely perfect. The irregularities will make it seem a little bit more natural and less is a fewer, forcing this to be completely perfect. Now I'm gonna go right through her nail and finger area again. Because as we saw before, it's very easily cut out to have this go in like so. And I'm actually going to loop back around here. And this part doesn't matter too much if you're being messy. And we'll see why in just a second. Let's zoom in here and make sure that this connects nicely. Let's talk connecting very nicely. So what we're going to do is pull this back for this one. Anchor down here. Go back to this one and now it connects in a nicer way. Like that. Very nice. So let's zoom out. So now we have that edge of our face. Let's say Control or Command Enter. And now on this layer, I would like to fill it in, let's say with this a lighter color. Because our light is coming from the right here, front end, right, so it's going to highlight this edge here. So we're just going to fill that layer in, like so. Okay? But now it doesn't look trivial, right? We're not, we're not having the actual edge that we want. So how are we going to fix this? What we already have, the main edge made. So few Control or Command click on this layer mask here is going to create a Layer Mask for you of that area. And it's the simplest creating another layer mask over this. How simple is that? It's all you do is Control or Command Shift I and inverts it now. And we're going to click the mask again. And we now have an inner edge, okay? And there is a little bit of a black edge here on the left here. I can very easily go ahead and fix that. If I were to sample this color on the proper layer here, you can just go to the layer beneath. And I can paint that away. If it's a so bothersome. You can definitely do this. Someone we're going to do it on the left edge of little bit here. Just because it's going to look better overall. But this is pretty much just setting up the effect right now. And as you see, it's mass felt perfectly around the finger and the now. Perfect. Let's finish this bottom edge here very nicely. So depending where you're going to use this, if it's zoomed in enough, people will notice those little details. But for the most part it should not be much of an issue. Okay. So now we have the main cavity of the face, no shading it or anything like that. But we want to get the roses coming out of her face or finally going to touch on the roses layer. So we have some very nice roses here makes you on the right layer. And let's zoom in. Again, this is a smart object, so we'll be able to resize this as much as we want. Now on another layer real quick, I'm going to show you which flowers I want to include in this. Ok. So let me get a nice light blue color here. So I want this, I want this, this, this maybe. Now on everything down here. I don't want any of those leaves in the back. I don't want these flowers of this flower. And so this is the area I can include this leaf here. So this here is the area which I want to cut out. Okay? So I'm not going to include all of this in the back here. It's too blurry. It's not going to fit this particular image. Because if we look at this image, it's all in focus. Everything is sharp, so having anything blurry is not going to work with this image. Okay? So let's go in here and we're gonna use our trusty Pen tool. Now this one is probably going to take the longest because there's a lot of little details that you need to be mindful of. Okay? So again, PI for pencil. And you're going to start the process of tracing around all of these roses. Now you can very well use a selection tool like the Quick Selection or the one tool or anything like that, the magic one. But I found that the selection that it makes is not that nice. The edges end up being a little bit too pixelated from my liking. And for the purposes which I'm going to be needing it. So we're just going to take our time here with our pen tool and go through and select everything that we need. Now once again, to the rhythm of things, it's gonna go quite a bit faster. And I will be cutting a little bit of this out for you guys. So it's not gonna be as boring for you to watch him button. Make sure that you pause the video here and you cut the cell to the point where I'm going to have it. Okay. But you can feel free to follow along with me as I do it. Another important thing to keep in mind is that these selections with the pen tool don't have to be 100% perfect. Depending where this is going to go. Like I said, you're not gonna see all the little details that you have a few pixels of the red here in the flower. It's fine. If i can also go ahead and erase it later on on the mask layer if it's really, really in the way. So there's definitely a lot of freedom and flexibility when it comes to using the Pen tool. Which is why I recommend you use the pen tool for pretty much any selection than they ever have to make. And as you see, I'm using a lot of small points, small little anchors by can very well use the large ones, but you might miss some information and detail that way. So find what works for you. Because I know some friends and colleagues who exclusively will do something like this. They'll get one big edge there. Drag this around, do one big edge here, and that is totally fine. You can definitely do that if that suits your work style. By all means, do that. This, this is what suits my work started doing these little edges. It gets really nice edges for me. And that leaves less work for me to do after the fact. Now here in this section I'm including the stem of this rows. We want to keep as much realism as possible. Sofas stem exists. I'm going to include it where it's going to actually look proper. Ok. Let's continue down here. We're only about halfway done with cutting out the roses. And this is going to be the longest part of this whole thing. Cisco down here. And it's told me final. So to switch your style, you can go a lot of little taps and then switchover to some big ones. It is totally fine. And for these points here I recommend you just click and get the point. Then you'll get a sharp edge going out of that point. If you didn't, you'd get this weird loop made by the Pen tool that just looks weird. So that is my personal recommendation. So there we go. We're almost done. I believe we've crossed the halfway mark now. So I'm going to cut at this point to one. I'm going to be closer to finishing. All right, and now I'm nearing the end, just about to get up to our lives gone. But as I said before, if I were to drag a line here and then drag up here, you see this like this weird loop that gets created. So in any corners like this, just click and then click out of it. And you've got a nice crisp, sharp edge. Or almost done with our selection here. There we go. We have our full selection here. There we go. And I decided not to include this plan up here. And there we go, we have our selection. So let's go ahead and hit Control or Command Enter. We have our selection here. And since this is what we want to keep, we then click our mosque and it has been kept in the flood, zoom out. And now let's time position this any better away, okay, so we can move it around however we want. But let's say controller command t. And again, we want to be mindful of where the light is coming from. So there's light on the right side, more specifically the top. So we can have this coming out like so off her face. Something like this could look very cool. Okay, so play around with this, find what works. I'm gonna have this side can be a little bit more out. So it's going to catch more of that light. And let's just hit enter. Okay. This is the approximate placement that I want for this. And we are pretty much ready to get started with all I shading, all our highlights, everything. Okay. So for the first round of shading and highlights on and apply it to her face. Okay, so let's turn off this arose layer. And I want to make this edge here a little bit more realistic. So this is where having a drawing tablet comes into a little bit handy because you can zoom in here. And now this is our layer with the highlight, we can rename the layers and let's call this rim of face. Ok, so this is the remote face that we have. Okay? So now we can go on the layer above that. The Slaird down. So anything that we paint here is going to show up on that layer. Ok. So we want a soft brush, okay? And you can get your drawing tablet if you haven't. If not, you can definitely just use a mouse. And we're going to incorporate more colors are for actual face. Then by all means you can lower the opacity here. I like to go low and some build it up and try and keep some semblance of realism to this. There will be a little bit darker here along the top. Dark on all of this edge here. And I'd like to sample from the colour of her face because it just makes it look a little bit more natural. I'm not getting any kind of faint color from anywhere. No nice little rim. This right edge here. It's got a smaller brush. And again, take a time of this layer everything up as much as you'd like. You can even incorporate some of the skin texture onto this. By all means. Which we're going to have this lower edge here, be far lighter. There we go. So if I didn't want to have the original texture in here, that's a very simple to do. I'm gonna do another layer above this. Clip this down. Let's zoom in. Let's start with this chin area here. I'll use the clone stamp tool but are lower the opacity Attorney down to about 47%. And then I'll sample some skin. And then I'll just stamped out in just a little stamp after stamp. Get a little bit of that texturing. And again, you want to be careful where you're sampling from. So I'm getting a little bit of that in there. There we go. And I like to keep their v as less uniformity as possible, makes it look more natural, like I've said before, if this was all light or all dark, it would look very unnatural because the face has curves, different shapes. So you want to be mindful of all of these different factors in your composites, especially when it involves a human or a human face. To be specific. Let me get some better sample here from her face coming a little issue here at the top of the head. So there we go. We have a little bit more detail there on her face. But I actually want to keep layering the sub. So I'm gonna click that down again. And this time I'm going to use just normal brush on the sample, some of the darkest color in my image, this brown here. And I'm going to pay the low capacity and get some of that shading back that I've had, the for k. So we have some shading up there. I'm going to sample some of the lightest color for this area down here. Because this area should grab more of the light as should this edge here. Let's zoom out. There we go for now, this is going to do just fine. Okay? So now let's get our rows back there. We don't know what to make this look better because right now it looks very placed, looks very out of place. So let's go ahead and let's start doing some color correction and everything because I want to match it. This rose to the background of our image here. Okay. So let's go to Rosas layer. And first of all, I'm going to add a Curves Layer, okay? And this clip that down. And I'm simply just going to bring the highlights down ever so slightly. I'm going to bring the black levels of, I'm gonna drag this edge up. So we wash that out because the blacks are very washed out in our original image share. Okay, so let's close that. Let's go ahead and do a hue saturation. And let's reduce the saturation just a little bit. By belts 17 will look fine. Ok. and I didn't fix some of these highlights. So we're gonna go onto a Levels Adjustment layer and we're clipping this down to only affect the roses layer. Ok. So we want to do here is we want to make sure that the whites aren't sold, blown out. How do we do this? Well, let's see. If we drag this to the left. We're bringing the highlight level closer to the midtone. Ok. So what this is doing, anything above this level is being brought down. So I'm gonna bring this down to about this point. And let's move the midpoint down as well. I'm going to bring the black point up just a little bit, something like that. Okay? So now we're still not exactly where we want to be, right? We see this a little bit of edges here that don't look too, that this is where I go and manually with a brush that's going to harm mask layer, I get a brush that is soft, full opacity and I make sure that the softness or hardness rather is at around 80%. You don't have to be a super Chris part edge. And guess suddenly click somewhere, just Control Command Z to get rid of that. Okay? And I want to paint in black. So if I paint him black, I will paint this away. If I painted white, I'll paint everything back. So again, if you have a drawing tablet, that definitely helps, but if we don't have one, Let us completely fine as well. So we're just cleaning up some of these edges. Getting rid of some of these little black edges here that we ended up clipping when we didn't want to. But overall, you seemed a pencil. We did get a very nice. Edge to our image. And having this brush be slightly softer, it's going to help us to get a nicer edge on this as something that looks so fake and so placed. Because what a lot of beginner Photoshop compositing people do as a mistake is that you use hard brushes. And that's when things tend to look overly placed. To soften up the brush a little bit. 80% is completely fine. Because nothing in reality is a 100% sharp. Not in the natural world like this. So we have this done. Lovely. We have those edges cleared. But now I went out a little bit more depth to this image. Okay, salt, let's go ahead and do that. So first things first, let's make a layer above this, are going to clip it down. And we're going to manually paint in some shadows to our image. So let's get a nice, a large brush. And I'm going to lower the hardness of this down to 0, though the opacity down to about 14%. And I'm going to paint with this dark color of our background, okay? And I'm gonna add shadows to the shadow parts of our image. Doesn't look too good right now, does it? That's totally fine. We're gonna fix that. But for now we really want to just define where the darker parts are over image and where the lighter parts are. Okay? So for the light part, we see that we have a warm light in this image on a sample per forehead here and go close to the white here. And actually we do this on another layer, keeping our shadows and highlights separate. And the paint what the highlight over our roses here, everywhere where it might touch it. Okay, and now we're gonna go to our trusty adjustment layers so far or highlights, there are definitely a few options which you can do. You can go down through these and see what works for you. But let's go and look through these. Okay. So I would recommend something between overlay or soft light for this one. Let's go soft light. And if we look at before and after, we're just adding a nice little soft light using that to our image. Okay? So now for our shadows, make sure on the shadow layer will have a few options. We can darken, multiply. So look through these, see what works best for you. I liked the look of colorbar burn. I like the look of Color Burn, but let's keep going. Again. Supply is doing a pretty nice job here. Actually somebody you soft light and as you see, it darkens those areas. So if we look before and after, we're adding a little bit of the natural light that's in this image to our roses. Ok, so let's zoom out. Let's take a look at it right now. It's looking, alright, it's still not there. A 100%, not a final adjustment that I want to make for the roses for now at least, there's untidy brightness contrast layer. And writing everything up you're gonna see once you change this makes 30 going all of a sudden. It's part of the image. How cool is that? So let's close this up and look at that. How close f. So again, you can keep going back, adding a little more shadow if you would like. That is entirely up to you. But make sure you finish up all the shadows and highlights that you want. Because now we're going to go on and add a little bit of shadow 2R layer below here onto our model. Now, depending on how far out you imagine these flowers to be, that's how far out the shadow has to be. So if this is right up against certain, there's gonna be a lot of shadow on her as this as far out. Maybe there'll be just a few stems going across, maybe just a little bit on her hand. So what I'm going to do is I'm gonna imagine this is further out and only this flower hears casting a shadow on her hand here. Okay, so let's go ahead and make a layer between the roses and the model here. That's not clip down. And we're going to zoom in here, OK. The brush, I'm going to sample some of the darkest color I can find here in the original image. And I get a smaller brush. And with a 100% opacity for now, we're just gonna go ahead and try and mirror the flower on the layer below it. Just like so. Okay, so my mind, this flower is pretty much a resting on her hand. Ok. And now it's a simple matter of just a lowering the opacity of that. Like so. And you want to make sure it matches the shadow level of everything else. You don't want it to be super dark because that doesn't fit. But something that will look a little bit more natural like that. And to make them match a little bit better, I might put that same color onto the rose itself. So again, there's a lot of going back and forth here. So I'm gonna add a little bit of that shadow here. Lords opacity on that. So if we zoom out, OK, we looked at before, after splendid in at a little bit better. Okay? Now if this edge here is a little bit too harsh for you, you can definitely go in, do a little Filter, Blur, Gaussian Blur and try and soften that up. So play around with this. Because I might actually want us to be a little bit more blurred. A culture about an eight or so pixel blur for that. And there we have it. So let's go ahead and do some finishing touches on this piece. Ok. So usually when I finish a composite eye group everything into one layer, I called that final piece. And then I go ahead and do some adjustment layers on top. Ok. So put a layer on top, I'm gonna hit G, but this time I want the gradient tool, okay? Now I'm going to sample some of the darkest color that I have. And I'm going to simply make sure that I'm in this second option here. That's going to go from my foreground color too transparent. Okay? So now that I've sampled this darker color, uncle, even darker than that. So I can click down here, or I'm going to just bring it closer to black. There we go. And bring that up from the bottom. Like so, lower the opacity of that. And do the same thing on a new layer from the top. Lower the opacity of that all the way down to about 16 or so. There we go. So we've added a little bit of a vignette to our image like that. And now this part is down to your preference. You can finish this up however you would like. So what I like to do is I use, I like to do a color lookup or a gradient map. So let me do both and show you how they're different. Okay? So this helps you to do a little colour grade over your image. So let me go ahead and choose this one over here. But you can then click this line here with all the colors of the gradient and you can adjust the colors. So let's say I want this site to be more of a purple. Select the original color. Wanted to be fairly washed out, a little bit darker. So what we're doing now we're doing a dual tone effect. So that's it. Okay, in that it's got another color here. Like that. Let's hit OK. We can hit OK on this. And I would just turn the opacity of this down. So this is around 30%. So before and after as a really nice color tone color grading to your image. But you can also go ahead and use this color lookup, which is essentially adding a preset like you would have in Lightroom to your image. Now you have many options here that come default or you can find ones online. You can go through them and see what each one does. Now my personal favorite is actually is from cold, foggy night. Now makes image of very dark but lower the opacity a little bit. And you have a really, really cool image here. How cool is that? She can toggle between these? Can even have both if you want and get a really complex colour grade going on with your image. But for me, I'm going to have this one, the color lookup, I'm gonna have it around 13%. And the Gradient Map, I'll have that art around 44. And you can do some final brightness contrast. Chum might bump that up just a little bit. And there we go. We have our final composite. How cool is that? So there's our first composite and the next video I'm going to show you a second composite. And the second one is going to actually be a side profile with some vines coming out. It's going to look really, really cool. I'm gonna show you how to do that. So let's keep going. Let's draw our second composite of the day. 5. Composite 2: All right, so here we have the first composite that we made and we are now ready for composite number two. So what am I going to do? I'm going to make sure that I have this image saved as a Photoshop file. If you haven't already, I might disappoint. You want to make sure you save it as a Photoshop file. So let's go ahead and get a brand new document. Okay, so we're gonna go to File New. And we have this dialogue box again. Now this next image, I want it to be a little bit different. I want this to go more for Instagram. So you want this to be a four by five ratio, but I'm going to double it. That's going to be eight by ten. So what, I'm going to have a b, eight inches wide and ten inches high. Songs to be more VIP portrait orientation, again, 300 pixels per inch. And let's click Create. There we go. Brand new blank canvas. Let's go ahead and place in our images for our second composites, which can go to File Place Embedded plugged our first dimension, men site profile, click place. Again, this makes them be a smart object. And I'm gonna go to File, Place embedded. And we're going to have this vine image. We'll use this a little bit as well. Okay, so let's go ahead and get started right away. So it's a control community. Let's resize our man here to fit this. And you can go ahead and move this up and down to the point where you like. You don't want to keep in mind the rule of thirds. So if we look at this image here, it's ten inches high, so we have about 1 third is about here, and the other third is about here, seven, to make sure the eye level is going to be at around one of those Third marks. Okay? So you can hit control or command colon, get rid of that on your keyboard. That's a good way to check and make sure that everything is lined up properly. So let's go ahead and let's zoom in here. And we're gonna do things a little bit differently. You remember from the previous video, there are a few ways that you can cut out the face. So my idea for this particular composite is to cut his face out and then bring it out forward. Here was some vines connecting it. Okay. Sounds pretty cool in my head. So let's give it a shot. Ok. So I won't make a duplicate of this layer. And we'll see why later. This is as a backup in case things don't go exactly as planned. So I'm gonna hide the layer beneath these are exactly the same. And what I'm going to do is I'm gonna get my trusty Pen tool, zoom in, of course, get my pen tool. And I'm going to cut out a nice little shape around his head. Now this guy has a fairly defined beard here, so I'm going to want to kind of follow the line of that a little bit. Now this is the part we are going to want to zoom in because I want to make sure we grab his face as good as possible. You see it does match a little bit of the background here, but we do want to make sure we get this as close as possible. To zoom in here. And again, take your time. You wanna make sure I'm going to grab all the facial hair. Don't don't leave anything behind. And definitely wanna make sure that I keep the highlight the edge light here going across this face. And as you see, this is a far easier shape to cut out here. And there we go. So we now have in that solution. So this one, we're gonna do things a little bit differently. Okay? We're gonna select our selection here. And what we're going to do is we're going to make a mask of everything but our face, our selection here, we just click this button. Now we just have the face, right? So let's turn on the layer below. I'm gonna make another duplicate of that, so we have our backup. Now before we move this, I do want to make sure I have this mask in place. So I'm going to select that, go down a layer. And I'm gonna fill that in. Let's say the darkest color that we can find here, the dark, blue-gray, your paint bucket tool and fill it in. Okay, so let's deselect that. So freak turn this off. We have a hole there. So you still want to keep that there for now. And let's go ahead, hit control or Command T on the layer that we cut out. And we can now move that forward. Something like this. There we go. And what we're here, let's go ahead and clean up little bit of the edges here around his facial hair. Okay. She's just hold the brush at a soft, full opacity. We're gonna paint in black. And we're just going to simply paint away this harsh highlight coming through his beard hairs. And in fact, we can just go ahead and erase that nearly entirely. There we go. So now if we zoom out, that looks a lot better. A lot cleaner. Lovely. I like that, that's looking good. Now we will need to do some filling in the background over here, okay? Because now we have a whole that we need to fill. And what I want to do is I want to essentially let me use just a brush slice. Show you what I want to do. Full opacity hard brush at a small site, want to mimic this edge here on the other side, so I get another color. So I'm gonna have this edge come in here on the other side. And it's going to be a hollow shape. Like so. Okay, so this here is going to be the hollow area and this area here, I have to fill in with the background. Ok. So let's go ahead and do that. Let's undo all of this was that we did and let's delete this layer. We're going to be working with this particular layer here. We set up before. So what I'm gonna do is very simple. I'm just going to mask out everything except for what I want to be included. So I'm gonna use my trusty Pen tool here and have this comment on the inside. Is going to bend in. Drag that down. And then keep in mind prospective and all of that. So what is going to be higher? What is going to be lower? Okay? So we'll take a little trial and error, just play around with it and have this go in here. Like so. Somebody can go over here to control or Command Enter. And we can very simply just paint this all out. You can use a paint bucket tool if you would like. Or if you want to have a little bit more fun, you can just paint it out with the brush. Just want to make sure that you're grabbing all of the little details here along the edge. So that is going to be the hollow inside of the head here. So let's just do Control Command D to Deselect. Okay? And now we have to fill in this area here with the background. Okay? So a few ways now we can go about replacing this area here. The simplest of which is this going to be to create a layer beneath this. And anything we do on this layer is going to be between these two. Okay? So it's gonna be very simple. We're going to use our brush. I'm gonna paint some of this away from imagining this and building being here. You can use your clone stamp tool. Let's make sure our opacity is full. And the sample some of the scars or as natural as possible. And I'm essentially just going to bring this building down. So again, take your time of this because I can't be a little bit fiddly to get that straight edge going down. So take your time here. If you need to pause while she do this, feel free to do so. Just make sure that you keep the blurred edges. See. I don't want there to be any harsh edges, not at this particular point. Okay. So what I'm gonna do is actually bring this corner out again. I'm imagining this going out like so. I'm doing this because it's going to be far easier to mask this out and to keep having a straight edge going down. Okay. So I'm just going to sample some of this area and paint away. So just take your time of this, be careful and you can. You can also go to just your brush and paint. Look that fun to have a soft brush with a lower opacity. You can definitely just paint with a brush on knees layers here. So if you want to just get a base color going to cover in this area, you can definitely go ahead and do that. Capacity might be a little bit too high for this particular light color. Or they just go ahead and do that. You can switch back to your clone stamp tool. Now there's a nicer base to work off of. Huckel was up. You can replace a whole building that wasn't even there. You can add it. And because it's so blurred back there, the details don't matter too much. Okay. You do want to avoid repetition though as much as possible. So if you can smooth things out, that will definitely work in your favor. When my brush sample a color here, smooth out some of these. There we go. So if you're zoomed out, you're not really going to notice that. So before, after we just cut that out, how cool is that? That's pretty insane. Okay, so now we want to do something that we did in the previous. Composited won't create a little edge going along here. Okay? So we're gonna do that on a completely new layer. Then we're going to bring in our trusty pen tool. And okay, so again, keep in mind where you're actually going to be seeing this edge. And then just get started and take your time. So from this angle, we're not gonna see the low angle or the top of this section here. So I'm just gonna cut to this area here. And because this opening is far narrower, I'm keeping the selection narrower as well. So take your time if you need to polish roles, we do this selection, feel free to do so. Or you can also just follow along with me. Let's go ahead and do this lower section here. Now all of this left side is going to have the rim that's going to be very narrow. So I'll just go like so. Let's see, the second composite is a lot easier to mask out and everything. And there we go. Okay, so it's a Control Command enter. We now have turned that into a selection. Okay, so let's find a nice light color. We're gonna hit controller command shift, ie. Or an inverse selection of this capacity up. And we're just gonna go ahead and paint everywhere outside of here. And I know we're painting on his actual skin here. That's not good. I know. We'll fix this, but worry. So now let's just go ahead and make sure we have our edges done very nicely. Thus a Control or Command D. And now all we do is we're going to cook this down to the layer below. There we go. We now have our edge done. How cool is that? We have the part that we see and we have the basic edge. Okay? So now we want to add a little bit of shadow to our edge here that we've made. All right? And as you see on this image, we don't have the issue that we had in the first composite where the black edge is showing through. So depending our image, you might have to go and adjust that. But in this particular one week don't. So that makes life a lot easier for us. Okay? So now if we make a new layer, clip it down, but then also select this layer here with the thumb yaks Control or Command click on the thumbnail. We now have this selection. So this is going to be within this selection and it's going to be clipped down to the layer below. Okay, so if I have this pink, you can see this a lot better, like soap. Okay, so let me pick one of these darker colors here for the shadows. So now I think, okay, whereas the shadow going to hit, is going to hit the top area for sure. That's going to opacity down. Top areas is going to be in a shadow that's given on both sides. We'll have a little bit of a shadow going across here. And that's going to give way to the mid tones here. So let's keep going down. This area here will be in a little bit of a shadow as will this edge. So this takes a little bit of thinking to see exactly how everything is going to work together. And I'm gonna do the shadows and highlights on one layer this time. Suddenly go ahead and pick a nice highlight color. This here looks like a brightest color. Let me look on his face. There we go. That's a nice highlight color right there. And now we're gonna go to the highlights of the image. So this area here will have a nice little highlight. Here we go. This area here will be hit with a little bit of a highlight as well as will this area down here. Ok. Let's de-select back controller for Monday. Let's zoom out. And as we see now, there's a lot more depth to that. Before and after. Okay, it's very subtle when others more depth, which is exactly what we want. But I mentioned having some vines here, didn't I? So let's include our vine that's got a vines on here, OK. And then we'll also deal with some shading and three-dimensional stuff over on this section as well. Okay, so we have our vines over here, but if you downloaded and installed it, we also have some IV brushes. Okay. So we want this to be specifically between the profile of the face has been taken off and everything else we've done so far, so long is to be here. So anything I paint is going to be behind his face. So let me. Capacity up. So any vine that we have, let me get a nice green color. It's gonna go behind this and will mask out this part afterwards. Okay? So we want to get some vines going here. So let's go ahead and get our vines layer two I just mentioned, and let's turn it on. And now this is where you can get somewhat creative actually. And think of what part of this fine you want to be included. Now, I want to have specificly this section down here to be part of my image. So make sure you have your selection and simply click your mosque. Okay, so we're slowly building this up. And now if we zoom in, we can start playing around with this to get this exactly how we want. Okay? So we're gonna play on mostly with the mask here. So let's go ahead and let's go to us, open up IV brush1 and IV brush two. So now we have a lot of different brushes to work with, right? And you have a few different ones and different angles. So if I take this down to actually see this one is in this shape, make it a little bit bigger. So if I paint away, I can paint away the IV that I do not want. Okay, and that is crucial because that is what we are going to be doing here. So since these are so big, you might not see them until you make it bigger. So you can also see a little bit of an outline here or preview of it, but I want to get a vertical one. So this one here is a vertical one we can see there. And I'm simply just going to start in paint away. Everything that isn't. Iv. See we are going to get a very natural-looking mass being applied here. I can get all of the spec here taken out and more refined this as well. Later on. We're just getting a basic, basic thing going here. And you can, again paint things back with white. And I want to get a horizontal brush won't across the top a little bit. So let's go back to IVY number three. Well, let's play around. Let's see what we have. Let's do IVY number one here. Gonna go down to about 200 pixels wide. And I want to paint in black. And a little bit more natural shape going. Now we paint with white. So we're using the brush to paint actual IV. So now painting it with any color, actually painting in IV, how cool is that? So play around with this. We have a lot of brushes here. We have 40 brushes that you can pick and choose from. And this is where you can have some fun painting wherever you want it to be. And paint out where you do not want it to be, OK? And the key thing is that you don't have any sharp edges. So let's go ahead and get some of this away from here like that. And don't be afraid to have little holes and spaces within IV because that's going to be very natural. You know, you don't just look as natural as possible. So this is the part of the, this particular section that's gonna take you the most time because you want this IB2 look as real as possible, right? I know I do. So let's make this a little bit bigger. There we go, we're getting something that's looking far more natural now. Paint away, paint back, paint away, paint back. And you slowly going to get this effect of some three-dimensional vines going in and out of the face. Ok. And again, you can pick a whole other section of the wall. I'd like this section because it had some nice colors and variation to it that I particularly liked. But now let's go ahead and clean up some of this bottom area because this does not look very nice, but it's very simple. Just going to use one of the basic brushes. Any soft brush, hardness of about 80%. And then the black is just going to come in and paint away these little strangling bits that you do not want. Okay. Especially any part that shows the wall. I do not want that. There we go. And for now, I'm actually going to paint a fairly harsh edge across the face here. Because I want to still be able to see the face. There we go. So we made all that effort to cut out the phase here, get that nice little edge there. We don't want to cover all of that up. Okay? If we zoom out, we see we're getting a fairly cool effect going on already. We can see through the vines into the background, and that's exactly what we want. Okay. So take your time here. If you want to pause it or keep going with me, I'm gonna do a few more little adjustments here to the vine. So I'm gonna go back down to our IV brushes. And with so many options you can really be at this all day, just adding and taking away. So don't be shy here. Get creative. Have fun with this. And I do like to have more see-through areas going through this so that I can actually see the other side of the face. It gives it a little bit more depth. Let's go make this a little bigger. And also experiment with different sizes of the brush. There we go. We have some more substantial brushes and it's fine to have a little bit coming out over, over his head here. It's going to add a little bit of realism to it, like so. And mixed setup, you don't want too much repetition. Again. There either. A little bit down there, and I think I'm fairly happy with that. Mike, go ahead and refine this, a lower section, just a little bit more. So I'm gonna paint in white. So you don't have as much in the way of floating little bits of IVs. So I'm just going to use the backend of this particular IV brush just to clear up some of that. There we go. So I'm happy with that. But now one other thing I want to do is add a little bit more depth to the other side of this face. Ok? So this is going to be behind this layer of the face and the slayer of the IV. So let's go down here. And this is going to be very easy. We're gonna use our pen tool and were very simply gone to paint in little section in there. I'm gonna go down here. And a little section there. You're really not going to see too much, but a little bit of this darkness TL is gonna help. You'll see tonight, let's get our brush. It's going to go for a very plain basic brush. Solo passenger, I'm gonna sample this color of his head. And we're gonna paint. It's kinda a little bit of depth to that part of the face. How cool is that? Okay, so now let's add a little bit more shading to the vines here. So on the vine layer, let's go above that, clip this down. And we're gonna get our brush. We're going to sample one of the dark greens here. Let's go out color and I'm just gonna add some black to it. Let's bring it closer to the black, 10%, close to that. And I'm gonna bring the opacity of this down to about 20%. So now with a soft brush when I paint, you see I'm painting in some shadow over this, which is what I want to be done. Ok, so I'm gonna drag that out on both sides here, k. So let's drag the cell. It's going to be a little bit of depth here to Irvine sold before and after. And I'll put opacity of that down just a little bit to be about 33%. And there you have it. We've added some of that effect to this very cool. One last thing I'm gonna do is I'm gonna add a little bit of shadow to this section here to the man's face. So again, new layer above that. And I click the layered bound and the sample, the shadow of his neck here. So this edge here is going to be in a shadow. Okay, so this is all about adding a little bit of depth, was also maintaining realism as much as possible. So I'm gonna go pester them that down. So look at that before and after. So matches the shading a little bit more. Okay, so let's go ahead and let's do some finishing touches to this piece. Okay, so I'm gonna go ahead and group all of this together. We focused on G. I'm not going to name this final piece. And again, you can do any type of finishing edits that you want. My signature thing, like we're the first composite is a little bit of a gradient going from the top and the bottom, creating a vignette effect and then a little bit of color grading. So I'm gonna go ahead and do that as well. So let's kinda Gradient tool over here. And let's sample this dark color here. Let's drag that up. And let's run the opacity of that down to about 49%. When do the same thing from the top, same color and everything. But this will be a little bit more subtle. Let's go 17%. And again, I'm going to show you both ways of color grading. But this gradient map and color lookup the through the Gradient Map first. Let's check this one and then let's choose our own specific colors. Now, you can go ahead and look at different color harmonies and color and color groups that look good and that work well together. But for now, I'm going to just pick one that I know works well, which is a cyan and orange one. Those tend to work really nicely together. So I'm gonna go for a nice, a dark cyan for the shadows. And for the highlights. I'm going to go for a little bit more yellow and orange. And I'm going to bring that very much up to the bright side. There was hit OK here and OK here. And for unhappy was colic honorees. Click this icon over here. You get your gradient map over here, and then you can go ahead and adjust the colors on my own to bring this a little bit closer to the blue. Yeah, I think that looks a lot better unless it okay. And I'm gonna bring opacity of that dam because we don't need it to be that intense. So I'm gonna have this maybe be around 35%. So we can do this. Or it can go up to our color lookup and choose one of our Lutz here. You can choose anyone that looks good to you. Let me go through here and see if there's one that I particularly like. Futuristic bleak looks pretty cool for this particular image. But again, I would bring this down quite a bit, maybe down to 19%. That's a very subtle edit, but are probably go with this gradient map that I made. And then I would do a final brightness over everything. Mixture, everything's looking nice. And have it be done like so. And there you have it. Our second composite done, start to finish. And I think that is pretty cool. So in the next video I'm gonna go over how to properly save your images because depending where you are going to post this, whether it's Instagram, you're on website, whether you sending it to be printed. There are few different ways in which you should be saving. So let's keep going on and show you how to save your images. 6. How To Save: All right, so we're finally done with the bulk of our composites, but now we need to save it. We need to show it off when to put it onto our website and to our portfolios. Want to maybe put it on to Instagram, get all those links, you know? So how exactly are we going to do it? Well, first things first, you want to make sure that along this whole time, we've been saving your Photoshop files. So that's the PSD. If you haven't, you just do File Save As and PSD. I've saved mine multiple times. That's why you see that up here in the file name. But it's very simple. Just File Save As, and then you save it as a Photoshop file. Okay, but what if I want to save this somewhere else? Well, let's go ahead and do that. Okay, so the first file format that you probably would think of when it comes to saving is a JPEG. You see jpegs everywhere. So let's go ahead and do that. Let's save it as a jpeg, okay, and then we'll see what the problem with that is. Let's just go File, Save As. And then let's go ahead and select JPEG, make sure you know where you're saving it. Now I have a few test images that I've saved already will just go ahead and I'm going to call this composite one jpeg, okay? So you want to make sure that you label each file exactly what it is so you can come up with any name that you want for yours. Tendon causes composite one JPEG and let's save. You're going to be met with this dialogue box asking what quality you want, what file size. So this is going to be an eight megabyte file, such as hit OK. Now we save this. However, if I wanted to put that onto my website, that's going to be a massive file. Imagine having 100 images on your website, on your portfolio. And if there are eight megabytes each, that's going to be 800 megabytes of data that the user has to download all your images. So how do we fix this? Well, we're gonna save this for web. So let's go ahead and do that. Lets go to File Export. And we're gonna do save for web. It's going to come up with this dialogue box over here. It's going to take a second for it to load. And there we go. And let's zoom out. We see our image here. It's looking very good. And you have a few options here. Here we see the file size is 8.349 megabytes. And let me see here the preset. You can have different presets, but we have JPEG, maximum file quality, and nobler everything is optimized, but this is still too big. How are we going to get it to be a smaller file size? Well, first of all, from maximum, let's just first take it down to very high-quality. What's that going to do? Immediately? Half the size of four megabytes. Okay. It's still the same size, so a little bit lower quality. So once I'm 100% down to 80, and now if we want to get it even smaller, I personally recommend it to be smaller than one megabyte, closer to 500 kilobytes of the better. So let's go ahead. Let's lower this percentage down. And let's type that in to be 60%. And the file size you can hit Enter and it's going to update everything. We're now down to 1.467 megabytes. Now, I don't really want to make this any smaller in size. Here we can see the pixels, okay? So let's say I want this to be seventy-five percent quality. We're now down to 1.25. Let's go to 70%. That's one megabyte. So I think this particular image look good with a 60% quality where at 780 kilobytes and you can zoom in, we still see all the information. It looks very good. It's going to load very well on the website now. So we're gonna go ahead and hit Save. And you're gonna want to save it to where you saved previously. So here we have the previous images that we save, the composite one J peg. This time we're going to save assess composite one JPEG for web. So just at a glance you can see which is a JPEG, which is a GPM for web. And you're good to go. So let's hit Save. So this is 700 or so kilobytes, which is fantastic. But what about Instagram? Now, there's a lot of debate about what is the best file format for Instagram. I've seen people say it's JPEG, I've seen people say it's PNG, numb. My personal favorite is the PNG. I've personally found that it keeps morph the quality and the color and the sharpness. And that's what I like to use. That's also great one to know. So let's go ahead and do File Save As. And we're gonna go down here and the drop-down, down to P and G. Sort's going to name this composite one, P and G, going to hit Save, and we're going to hit OK. Now I'm gonna tell you the file size of the PNG in just a second. Now the last file format that you might want to save is if you want to physically print this out, let's say a client has continually wanted to create this ad. Let's say this is an ad for some perfume or something. And they want a sample to be printed out. Well, most print shops are going to ask you for a TIF file, TIFFs, and that is one that is most commonly used by a lot of print shops. So how are we going to save that? Well, just go to File, Save As so very simple, right? You go down to tiff and I'm going to do composite one tip, I can hit save. Now we don't want there to be any compression. Gotta leave the pixel order. We're going to keep the byte order and layer compression. We're gonna keep the bigger file. So let's hit okay, include all the layers. This is important for printing because if they need to adjust anything, any colors, just a little tweak, they can and they might do that. Ok. So let's head okay. Makes a lateral to print work is a lot easier. And now I'm gonna go and quickly tell you the sizes of both the P and G and the tif files. Alright, so the reason why I wanted you to do PNG is because of this. The PNG file sizes 18.9 megabytes that gives Instagram ulama information to work with when they're doing their compression. And that's going to keep a lot more detail, a lot more of the color. So PNGs about doubled the size of the JPEG that you would save. Now when it comes to the tip fall of a TIF file is a massive. You're never going to want to put a TIF file onto your website. Fall is 127 megabytes such crazy. That's the same size as the Photoshop file for this. The Photoshop file for this is 127 megabytes as well. So there you haven't a few ways in which you can save your images wherever you need to save before. One of these ways is going to be good for you. So in the next video, I'm actually going to give you your assignment for this course. I want to see what you can do and how creative you can get. So let's go to that. 7. Let's See What You've Got: Now this is a part where it is your time to shine. That's right. This is when I want you to create your own composite. I want you to do pretty much what we did within these two composites. I want you to get a subject. It can be any angle. You can have it be an easier angle with a profile or straight on, not a problem. And then you get some sort of flowers or, or some foliage going on inside their face. I want you to either create a hole or take their face off and add some foliage coming in and out of that place. Okay. So you can do anything like this or anything like this. I want you to use those free image sources that I showed you earlier on in the course, gets some good images to use, get some good brushes. You can use the brushes that I've included with this course as well and get creative early wanted to what you can do, have fun with this. And once you are finished, upload it to the students submitted project section of this course. In the next and final video, I'm going to go over some final thoughts with you. 8. Final Thoughts: Guess what you've done, you've completed my course, Photoshop, composite masterclass, lowercase. I told you that this will be a very information dense and tough course, but you've ended up with two of your very own composites, three, even by the time you do your assignment. And not only that, you are now well equipped to keep creating as many more of these as you would like forever and ever. Now that's what I call creative freedom. You've also learned a highly valuable in sought-after skill. You can add these pieces into your portfolio and use them to get some great clients. Now what I'd like to mention that I'm solving some Lightroom presets right now for a special price over on my website. So head over to www dot the real Tang Kai.com slash breed says to get your presets today, these are perfect to use in Lightroom to apply preset color grade to your photos and edit presets that I personally made and tested over many years of practice and use. And you know, the best part, both of the packs that I'm selling are cheaper than a cup of coffee. That's right. I really want to give you the means, get great results in your edits and photos. I really hope that you've learned a lot about creating Photoshop composites and just how useful they can be. If you've enjoyed this course, I encourage you to leave a review and reading, and that helps me out and feel free to check out my teacher page to see other Lightroom and Photoshop courses that I've made, ranging from beginner level courses all the way up to mastery level courses. Also, if you have any suggestions or requests for courses that you would like to see me cover, leave it in the comments for the course and I will try my best to cover any topic that you suggest. It's been a pleasure teaching you today and I hope to see you again in a future course. Take it easy.