Photoshop Composite Masterclass: Glowing Light Effects

1. Introduction: One of the things that I've seen that can make or break a Photoshop Composite is the lighting and more specifically, glowing things that can make a piece look really amateurish if done wrong, but can elevate it to pro status if done right. But how are you supposed to make something look pro level? What today I'm going to be showing you just that. Today I'll be showing you three different ways in which you can create stunning glow effects in your composites. From a basic technique all the way up to a full on professional technique. I will be walking you through everything today. So with that said, welcome to my next course and my Photoshop masterclass series, Photoshop Composite masterclass, glowing light effect. My name is Tom Chi and I've been a photographer and graphic designer for almost 12 years now. And from the United States and I travel around shooting photos and designing for various clients and companies. But I specialize in fashion, lifestyle and commercial photography and design. And 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 Tom Kai.com or look me up on Instagram at the real Tang Chi and legal follow to stay up-to-date with where I'm at and what I'm doing. It's also a great place to connect and ask me any questions you may have. I remember when I first started out creating photoshop composites, I had several great artists and composition creators who I looked up to. And I was always fascinated with how they were able to create realistic looking glowing orbs, lights, antlers, even you name it, they couldn't make it glow and it looked quite surreal and magical. Then I would see other up-and-coming create a stripe to create these glowing effects, but they were subpar. And I would think to myself, Well, what's the difference here? How can I be like the Pro and not to subpar up-and-comer. So I started doing just as the pros and watch that work, tried to imitate it. And after some time, I learned how to do it. And that's what I wanted to do for you today. I want to take your work to that next level, that pro level as it were, he can stand out and advancement clients for your work. Believe me, just as one technique alone can get your work. I once had a big influence or reach out to me on Instagram. She's millions of followers. And she wanted me to create an edit for her that made some of her tattoos on body art globe. And I was able to do this because I knew the proper techniques. So believe me, these little pro level skills I add to your creative tool belt will get you work. I value my time a lot, but more importantly, I value yours because that's not where you are. I've been at the point of learning new skills, just getting started and wanting to really hone my craft. I ended up being frustrated when I had to go through dozens of courses and tutorials, hours of learning just to learn one single skill. My goal is to make this the only Photoshop course you will ever need to learn how to create stunning glowing light effects for your edits. This course is for anyone who wants at a high level skill to their repertoire of design tool. Whether you create just for fun as a hobby or you want to land proper clients and do creative work for others. This course is for you. So enough of this introduction, I want to get started. So I truly hope that you decide to enroll in this course because it's going to be an information packed course. But if you do decide to enroll, I will be seeing you in the very next video. 2. Finding Free Resources: So we're almost ready to jump into Photoshop, but before we do, we actually need some images, some resources to work with. So I just wanted to really quickly show you where you can get some of the best resources for your composites. So I'm gonna show you three websites where I get my photos from, as well as a website where I get my brushes strum. So the first website here is Pexels.com. Pexels.com has really, really high-quality professional photography that you can use in your composites. Just scrolling down here, I already see quite a few that could be used in composites. So you can go through here, look at any image that you want. And one thing to keep in mind though, if you do find a photo that you want. So for example, this flower. When you click on it to download it and don't just click Free Download, click this drop-down and make sure you're downloading the original size. You don't accidentally download a large because you're losing a whole bunch of data, a whole bunch of information that you can get from the original file size. Okay? So once you have that selected, just click Free Download and you'll have what you need. Now one really cool thing about Pexels is that, for example, with the license, it's all free to use. You don't have to give any attribution or credit to the photographer. It's not necessary, but it's appreciated. And you can modify the photos as much as you want, which is perfect for a Photoshop Composite. That's exactly what we want. Now another thing is here you can also go to the Discover tab and see different categories of photos. So if you have something in mind that you want to do some night photography, underwater photography for a composite, you can go ahead and just look within that category. So that is one reason why I really like Pexels. Now, the next website that I use quite often is actually pixabay.com. Now, pixabay.com is good for many reasons. One of which is that it has photos, illustrations of vectors, videos, and music, all kinds of things. And another really great thing with pixel-based, you can search some really obscure type of things. So if I wanted to search a dragon and they actually have illustrations of dragons that you could use in potential composites, which is really cool. And I can also head over to a bunch of these other tabs here you see at the top illustrations for example, and you can see some other illustrations that could be used in a Photoshop Composite. This here is actually from one of my students, from one of my other courses. This is what they've created. How cool is that? It's actually up there. So that's really cool. Signal down, discover a whole bunch of different usable material. We have a planet there, we have a snowman here. You can easily use that in a composite. And it is really cool to use. So you can get some really obscure high-quality type of images from Pixabay. My personal favorite out of all of these is unsplash.com. I've personally found the unsplash has quite possibly the highest quality images 40 years for photoshop composites. And again, you can scroll down and look at all the images that are available. But you can also go and look through all these categories up top. So let's say I want something more fashion related. I unclick fashion. And I can immediately start to get some models that I can use in a composite. This would be a very cool on teams that are composite, for example. Now another reason why I like Unsplash is because you can get branded content. What I mean by that, Let's just go ahead and type in Nike. He can get branded content if I want to do a composite featuring one of these Nike shoes, I can do it and I can add this type of work to my portfolio. So if I'm going out showing it to different companies, they can see some example working in my portfolio of what I would do for other big companies, Nike for example. And in fact, one of the edits will be doing today will include any adidas brand shoe. So that's pretty cool. I think. Let's just go back here to the homepage. And now a lot of people have been asking me in the comments and messaging me privately asking, what do I get all the brushes that I'm using for my composite courses? Well, let me show you. I use cheesy. It is quite possibly the best place in my opinion to get brushes to use for any composite. So you can go ahead and look down on the homepage at all that they have to offer. But what I tend to do as the, I usually just go to browse by category or top brushes. Let's just go to top brushes for now. And here you can see all sorts of brushes. This cloud brush pack here looks kind of interesting. This has 24 high resolution cloud brushes. So that's pretty cool. And all you do is you click Free Download. It's going to download it in just a few seconds and you have it. In the next part of this course, I will be showing you how to install any brushes that you get because I will be including the images and brushes that I use and the resources for this course. So the ground and the next part we're going to actually hop right into Photoshop and get started. We're going to set up our work environment in Photoshop and then gets sudden with our very first composite, our very first edit. All right, so let's keep going. 3. Photoshop Setup & Interface Overview: And we are finally in Photoshop is a moment that you've been waiting for, the moment that I've been waiting for. So let's dive right into it. I will let you know that I'm using the most up-to-date version of Photoshop. So that is a Creative Cloud version, 2021 edition as of recording this course. So make sure that your updated to the newest version because then you can follow along even easier. Let's go ahead and let's just create a new document for us to work with. Let's just click Create New. You'll be met with this dialogue box. I'm just going to keep it a four-inch wide five and chai document. This is going to be optimized for an Instagram post, and the resolution will be 300 pixels per inch. That's all we have to do. We're not going to change anything else over here. We're not going to worry about any of these other other settings we have here because these are some of my previously done once, but there's some preset ones up here, which is gonna do this custom one here. Let's go ahead and click Create. Can take Photoshop a second to load everything up. Now, things might look a little bit different for you already have mine set up with my VS here on the left. Everything is a little different on the right, if you're loading up your Photoshop for the first time, it might look something like this. Let me go ahead and reset essentials. It might look something like this. Now as you heard I said, I Reset Essentials. I'm working in the essentials workspace, so make sure you're working in that as well. Just going to make things easier for this course. So I tend to get rid of the rulers and grids here off to the side. Don't really need that. And that has to do with this up here. So we're going to drag the properties and we're going to clip it just over here. We don't need to see that all the time. Now libraries, this is going to connect to your Creative Cloud if you have different brushes and things loaded up, as you see, I have some color themes loaded up from some previous courses, but we're going to have this over here with the adjustments. Okay, next, let's go ahead and drag this up because I like to have as much real estate as I can here for my layers, I like to see where everything is and what I'm doing. Now when it comes to colors up here you have a few different options. You can have swatches, you can have gradients. And even with the color here, you can decide to have RGB sliders. You can have a whole bunch of different ways to find your colors. My personal preference has been the color wheel because you can select the Hue, any hue you want around this color wheel. You can select the saturation, that color, as well as how much a black is in that color. So it's not necessarily brightness is not going to add a ton of white to it. It's just going to add a black. You can see it over here. Whatever color you pick, it, drags it closer to black. There you go. Now, over here on the left, you might have noticed that I had brushes out here. Now why would I want to have my brushes out here on the left? Well, let's say for example, I'm working on my composite. Let's hit B on our keyboard for our brush. And I'm, I'm here, I'm here, I'm painting away something here, and I need to get a different brush. Now this is too soft law. Okay, let me go in here. Let me go down here. Okay, I want this harder brush. Okay, let me get this color here. It takes so long to just go between brushes. Then I go over here. Let me use this brush now. And then I start getting a little finer detail of that. This is going to take way too long, especially if you're doing some digital arts and Photoshop Composite. And it's just not going to be a good time. So let's go ahead and let's go ahead and erase all that we did just Control Command Z. And there we go. And how are we going to fix this law? It's very easy. I'm gonna go to Window and we're just going to click brushes. Now you see something just popped up over on the right and this is all our brushes. But what I like to do is I'd like to drag it off from there and clip it to the left. Once you see this blue line going across the whole left edge there, you just let go. And there you go. You can make this as skinny or as wide as you want. You can have it be just one brush wide and you can go all the way up 2345, however wide you want. I like to keep mine at around two wide gives me enough space over here. So now, if I'm doing the same thing that I was doing before, let me get some brushes here. Let's say I'm working on some clouds. I can easily switch between brushes, get a different color. And I can work on building up a nice Cloud, just going back and forth with my brushes and can adjust the size as well. Then they go, makes workflow a whole lot faster. So make sure you have your precious set up that way because it's going to make life so much easier going forward. So I may just undo all of this. There we go. Now one final thing before we hop into the first method of creating a glowing light effect is getting brushes here because I did download one right before. So how are we going to do this? Well, when you have your brushes panel open here, you see this little section up here were three little lines. He click that and it's as simple as clicking Import Brushes. You'll be met with this dialog box and you just navigate over to where your brushes are. And you'll have this icon here. It's an ABR file, that'll be brushed file and you just select it and click load. Now where is it? Let's close up all of this. It's going to be all the way down here at Cloud by Miller. And then you see we have all these brushes here ready to go. Look at that. Very cool for going forward. This is something you can do. I will include all the images, all the brushes that I used with the score. So you can feel free to install them and get ready. Because in the very next video, we're gonna get started with the very first method of creating a glowing light effect. So let's keep going. 4. Basic Technique: All right, I'm finally ready to get started with our basic example here. We're using the same setup that we had in the last video, and we're just gonna keep going from here. So first things first, let's go to File. We're going to go down to Place Embedded. And you're going to navigate to where all the photos are. So make sure you download those and we're going to use a basic example one, let's just hit Place. Now the reason we place images as embedded is because it turns them into smart objects and that's what we want for now. Okay, so we have our image. Let's just go ahead and do a quick duplication of our layer. Nice. So now that we have this copy over here, we're gonna go ahead and make another new layer. And we're going to rename this inner below. Inner glow. This is going to be the glow of this lantern here because it'll be pretty cool. And if this Lantern was actually on enough, I think that looks pretty cool. Now, next thing that we want to do here, we want to right-click on this layer. We're going to go to Blending Options. And we want to turn off transparency shapes layer. Okay? So we want to make sure that this is off. So I'll just hit Okay, lovely. And now all we want to do is change the blending mode of this layer down to Color Dodge. Okay? Now, whenever we paint on this, let's just hit B on our keyboard. I'm going to get our brush. Make sure we're on the right layer here. Now lawn to make sure our flow is a little bit lower. So around, let say around 20 percent for the flow opacity can stay at 100 on. Now if you start to paint, this is what you'll see happens. I'm just go ahead and increase the size with our bracket here. So if I paint, you see we're adding a light effect. Okay, So we don't want it to be that intense. Obviously. Let's just go ahead and turn the flow down all the way down to five or 7%. We can zoom in here onto the lantern itself. And it just slowly paint in a light in here. And I'm making sure to avoid the iron bars that are here because those wouldn't be glowing. There'll be blocking the light. And it's going to go to about that point. You can zoom out and you see it's gone, but it's still not looking exactly like we wanted to write. What you can do is you can always put opacity of this layer down. Or alternatively, if this is too much, just paint in black, it's going to get rid of the intensity of that globe. So let's zoom out a little bit and then switch back to my paintbrush share. And let's go to the point where it actually looks reasonable for you, okay? So I might actually make this a little bit smaller of a light inside. Because I'm imagining a little light bulb just hanging here in the middle of this lantern. And I'm switching between black and our sky color here just with x. If you hit X on your keyboard, it'll switch between those colors. Now note that the flow down even more down to just 3%. You can see why we don't wanna go too intense for this. And I always say a little bit goes a long way. So I'm happy with the Inner Glow layer as it is right now. Let's go ahead and make a new layer above this. And we're going to name this glow because the light has to actually glow. It's not enough for it to just be within the light itself. So let's go ahead and double-click that and let's rename that to glow. All right, Now we're going to change the blending mode of this down to overlay. So using the same brush that I had before. So the soft brush, this time I make sure I put the flow all the way up to 100. And since this is on an overlay blending mode, I do one-click, make my brush a little bit bigger. And one more click, make my brush a little bit more bigger. One more click. And there we go. So now we have a nice glow to that light, but we're not done just yet. What we're going to do is we're going to double-click on this glow layer. I'm going to have this a Layer Style panel open up and we want to give it an outer glow. And as you see, there's like a little color to it now, right? So we want to make this look even better. I want to add a little bit of color to it, right? So this yellow doesn't look too good with this. I want to stay more than the cooler colors here. I might go with a nice cool desaturated purple. Something like this. Let's hit Okay on that. And you can turn the opacity up to really see what you're doing. I'm going to turn it up for now just so you can all see the edges here. Okay? So you can see that if we toggle this to go bigger, it just looks bad. We don't want to spread it to be too big, to be just 1% in size. We can defuse it as much or as little as we want. Let's see, let's make this very diffused over there. Nice. Now what I wanted to just want to bring the opacity of this all the way down. You just want a little touch of purple within the lantern color. So let's hit okay. So if we toggle the outer glow, you can see there's just a little bit of extra, extra little possess to that. Now one thing that I like to do with all of my images is to do a final color lookup, a little bit of color grading to basic level color grading. And you can do that very easily. Just go down here, click this menu over here, and then just go to color lookup. You can go through this and find whichever suits your fancy the most. My personal favorite that is included with the Photoshop by default is foggy night, that is my absolute favorite. So I'm just going to apply that. But this was way too much. I'm going to bring that down to 0%. And then slowly just bring that up. There we go, something like 25 percent. There's a nice subtle effect. So let's go ahead, let's group everything up. Control Command G. So we went from this. You see it's a lantern is often very obviously off to this. It's a fairly convincing looked at it as actually a lantern that is on. How cool is that? I'm going to go through this exact example with another image here really quickly. Okay, so let's go ahead and let's do File New. And this sum, I'm just gonna make this landscape orientation. I always find it's good to practice things multiple times. So I'm going to go over this, a very basic technique twice with the really quickly. So let's go to File Place Embedded. I'm going to do basic example 2. And I'm going to drag this to fit, fit our screen a little bit better. Nice. And we're gonna go through everything a little bit quicker, but it's going to be the exact same steps. So Control Command J to duplicate that layer. Now we're going to go ahead and make another layer here. We're going to rename this inner light. Lovely. Now we're going to right-click on this. And I'll go to Blending Options. And I'm going to turn off transparency shapes. A layer, just hit Okay? And we're going to change the Blending Mode to Color Dodge. And now we can start painting, but not before we put the flow down to about 26 percent. And now with the brush selected, you can hold down alter option and you can sample any color from your picture. And I'm going to sample some of the lightest color in the background and make my brush smaller. Because here we have a very specific area that is actually a lightener. That is this midsection here of this lantern. Let's make our brush a little bit bigger. Very nicely. We have the inner light going on. And I might paint a way just a little bit. Something like that. Lovely. So I'm going to go ahead and make another layer. Now, we're going to call this layer below. All right, We're going to make the blending mode of this layer B overlay. And we can essentially start painting in right away. But we want to make sure that our flow is all the way up to 100. And, and make sure we're using the exact same brush as we were before. And we're gonna do the exact same method. Click ones, make the brush bigger, click another time, make the brush bigger. I like to do that three times. You can go four times. Let us keep it very minimal. And i'm I put opacity of that down ever so slightly, just like 83 percent. And we're going to double-click on that. Give it an outer glow, purple outer glows and not going to work to all of this. And now a little tip you can do is with the color picker at defaults to an eyedropper tool select to just pick one of the mid-tone colors here. Something like that would be nice. Let's hit okay. Now I'm gonna put opacity all the way up so you can see exactly what is happening here. So as you see, as we increase the spread, it looks even worse. So we want a spread of maybe 1%. Let's just bring the size all the way down. So we don't need it to be that intense. So just very minimal adjustments. Like so and said, Okay, and let's see the before and after of the altar below. So it's a very subtle glow to our image. Lovely. Now when it comes to having a human or a person within your frame here, you can also add a little bit of glow to them as well. This is completely optional. If you want to do this. Again, you can just make a new layer, have it be color, dodge layer. And with the same color, can choose a small brush, very low flow. And you can start to add little bit of highlights to your model. If that's something you want to do, I'm not gonna do it for this particular image, but it is something you can do. Now the last step here is to do a quick color lookup. And I'm going to load the foggy night preset again. It's one of my favorites, bringing opacity all the way down and then slowly bring it up to about 17 percent. So I'm going to group all that we did together Control Command G. So we went from this where it's obviously, this lantern is not on to this where we have a fairly convincing looking lantern and that is on, I don't know if you've ever actually looked at a lantern or at a glowing light, don't really recommend that you do. But if you ever do, you can kinda tell that some of the colors are very saturated and blown out around just because of the amount of light that is coming from it. Nagel, we have two examples of images with some very basic glowing light added to it. So in the next video, we're going to go a little bit more in-depth, going to go a little bit more advanced, and go with a more real life example of something you might see on the tree in a magazine or something like that. So with that said, make sure you save what you've done and let's keep going. 5. Real Life Example: We are now ready to go into our second technique here. And this is a more real life example that you might see being used in an advertisement, in a magazine and an ad campaign or something like that. So let's go ahead, let's get started. Let's create another new document and then some much glue to bump the size up quite a bit on the double everything. So instead of five inches wide by 10 inches wide, set of four inches high or going to have eight inches high. So this is going to be a 10 by 8 document, still 300 pixels per inch. Let's just click Create a lovely. It's the same ratio as before, but I want to have it be a little bit bigger. So it's got, let's do File Place Embedded. And we're going to use the real life example picture. Let's click Place. And then we go on. Let's just resize this really quickly to go ahead and fit our frame here. Now I'm going to have it be very centered. Let's just hit Enter. So what I'm going to do with this particular image is I'm going to make all the little details here glow. So the Adidas logo here, this little segments here in this detailing on the shoe. And I might even add a little something here on this section, even though there isn't anything there. So I'm going to turn this into an ad for this shoe. All right, so let's get started. Let's go ahead and zoom in all the way to our image here. And let's just get started. I'm going to be using my pen tool. But you can if you want to, just use your lasso tool because we're going to be tracing all of these shapes. So if I were to use my lasso tool, I need to have a very steady hand. And as you see, I already messed up there. And this is why I like to use the pen tool. But this is essentially what we're going to be doing. So let's go ahead and hit P on your keyboard, the letter P. And we're going to go into our pen tool and get started. So take your time with this and you actually want to make sure that you get outside of this edge here. We don't want any of this black logo here in our final selection. So you can zoom in as much as you want. You can go to your zoom tool and the Pen tool will still remain somewhat active. You can just toggle back to it. So I'm just going to go ahead and take my time. You should also take your time. And you just go around the edges here, making sure that you're saying outside as much as possible of this edge here. And luckily, this process goes fairly quickly. Here we go already have one of the selections made and I'm just going to continue. I'm not going to turn this into a selection just yet as of now, it's just a path. So I'm just going to go over a here. And I'm going to start our second one. So let's just keep going. And I know some people don't really like to use the pen tool because it's a little bit difficult. And I totally get it. I was kind of against the pencil when I first started out in graphic design many years ago. Because it's not the most intuitive thing. When you're first getting started out like what are all these anchors and nodes that I'm dragging out here? But I'm actually going to show you really quickly in a second. Some of the little nuances of this that you can actually use. So let's just close that up. So for example, let's say you can start it. And now I've put a spot in here and I'm like, oh man, I want to pull this out here, but I don't want to undo. It's very simple. You can just hold down Control or Command, and now you can move that one note around freely. So I can now drag this out here and I can keep going. But now what if I totally messed up the angle here? But let's say I want to make this top part go this way because now let's say I wanted to curve left. We're going to have this big loop here. So let's undo that. You can simply do Alt Option, click on that one node. And I can drag this to the left here. And I can control the curve there. You see it's a much better type of curve if I want a particular point or a specific angle, you can really get very customized with your specific selection. So let's just keep going here. That's a huge benefit of using the pentose because you don't really have to do any control or Command Z. Don't have to undo anything. You can just fix it yourself and keep going forward. Perfect. And we're pretty much done with our very first selection here. Perfect. So let's go ahead and zoom out. Go nano, zoom out too much now. So now that we have our paths here, it's very simple. You can do Control or Command, Enter out those magically turn into a selection for you are going to do is make a new layer. And we can name this main logo, because that's the main logo emblem here of the shoes. We're just going to fill this whole thing in your paint bucket tool. I'm going to fill it in with the white done. And this is when you'll see if you have any edges where you might have gone over. But this looks like it's going to be a decent selection. Okay? Now, if it looks something like this where you have a big black edge on either side like this. You're going to want to go ahead and maybe redo your selection or just add to it. Okay, so let me go ahead and undo that. So we have one of our selections here. Now before I even get going with the main logo here as someone to get all my selections made. Okay, So let's just zoom in here. And what I'm going to do is I'm going to make one selection here and just transfer it to all of these. Okay, so again, let's get our pen tool out. And luckily this shape is fairly easy. And it's just a rectangle with two curves, sides on each side. And you'll have to do this once. So again, Control Command Enter. And now on a new layer, this is why I wanted to do this. I'm going to fill it again. Would wait, you can just hit G on your keyboard, the letter G, and it'll get your paint bucket tool. And there we go, we fill that in. But now I need this to go all the way down here. How are we going to do that? It's going to duplicate it. Control Command J. And now I'm going to drag this over here. Control or Command T will let you transform it. And holding down Control, you can change the angle and everything of your selection. So I'm just going to essentially mold it to what I need it to be. Now I'm going to duplicate that again. And I'm just going to go down the line here. Now if I need to make this skinnier, I'm going to hold down Shift and dragging these at the sides. Because if you notice these get skinnier and the angles get a little bit more angled as we go to the left here. So Control Command J. There we go. This one is a little bit more skinny again, so transform it and then hold down Shift. Let's transform this. You can see the angles are starting to change ever so slightly. There we go. We just have a few more to go here. Let's transform change angle ever so slightly. Just like that. Let's keep going. Near the end here. They get really skinny actually. So just pay attention, like paying attention to these little details, these big companies that will really appreciate that because many times these ads can be seen on giant billboards, giant posters. So these little details will be noticed. There we go. My bring this bottom edge up ever so slightly. And let's hit Enter. So now we have all of those highlighted, so to speak. And what I'm going to do is select all of these layer one copies and do Control Command E. And these are now just one layer. And I'm going to rename this to be, let's go many line segments. You can name it whatever you would like. Now if we zoom in over here, you can see actually have the Adidas logo here. Now I actually want to have the actual logo be glowing here. Now for this Adidas logo, actually want to bring in the actual logos. I did find one on the Internet, but because of the scores, I can not include it because it's a corporate identity that I'm not affiliated with. So what I recommend you do is just go to Google, type in Adidas logo in the images and find the following image. I'm just going to paste it in here. There you go. This is the one that we're going to use. We're going to cut out this front, this top logo over here, and this bottom logo over here. So let's go ahead and get our Lasso tool. This doesn't have to be a super good selection for now. We just want to get the elements separated. So with the lasso will make a nice little ring around what we want. Hit Control or Command C, and then Control Command V to paste it. So now we have these two elements separated. Because if we look carefully, we have this text over here, and then we have this old school logo over here on the right. So that's essentially what we want to do. Okay? So in order for us to be able to separate the black and white from this, it can actually be very, very simple. First things first, let's go ahead, let's to Image Adjustments and Invert. We're gonna do that from both of those Image Adjustments. Invert. So now these are both white, which is exactly what we want, right? But how are we going to get rid of the black here? Well, we can simply just go to one of our trusty blending modes. Screen usually does a really good job of that. So I'm going to go with screen. So I can align this up somewhat. I'm going to line it up above it. Controller command T. And a should be about this size, something like that. Okay? And we can always go ahead and increase the contrast between these layers. Namely get rid of that little haze. Perfect. So we're going to essentially do the same thing for this logo over here. Change that down to a screen blending mode, and then use Control Command T. We're going to resize that. It's going to be all the way the small, lovely. And again, I'm just going to apply a little brightness contrast layer to that. Bump up the contrast. Done. She now if we zoom out, this is what we have to work with now we need to actually add a glow to this, the proper glowing, the proper glowing effect. Okay, so let's get started with the main logo over here. Okay. So we're gonna go to main logo and the majority of what we're going to be doing is going to be when we double-click this, we get our Layer Style panel. We're just going to be working with an outer glow. Can't really see it now, can you? That's totally fine. What we're going to do, these are going to increase the size. You see it's immediately starting to grow. And it can also increase the spread if you want. Now first things first, I'm going to actually get a good color that's going to complement this purple luckily, but I personally like to complement that is kind of a mint color. So let's try and find a nice minty green. There we go. That's a nice color leveling and that is already glowing if you want. You can also add an inner glow where we have the same color or similar color. You can try and find as much, much closer to the actual colors possible. Though in this particular image, It's not going to be too much of an effect. So there you go. We have the initial outer glow on that. Let's just hit Okay. Let's go to the main line segments and you'll see things are a little bit different now, this domain line segments, Let's do outer glow. As you see, this isn't looking too good as because the spread and size need to be adjusted. Okay? So let's bring the spread down a little bit less than the size down. And you'll see immediately scanning a little bit better now. So play around with this until you find a setup that works for you. Something like that is going to work. Nice. Let's just hit Okay. Now we actually need to go ahead and get the glow on our EDI does a logo here. And I decided to go and take a quick look online to see if I can actually find free to use logo of the Adidas logo, and I actually did find one. So moving forward, I can recommend that you download that and work from that because that's a PNG. It's going to make things a little bit easier for you. So I'm just going to show you how you can incorporate the PNG file into this instead. Okay, so I'm going to do is go to File and go to Place Embedded. And there we go, EDI does logo. Let's hit Place. Lovely. I'm going to duplicate that because I would like two copies of this. And it's as simple as resizing this. This is going to be for the word editors and this other one is going to be for the logo. So we can resize this one. All right, let's zoom in and let's actually work a little more properly with these. So let's go ahead. I'm going to hide the two layers that we've already done. Okay, so let's zoom in. We have our editors over here. Let's just go to Image Adjustments, invert. Never going to line this up to where we would like it to be. It doesn't have to be perfect. It's going to hit Okay, So I want to transform it. Anytime you transform a smart object, It's going to take away any kind of adjustments that you make to it. Now I'm going to make a mask to this because I want to actually get rid of this logo up here. So make sure you have a hard brush, a 100 percent opacity, a 100 percent flow. And then if you paint them black, you're just going to paint this away. Ok. And I'm going to do similar thing here for the actual logo part. And let's make sure we're moving the right part of our image. Lovely. So I'm going to go to Image Adjustments, Invert. Now we go, we have our actual logo here as well. Perfect. Now I'm gonna do a similar thing. I want to paint away the words. There we go. So there we go. We now have the proper logo, this time with a PNG. So now if we want to do a similar thing that we did before with the effects, we can do that. But let's go ahead and let's get rid of the other two layers that we had. And get rid of this, this and that. Okay, so now we just have the layers that we just added, that it doesn't go okay, so let's go ahead. Let's do the text first. Double-click on that. And that if you do Outer Glow, it's actually going to have an outer glow. Now I want this to have the same outer glow as this one here. So it's pulling from the previously used altro glow. So I'm going to use that one. And we said, okay, now I'm gonna do the same thing for the logo here. Double-click that, click outer glow and hit. Okay. And now we have a nice glow going on in our image. Looks pretty cool I think, but we're not done just yet. We're not doing this like any. I'm mature. We want to pay attention to the small details. And that means having a little bit of a reflection here on the floor. Okay, so let's go and make a new layer right above our actual image here. Okay, blank layer. We're going to get a brush that is soft. Okay, I'm going to make the brush bigger. And I'm going to sample hold down alter option. And I wanted to try and sample one of these pink colors, something like that. And I'm just going to go ahead. Click once, twice. Let's go three times. Okay? And now if we go here, done in our drop-down, we'll see a few different things that we could possibly use. Now I want to use a combination of screen and Color Dodge. So I'm going to use string first. Let's hit Control Command T. And I'm going to squish this completely, makes us into a flat disc. And I'm going to drag this a little bit over here by holding control. Because these are lights, these are emitting light onto the ground, like so. So we have a little light there. And I'm going to Control Command J to duplicate that. But this time I'm going to make this be a color dodge layer. I'm going to make this a lot smaller and a lot closer to the origin of the actual light source, something like that. And I'm also going to lower the opacity because usually Color Dodge layers can be a little bit overwhelming. So you have to use them very sparingly. So we have one little bit there. So if we group these two together, Control Command G, I'll call this reflection. Let me type that properly reflection one, because now I'm going to duplicate that with Control Command J and Control Command T because I want to move this whole thing over here. But this is going to be a far smaller light. So we're gonna make this smaller. And I might even bring this up a little bit more. There we go. Let's hit Enter. And I'm going to lower the opacity of this whole group just a little bit. So now if we zoom out just a little bit and zoom out and zoom in, we can see what having a little bit of that cast the light coming off of these lights here. Okay? Now I do want to add a little bit of overall glow to this image. So we're gonna go above everything, get our brush out. We're essentially going to use the same color. Or we're gonna go with an overlay layer. Because now if we paint, you see we're adding a little globe. But I'm going to bring opacity of this all the way down to Vout 15, 16%. It's going to do a couple of clicks. Just going to add a little bit of glow effect. And if that's too much and always lower the opacity, I might bring that down to about 64 percent. There we go, nice little glow. But now we need this to actually be an ad, right? So what is a good tagline for this? Let's go with our text tool. Just hit T on your keyboard and I'm going to type some kind of tagline here. Let's go with light up your world. You know, I'm gonna make that be two lines. Light up. You'll world. And have that be. Let's select all of that and have this actually would be right aligned. Can have that be there. Might resize that just a little bit. This is something that you might see advertised somewhere. So light up your world. And then let's say this is a new issue coming out. I don't know. March 15th doesn't have to be anything anything real? We want this to be a lot bigger. You can line that up there. Cool. And then maybe have some kind of a dividing line in between these. Let me just sample one of the colors from our actual image here. De-select that. There we go. So something I'm very simple, very basic. I would, in a real situation probably spend more time on this plate. Usually these ads would have some kind of a website with them. So you can use any font that you really have that would look somewhat decent here. So let's just go with let me find something. All right, so I'm just using Myriad Pro Regular. And then we can just have something like let's see, follow us at at it as let's go follow us at EDI does to see the drop. And I'm going to make this be one of these lighter colors. Let's hit Okay. And now I'm going to probably make this smaller because this kinda stuff is usually just off to the side. So something like this, this is something you might see advertise online, light up your mortal world. If I can actually spell that right. I just noticed I misspelled that a lot of your world dropping March 15th follows that Adidas to see the drop. Something very basic, but this is like a real life example that I've actually seen a lot of athletic companies do for their clothing, their shoes is kinda of having a glow effect to that. All right, so there we go. We have our second technique, which is selecting an area, making it white and having it glow kinda like a neon type of light. All right, In the next video, we're gonna go and do a full-on Photoshop Composite. We're going to combine techniques learned from the basic technique, from this technique and even a brand new one that I'm going to show you. It's a little bit more advanced, but we will actually be creating our own sun, not like our own sun. We're going to create it right here in Photoshop. So let's get going, going to hop in to the real meat of this course. All right, let's keep going and let's go to the next part. 6. Photoshop Composite Example: We're finally in the toughest part of this course is going to be a full-on Photoshop Composite example that we're gonna do together, right? And combine so many images into one, it's going to be a really good time. So let's go ahead and let's get started and create our document. Okay, so let's click Create New. It's the same thing that we've done before. I want this to also be eight by ten, but I want it to be vertical portrait orientation. So eight inches wide, ten inches high, 300 pixels per inch. And kinda Let's click Create. It's going to give us a new clean document here. Now, there are a lot of images actually to include for this. I'm going to go ahead and do the first one with you. And I'm going to come back to when I have all of them in here. So again, File Place Embedded. You're going to want to navigate over to the Photoshop Composite example folder. And we're going to be using every single photo in here. So I'm just gonna go through here and we'll start with the Desert. I'm going to go through and place every single image here. I'll be right back. And there we go. We have all our images in here. We have quite a few layers here. So we have our sky, we have a solar system. We are going to be cutting multiple images out of this one. Now we have a Saturn by itself. We have this random planet, and then we have Mars are going to actually turn Mars into the sun. How cool is that? And we have this men that's floating in some warped room or something that looks cool. And we have some bird, so I do have some bird brushes that I will be using as well. But it's always nice to have a bird image like this to work with. And then we have our desert. Alright, so let's just go ahead. Let's get started laying out everything in our image. Okay, so I want this desert to be obviously down here. So if you've seen any of my other Photoshop Composite videos, then the whole process is going to be fairly familiar, but there will be a lot of glowing elements I'm going to add to this particular image. So then we have our sky here, but we need the sky to be behind our desert here. So that means you actually have to get rid of this here. Now, we could just go ahead and cut this out, but there's an easier way to do things. How do we do this? Yeah, ask a very simple, we're going to actually use the artificial intelligence in the newest version of Photoshop to replace our sky. Okay, Let's go ahead and do that. So before we use the AI power tool to replace the sky, we're actually going to combine what we have here into one layer because we don't want any of this negative space here. In fact, we don't even need to use a sunset sky here. What we can do is fill in this layer with, Let's just get this color here. Let's close enough color. And what we're going to do is we're going to combine these two layers. Control Command E. I'm going to right-click and we're going to convert it to smart object. Always like working with smart objects. And now we're going to do is going to go to Edit. We're going to go to sky replacement and it's going to take a second for it to fire up and change the sky here. But you can see already we have a new sky, but this isn't the sky that we want. Let's go ahead, click this drop down. We're going to click this plus icon here, and we're going to navigate to our sky image. We have a right here, sunset sky. I'm going to hit open. We can have it be named whatever at once. And there we go. We have our sky already changed just like that. But that is not going to be good enough for us. Okay, so we can close up this section here, but let's go ahead and shift the edge a little bit up like so. We do want a little bit of that haze in the background. The Fade Edge. We definitely do want that to be a 100 percent or close to it. Let's go to about 85. Should be nice. The brightness of the sky. This is going to be up to your preference. I'm going to leave this overall to match the desert itself will change the brightness of our whole image. You later on, temperature as fine scale is fine. As for the foreground element, this is what's going to happen to our desert are front our foreground element here. So we can adjust the lighting to match the sky as well as the color. So for bringing us up to a 100 and see more of that pink, purple magenta has been added to our image. Bring that down to 71. We're going to output this to a new layer. You can also output it to a duplicate layer. I'll just go to new layer. Let's hit. Okay. And now we have everything in a group here, so we can turn that off. We have our original sky and then we have our edited skype. Okay, so this is essentially what we want to work with. And I'm going to group these two layers together. Now I'm just going to call this environment. We can actually get rid of the sunset sky layer here because we have our own that we added by ourselves here. Okay? So now I just want to adjust the environment itself before I even put any of my other elements into it. So I definitely want this to be darker. So let's go ahead. Let's just bring the brightness down. We're going to have some glowing elements. So we want to actually make sure it stands out against the darkness here and add a hue saturation. We want to desaturate this ever-so-slightly. This can be up to your preference. My personal preference is to have more desaturated looks in my images. Let's go and bring the lightness up just by a touch. Let's go plus 7. There we go. So now we have that part done. Next thing I want to do is actually cut out the men that is floating anytime tax will be floating above the desert here. Okay, how are we going to do this? I'm actually going to use the pen tool. I know not everyone likes the pen tool. It's honestly going to get you the best edges because there are a lot of little creases, little spaces between the fingers. And even down here with the shoelaces reaction going to cut the shoelaces off. That's what I tend to do with problematic areas. I just cut them out. Salt. Let's go ahead, Let's get started. And for this one, you actually want to be as close to the edge as possible, maybe even a little bit inside the edge. Otherwise, you can go and run the risk of having like a halo around your selection. Now here, I'm actually going to cut out this little strand from his hoodie. So I'm just gonna keep going around here. And you can zoom in as far as you'd like that there have been some edits that I've done where I'm zoomed in down to the pixel level like this, trying to get the best possible edge. So if that's what works for you, by all means, go for it. I'm going to zoom out just a little bit and move this and just take your time. Put on some music. That's what I tend to do when I have like a big masking job like this. I just put on some music. Because as good as the artificial intelligence powered selection tools in Photoshop, it's still not good enough to select things like this. Without leaving a feather on it, without leaving a halo glow around it. Still not that good. You still cannot be the power of a person just using the pen tool. And another thing you can use as many or as few points as you would like. If you want to use tons of tiny little points. By all means you can go for it if you want to make generic large, large aligns like so, by all means, go for it as long as the end product looks usable, then you're fine. Because for this particular image, his hand in the grand scheme of things is going to actually be fairly small. So you're not going to notice all of those details and jagged edges that can potentially happen if you use a lot of small points close together. So use your own discretion when it comes to that. But hopefully you know what looks good and just strive to make things look as realistic and is going as possible. Some just going to finish up this one arm. And then I'm going to cut back to one. I'm just about to finish the selection hair. Okay. So let me just make it up over here to this crease on his jacket. Yes. I'm going to cut back in just a second. Once I've finished my first selection, I recommend for you as well. Just pause the video here, make our selection. Take your time with it. Don't rush. The video will still be here. Whether it's in five minutes, ten minutes or an hour, it'll steep, still be here. And you can continue from that point. So I'll be right back once the selection is done. All right, So I'm just about finishing up here, making my way around the hood here, bok to hit his hair. And then I'll be finishing off this selection. So I hope that you've also taken the time to get a nice selection here. Because your final piece is going to look a lot nicer with a nice selection. Now with the hair here, I'm going to take some creative liberties and give him a little bit of a haircut as I go here, just to make my life a little bit easier and I recommend you do that as well. And there we go. We have our full selection done. There we go. So once you have your selection, it's incredibly easy to mask him out. Just Control Command Enter. We now have a selection made, and it's as simple as clicking this button down here to create a mask. And there we go. Perfect edge, nice clean line, no haloing. That is exactly what we want. Okay, so now I can go ahead and do Control Command T. And we can reposition him to be somewhere little bit more suitable for this piece. Let's put him out about this level here. It'll be nice to see a little bit of the sky underneath his foot really give a sense of how high he is. Okay. So for now we're just going to lay everything out before we get started with the actual composite. Okay, So we have a Maurice here. How are we going to mask Mars out? Very simply, actually, we're going to get the Elliptical Marquee Tool. I'm going to go and just a little bit from the edge here, I'm gonna hold down shift and that's gonna give us a perfect circle. There we go. We're gonna do the exact same thing. There we go. We have it masked out. And this is actually going to be our son. So I want a brighter side down towards him. And it's going to be at, around this point here. And this is all subject to move, but that's totally fine. Now we have this planet here. So we're going to do similar thing. Hit M on our keyboard far Marquee Tool. Hold down the Shift key, you'll get a perfect circle. Let's just move this a little bit over here. There we go. Another planet now. So this is going to be a smaller planet, just living, living down here. There we go. Keep mindful of where the shadows are and you'll be fine. Now we have Saturn. I'm going to do with Saturn in a little bit different way. Let's go to our solar system here and see what planets here do we actually want to include? I do want to include this planet over here. So let's go ahead and again, M on our keyboard, you can zoom in if you'd like. So m, I'm going to try to mask this out, get a nice circle, something like that. Okay? And we're going to do Control or Command V this time because we're taking a couple of these planets out from this image. I also want this planet over here. I'm going to go back to our solar system layer. Hold down Shift, got a nice selection control Command C, Control Command V. So now if we hide this, you'll find we have a few more planets here. I'm going to have this planet be floating around. Nutshell going to have this planet B over here. Something like that. This planet can just hang around down here. Something like so. All right, so now we have our main light source up here. This one here could potentially do with being turned a little bit. Okay. And now let's go ahead. Let's get rid of our solar system layer. We can delete that and we'll deal with the second layer right at the end. Actually, we're gonna do that in a little bit different way. Or we're going to do with a second layer is we're just going to throw a blending mode on. It, will have a screen blending mode or something, but we're gonna do that near the very end. Okay, and that's going to live over here. Now when the birds, that's also something we're going to do at the very end. What I'm going to drag that all the way to the top. Okay, So now what I'm going to do is I'm going to hide the birds layer. And I'm going to group all of these planets Control Command G on the keyboard into one. And we're going to name this planet's. Okay. So now we have that. And we can finally get started with actually making this look somewhat decent like an actual composite. I know because it doesn't look very good right now. Knows that I'm not a big fan of this. So let's go ahead, let's hide the planets late and let's start with working on our man. Here are floating men. Okay? So let's zoom in ever so slightly. So we need him to be darker than he has. Let's do brightness contrast. We're going to clip it down. And when I say clip it down, I know a few people have had questions about this in the past. I mean, hitting this button here, if you hover over it, it says this adjustment affects all layers and below. So that's what I wanted to do. I wanted to only apply to this layer below it. Okay? You can do the same thing by doing option clicking here, you see this little arrow appears. That means that this adjustment is only going to affect the layer that is clipped to, okay? It's not going to affect any of the environment. Just this layer. Okay. Just wanted to make that clear because I know few people have had questions. So I'm gonna bring the brightness down to about this point and contrast. I don't want him super contrasty. Here we go. Hue saturation. I will desaturate him a little bit. We're going to add some of that back on later on. Remembering the lightness up ever so slightly. There we go. Let's go ahead and do a curves layer as well. And all I'm gonna do here is I'm going to bring this black layer or black node here. It's up ever so slightly like that. So we're making our image flatter in a sense before we add more detail to it. Okay? Now what I want to do is I'm not a layer on top of everything, blank layer. And with my paint bucket tool set junior keyboard on the fill it with the dominating color here. So that's this orange peach color. Okay? And I'm going to bring this down to either soft light or overlay. I'm gonna do soft light for now and bring the opacity all the way down to about 20, between 20 and 30 percent. I wouldn't go more than that. And this just adds a little bit of that orange from our image into that layer with the men. And okay, Very nice. Now what I would like to add now is just a shadow underneath the men here. So you get a sense of where he is exactly. Okay? Now I'm gonna do this in a very, very simple way. So on the layer above our environment, gonna make a new layer between our environment and our men. And we're just going to get our brush tool. I'm going to select the darkest color and image. And that happens to be right here on his pants, his trousers here. And what we're going to do is we're going to start clicking. Good at higher opacity. Just going to make a nice circle like so. Now we're going to do Control Command T, and we're going to flatten that down completely. So now we have a shadow of the man. And I want to get a nice sense of just how high he is now, the centrum here is actually at an angle. So this shadow isn't going to be like this. We have to do is bring this site down and the site up just a little bit, just to match the curve of this. Now film to get even more detailed with that and go to Edit, Transform, Warp. And then you can warp that shadow just to go a little bit more. With the curve of the sand dune. Let's enter. Never go. And if you find it's not looking exactly like you want, that's fine. Just undo and then just do it again. Which is exactly what I'm actually going to do. Wanna make this so that I keep a little bit more of the feather on the top edge. I haven't to lose a little bit of that. So it's totally fine to go back and forth with this. It's totally okay. And I will do a little bit of warping. You can also drag these handles. And it can help you maintain a little bit of the feathers. Little more. There we go. So now we have that and I want to lower the opacity of that all the way down to about 46 percent. Something like that. Okay, now we're ready to get started with actually adding some of the planets. And so let's turn on the planet's layer. And I'm actually going to hit these planets one by one. I want to start with the moon of what the sun actually itself right up here. So it's called Mars, but I'm going to relabel this as the sun. This is going to be one of the main focal points of our image. So for now I'm going to turn off every other planet that we have here. And I'm actually going to just focus on Mars here on our sun. So let's get started creating our son. So first thing that we're going to do is I'm actually going to move it over a little bit. So if I see where his line of sight is, It's more a little bit to the left here. So that's what we're going to do. Now. First things first, I want to actually go ahead and kind of change the color of the spline here because the sun isn't exactly red, will be more of a yellow thing. So let's go and do a hue saturation. Let's just pull this over a little bit more to the yellow side of things, something like that. Next I want to change the exposure here. So let's do an exposure layer. I want to bring the exposure up to about that point. Let's run the gamma correction and down as well. That way we get rid of some of that deep black. They're in there, our image here. Okay, So we're, we're slowly getting there. Something like that. Okay. Now I do want to add a solid color layer. So let's go ahead and do that. I'm going to fill this with, let's find a nice color. Nice orange that is incredibly bright. I know. Let's go ahead and change the blending mode to Linear Dodge. And you can kind of see what that is going to do to our image. So we're going to do is going to give it a mask. Go there Paint Bucket tool and just fill that in with black. And now it's as simple as painting in white. And we're just going to paint back that effect. Okay? So I'm gonna bring the opacity of this down to about 17 percent. And just take your time here. Just going to start to paint a little bit of that. Back. As you see, this is already glowing. How cool is that? Lovely. But we're not exactly done just yet. So I don't want to fix a little bit of the sides there. So what I'm going to do, so I'm going to do another exposure layer, exposure. Let's clip that down. And I want to go until the edges are really bright, something like that. Okay? But I'm going to mask everything out. And I'm just going to paint in by the edges that I want to be a little bit brighter. So I don't know if you've ever looked at the sun. I don't recommend that you do, but if you have ever looked at the sun, it is incredibly bright all the way around. You're not going to really see any of this kind of stuff there. Okay. So if we toggle the before and after you see we just added glow to our edges. And now one last thing that I will do for the sun here, I just want to add a little bit of an outer glow. Let's do Outer Glow. Obviously we don't want it to be this mint color here. Let's go ahead. I'm going to sample one of these yellow colors here. Something like that. Let's hit Okay. And here we can control different aspects of it, like the size of spread. I don't want it to be ridiculously large size. Maybe about 20 pixels at the most. Routine like that. And I might even bring the opacity of that down. Let's hit. Okay? And there we go. We now have a glowing orb son thing, planet above this guy here. And that's looking pretty cool. So let's go ahead. Let's get our other planets into this image. Okay, so we have our men down here. I might go ahead and group the men into his own layer. Just so we can sit a little organized. So I'm going to rename this floating man. And then I'm going to rename everything we've done for the sun as a son and okay, it's really helpful to stay organized. So whenever possible, create folders, create proper groupings here, it's going to make life so much easier because if you have to come back and find the layer of the sun, which has the linear color dodge layer. You can easily find a good planets sun. And immediately we have this one over here, Linear Dodge Add done. So that is why that is important. But let's get going with our other planets here, okay? So I have this planet over here. So I want to match it to our actual image. So for now let's do brightness contrast. That's what we want to bring the brightness of this up ever so slightly, because I mentioned it's being hit by little bit of this light. And I don't wanna bring the contrast down like so. I'm going to keep those two hue saturation the way it is. But for the curves, I don't add a curves because I wanted to bring that up like so. Whenever possible, try to match the black levels in your images to the best of your abilities because it's going to make it look so good. As you see the black in this part of the image is nearly the same as the black in this. I might need to bring that down just a little bit. Something like that. Okay. And I'm gonna go ahead and do that solid color layer. Let's just sample this color here. Now I'll probably do a soft light on that. There we go. So that's that planet. Let's go ahead and deal with this planet here. So for this point, and let's go ahead and, and do hue saturation. So I do want this to be far less saturated. There we go. Let's do brightness contrast as well. Because I want there to be less contrast. There's a little contrast as humanly possible. And let's do a curves layer here. And we're gonna pull again like levels up to match everything else in our image. And not get a little fancy. I'm actually going to bring this up just ever so slightly in front of our guy here. Give a little sense of depth. Okay, adding depth to your images like this, it's gonna make it really, really pocket out of, out of the park. So we have that now and add just one more layer. Clip that down. It's going to be our color layer. Let's do a soft light blending mode. Just a little touch of that. And I'm actually going to go back to a brightness contrast. Bring the brightness down just a little bit, and add all the light and shadows into this in just a second. Now let's go over to this planet here. And then let's go ahead and let's actually use zoom in a little bit. So we see what we're working with. And what I want to do here is essentially what I did for everything else. So let's go ahead. Reduce the saturation. Not too much though. Bring the lightness up. We'll do our curves layer that we had before. Lovely. And I want to add a little bit of a glow to this planet like I had in the very first basic example, I'm going to use a color dodge layer. How are we going to do that? Very simply actually going to clip a layer down. And I'm going to sample this bright part here. Might choose one that's even brighter than that. And I'm gonna go to Color Dodge. We're going to bring our flow down all the way down to like 5%. And now if we start painting and we've got a smaller brush hair, so you can actually see. And to get brighter and brighter, now might even just use the blue that it comes with. Here. Let's go ahead and do that. And you can simply just keep clicking as much as you would like. But I just want to add a little bit of a glow emanating out from this particular planet. Now what I'm going to do is using that same color. But the overlay. Let's go ahead and the flow up. Zc can add a glow now like that. So we're going to go over the overlay layer. I'm going to put opacity down to about, let's go 36 percent. New one-click. Go bigger, two clicks, go vigor, three clicks. Okay. So now we have a little bit of a glow coming off of that as well. We can always turn opacity of that down if we want to. Okay, there we go. And now let's get our a Saturn in here. Don't think I've forgotten about it. You can never forget about Saturn. I'm going to go ahead and just make this smaller. So I'm actually going to turn this alike. So because if the sun is up here, it's going to cast the shadow like that. Okay? And now we're gonna go through our blending modes to find one that's actually going to make this work. So for this, I usually tend to use a lighten or screen. But let's see, maybe something else that might work better for us. It can also come down to exactly what style you want this to be. Linear dodge add is actually done a fairly decent job. But I think I'm gonna go with a string for this particular one. So we're going to have that like so. Let me go ahead and increase the contrast here. And I'm also going to lower the brightness. Ever so slightly lovely. So there we have our basic planets, but we're not exactly done yet. In fact, I might want to add another planet into here. So let me go ahead and grab a moon. And there we go, I found a picture of the moon that I want to use. I've included it in the downloads, so you're going to have that in your downloads for this course. But I want to have another planet, another moon in our image here. So let's go ahead and zoom in. Kinda do the same method to Moscow south. There are many ways you can mask this particular object out a sphere for it's a circle. So I'm just using the Marquee tool. You can use any of the selection tools. What I'm using this for now. Now, this got a little bit too much of the black edge, so I'm going to redo that. So let's go to about that size. There we go. Perfect. So this is actually going to be quite a bit smaller. And it's going to live somewhere up here. Let me zoom out so I see exactly where everything is. Where should we have this? Let me have this just over here. Okay. So let's go ahead and do a little bit of an edit on this as well. Okay. I'm gonna do a little brightness contrast. Put that down like so. And then I'll do our curves on Islam. And let's not forget our solid fill layer. Let me go ahead and sample the proper color and then change out from normal down to soft light. Perfect. So now we're actually ready to get started with doom, all the lighting, shading, everything for our image, okay, we have everything laid out. We have the basic light source created. So let's go ahead and add our shadows and highlights. Okay, so I'm actually going to start with the man himself. So let's close up our planet's folder. So everything is in there. We're going to work with the floating man layer. Suddenly had all of the edits that I do now above him. And I'm going to clip it down. So now anything that I paint, let me just get everything up to a 100 percent is going to only cover him, nothing else. And that is exactly what we want. Okay? So let's deal with our sun here. He's definitely feeling the sun coming from the top here. So let's just start painting that in. And we're going to want to definitely change our blending mode. But I'm going to paint in a little bit just so we can see what all these blending modes I going to do because there are a few different direction z can take. Now we don't know really do anything with darken or multiply at this point. We're going to want to live more here in the Lighten screen category. Okay, so you can look through these yourself, see what works for you. Even overlay and soft light can do a really good job here. Who can sort I'm going to do is actually going to do Overlay from my initial pass. Now here we have a little bit of a conflict between the blue light as well as the sun coming from above. So I'm just going to compensate for that and get that going like so. So I'm not a little bit more global and around him here. Lovely. Let's get more of that yellow going. There we go. So the majority of the light is going to be hitting him from the top here. So you do want to keep that in mind. Keep all the directionality in mind as you do all this. I'm going to put a password on this down just a little bit. So I'm going to build this up on them buildup with a couple of layers here. Let's do a soft light layer. And let's bring my opacity down to about 17 percent. There we go. Little more light going there. It's got a little bit of the blue going. There we go. Very nice. So take your time of this, be very mindful and very intentional. How you are doing your lighting. Okay. So let's go ahead and let's get a little bit of shadow is going here, okay? Now, for the shadows, what I like to do is I like to sample shadows that already exist in the photos. So here we have this shadow, it looks like the darkest part on him. And I'm just gonna add a little bit more black. We were at 13 percent on, bring that closer to about 9%. Okay. So are going to do is have opacity, but high 35. Going to start just painting here. This is where we add the contest back to our image. Okay. So the whole front portion and underside of his legs are going to be in a shadow. All right. Go. Let's make it a little bit bigger. It's going a little bit of this part of his shirt that might be caught in the shadow. Lovely snuff. We zoom out. We can see before shadow and highlight very flat looking after shadow and highlight, starting to look a little bit more legitimate, right? Does exactly what we want. Lovely. So now let's go ahead and add a little bit of the shadow highlight to our actual planets themselves. Okay, So let's go to planets and I'm going to do a very similar thing. Now looking at these planets, I didn't notice that here for Saturn, we have a little bit of an edge around the side there and we don't really want that Dewey. So let's go ahead and open up our planet's tab here. And you're going to want to scroll down all the way towards Saturn layer, which is right over here, it's labeled Saturn. And we're just going to combine the brightness contrast adjustment layer, what that into a new folder. And I'm going to relate, rename that to Saturn. And with a blending and with a mask applied, we can paint them black. And you can just paint away. This edge here. Simple as I've very simple fix. There we go. We can now continue with our planets here. Okay? So it's mainly these three planets here that are going to be benefiting from the light coming off of these. Okay. I'm just gonna go like so. Let's get ourselves a soft brush. Low opacity. Let's go to about 30 percent. And we're going to start having this at an overlay layer. Let's start with this. Blue will need a smaller brush for that. We're going to have a little bit of blue touching this planet here. And then a little bit of blue. This one. There we go. Let's get some of that yellow. And again, just take your time of this. Definitely going to pay off. So let's lower the opacity of that. Cool. We're gonna do another layer above that. And we're gonna do the same thing except screen and have a little bit of glue highlight. They're not a little bit of blue there that are blue to this planet. Now it's time for the yellow. There we go. Just a little bit of detail see without and with this, bringing these elements more into the actual photo. Now we can't do the same thing with our Saturn here because it's on a blending mode, okay? If we did try to paint here, that's going to apply it to that particular layer. As you can see, it's not going to look very good at all. But that's totally fine. We can work with that. So we have the essential part done here with the planets, but now I want to add a little bit more in ways of detailing. Okay, so let's go ahead and make a new layer above everything. And this is going to be essentially some special effects. Okay? So let's go down into our fire brushes on an include all the brushes with this course, we'll just download them and you will have them. And there are a couple here called particles. Particles are really cool because it's like the name implies, it adds different types and styles of particles to our images. And that's exactly what we want. Okay? So what I'm going to do is I'm just going to paint a little bit up here. And I'm going to paint a little bit around this planet here. And just like so. And I'm going to have a few more just dotted around these random planets, okay? And I know it doesn't look good now, believe me, I know it does not look very good. We will fix all of that and have a little bit of these coming down. Perfect. So now just with a mask, I'm going to go ahead with the soft brush. And I'm just gonna go ahead and paint away. What I don't want. Especially within the planet itself, is going to be sparing with this. Just like so. Just take your time with this. There's a little back and forth we can do. For that is totally fine. The more random that these particles will be, the better the overall image is going to look. So take your time. With this. I'm going to actually cut back to once I've actually finished this and I'm satisfied with it. There we go. This is where I'm happy with this. So what I did, I ended up having two layers of these particles. So on the first layer I have some smaller particles, very sparse, so it's not that common. I don't have too much around here. And then I have a layer where I made them a little bit bigger. So if I hide this bottom one, again, I didn't use too much. I layered it together and I'm going to group these together and just label this particles. Because now I can just lower the opacity if I find that it's a little bit too much. So there we go. Something up about 70 percent will do for now. Now, one more thing that I want to do to this man here is on him. I went actually add a glow to his eyes. I know. Sounds crazy, but I want to add a glow to his eyes. So I'm gonna make a new layer. And what I'm going to do is do the technique that we did in the second example we've done with the shoes. Okay, so I'm gonna get a white brush. Doesn't matter what type of brush you have. This has to be nice and small. And what we're going to do is with white, we're just going to paint in his eyes here. This is going to be just a very subtle edit here. But I always find it looks very cool when you add white or black eyes to an image. Makes it look really cool and out of this world. All right, there we go. Let's zoom out. Cool, but now we need a little bit of glow to his eyes, right? So let's zoom in a little bit. Let's double-click this layer. And let's do an outer glow. So I want this to be size pixel, just a very small, maybe five pixels of a 2% spread may be. And so to see it even more, you can just put the opacity up. I'll have it beyond 64%. And said, Okay, so before and after the effect to solve extra glow on the eyes. And I think that looks really, really cool. Now I do want to add shadows of all these planets into this. So let's go ahead and do that. We're going to go to the layer above. We already have our shadow. Then we go. And I'm gonna show you a really simple and easy way you can actually do this. Okay? So what planets here will actually be casting a shadow? Well, essentially everything except for the sons are 1, 2, 3, 4, 5 are supposed to have a shadow here. So let's grab our darkest color here. And with a soft brush, we're just going to paint one there. I'm going to paint there. So we essentially just painting right behind where we have all these planets. Okay? So now we're gonna do Control Command T. And now if we flip this upside down holding shift, we can have it be skewed. And there we go. And we now have all these planets exactly where they should be. Saturn over there. Let's ponder here, the moon, these other planets. Done. How cool is that? But we're not done yet. I want to actually have these go with the angle here in the sand, this like so. And if we remember the layer below this, which is shut off the men, that 45 percent opacity. So we want to make sure we match that. 45 percent might even go a little less. Let's go. 37% will do just fine here. Numerical. And at this point you can get as creative as you want. Okay? We're gonna get to the birds and some other special effects in just a second. But another thing that you can do is on this layer what the glow of the eyes. One thing you can do is if you paint anything now in white, it's going to have a glow to it. Let me just paint them white as you see it has a little globe. So that means you could do some really, really cool things. For example, I can get a really small brush, just one pixel. And I can have. Just some lines going on him. Can have these go into his eyes. Might want to bring this down here. And I might even want to just erase this other part here. Like so. Just like as if it's some kind of energy flowing through him, he can really at this point do whatever you would like if you want to have some some energy coming down from his hands. This is the part where I really hope that you take the initiative and just have fun with it. There we go and bomb very subtle here with that. In fact, I'm just going to keep the ones on his eyes, but you can see the pointer. You can get very creative at this point. So let's zoom out. Lovely. So let's go ahead and deal with some birds. Okay, So we have birds right here. How are we going to blend this in just like that? We're going to go with a dark and blending mode. And I want these birds to be quite small. And they can live somewhere off in the distance over here. I'm gonna show you two methods of getting birds in here. And all I'm gonna do is I'm just going to mask out. I don't want, because I don't want all of these verbs. So a little bit overkill to have this many birds here. I'm going to find a group that I like. I kinda like these four down here. And if you ever want them back, you can just paint in white and look, we have more birds. So I'm gonna actually bring this down. And national going to run make this even smaller. There's some tiny birds often a distance. And I'm just going to lower the opacity because there's a thing called atmospheric haze. And you definitely want to keep a count of that. Otherwise things are placed something like 24 percent will do. Now another way you can do birds is just paint them in. So I do have a bird's brush pack, which you can also find on the downloads, and you can just paint in birds. It's just that easy. So what I'd like you to pick a darker color in my image. And then I make my brush are very small. And then I just paint birds in wherever I want. There are a bird there. So we can have three birds there. And I do like to avoid having triangles and straight lines. I'm just going to erase some of this. I don't want that one there. 7. Your Assignment: And you've made it through this course where at the very end now and it is time for me to give you your assignment. And that's right. I want to see exactly what you can create using the skills that you've learned in this course. What I want you to do is to use all three methods that I've taught you today. I want you to create an example using the method number 1, the very basic method with the lantern method to create a nice glowing effect for an advertisement purpose. It could be glowing eyes, glowing, fabric, glowing logos, anything like that. I want to see that. And finally, I want to see a full-on Photoshop Composite utilizing some of these glowing light edit techniques that I've taught you. I want you to include one of each, submit them to the students submitted project section of the course. Get creative with this. I give you plenty of resources with where you can find free images, where you can find free brushes. The only limit here is your imagination. So have fun with it. And once you're done, drop it down to students submitted project section so that I can see, give you some feedback and we can all see what we can all do. Alright, and the next video, I'm going to wrap this course up and give you some final thoughts moving forward. So let's hop into that. 8. Final Thoughts: Look at that. You've completed my course, Photoshop Composite masterclass of glowing light effect. And in the process, you've created three of your own edits, creating some glowing light edits, and that is fantastic. Now we aren't done just yet. I don't want to see what you can do with this assignment for this course. Why Xun assignments so important is because you only get better by practicing by doing these techniques. So please refer back to the previous video for the details on your assignment. But I would recommend that you go through and watch the course again as you do your own edits for the assignment, it will really help you out or playing the same techniques to your own project. Now if you want to add a little extra finish and polish to your edits and photos. You can throw them into Adobe Lightroom and a play nice preset to it. And what better preset to use than mine? Shameless plug. I know I head over to my website at www dot there real Tom Kai.com, forward slash presets and pick up your presets today, I've made them incredibly cheap for you, cheaper than a cup of coffee and effect. And that's because I want to make it as accessible as possible for you to have the highest quality resources at your disposal for your edits. I truly hope that you've learned a lot today and that you'll apply these skills in your future edits because like you saw, it can really enhance and take her images the next level and it can even get your clients and for actual work, how cool is that? If you've enjoyed this course, I encourage you to leave a review and rating as 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 or reach out to me on my Instagram at the real Tom Kai. 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.