Photoshop - Create a Poster, Photo Manipulation, Retouching & Composting like a PRO! | Kerollos Magdy | Skillshare

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Photoshop - Create a Poster, Photo Manipulation, Retouching & Composting like a PRO!

teacher avatar Kerollos Magdy

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.



    • 2.



    • 3.

      Lecture 1


    • 4.

      Lecture 2


    • 5.

      Lecture 3


    • 6.

      Lecture 4


    • 7.

      Lecture 5


    • 8.

      Lecture 6


    • 9.

      Quick Revision


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About This Class

Hi there, my name is Kerollos Magdy. I am a professional Visual Artist.

• How is this course will help you to use Photoshop professionally?

In this course i’ll teach you many new techniques and tricks which will enable you to make Posters, Photo Manipulation, Composting and Creative Retouching and make your work clean, professional and looks real.

• Why this course is different?

You’ll learn from a Visual Artist who is already in the labor market and is working in one of the biggest Studios so you’ll learn the tricks that helps you to upgrade your work, so you will see that i consider every tiny detail cause this is what we care about in the Studios and Advertising Agencies.

Notice: In this course and the upcoming courses i choose movie posters, famous designs and teach the students how to make something like that just to know that everything is easy to be done.

The original design was done by Featherwax.

Meet Your Teacher

Hello, My name is Kerollos Magdy, Aka Kero.

I'm a self-taught Visual Artist with 5 years experience. I started as a Graphic Designer then I specialized in Photo Manipulation, Composting and Creative Retouching.

Thereby, I'm fully aware of the tricks needed for beginners to help them become amazing artists, not just any techniques, but techniques that will make them professionals. That's my mission.

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1. Promo: Hello everybody. This is Girl is Bhakti. I'm a visual artist and I'm gonna teach you tricks in photo shop. This is my course after a lot of things and I'm gonna teach you every single detail to turn all of this into this. You see the difference? Yeah, I like this. How to turn a man with a group into a painter with the brush in another mood and another life. How to create really lights. How to spread the light all over the three faces floor, side face and how to make shadows and highlights how to make shape in the printer and add texture to it. How to add volume for the table and death for the background. These are the materials have uploaded for you for free downloading and using and show me your outcome. Any questions? I'll be pleased to answer all of it and I hope you'll join us. Six lectures A lot of tricks 2. Introduction: Hello, everybody. I have seven lectures in the first lecture. I'm gonna talk about the background, the depth and how to change texture of the table and also have to add volume. In the 2nd 1 I'm gonna create a hole in the printer and divided into three faces and at textures. In 3rd 1 I'm gonna put some lamps and create some lights and make it effect on the faces. In the 4th 1 I'm gonna put the painter, make it fit in the visual and get affected with the lights. In the 5th 1 I'm gonna put the shadow of the painter, and I'm gonna change the room with the brush in the 6th 1 I'm gonna put the pain bucket and make it also feel in the visual. And I'm gonna put a picture and make it appear like it's a drawing in the seventh and the last one. I'm gonna make it a quick revision for technicals and the whole course. Thank you so much. 3. Lecture 1: Hello, everybody. I want to remind you of something very important. Everything we do in this whole course can be done in many different ways. So if you have any other way to do it, do it. And now let's start our first lecture. We'll open your file from finding new make the with 40 and high 30 out, of course. Sunny meters. Resolution 300 RGB in a bid. Okay, open the printer image in photo shop, then drag it to the fire, then closed the image, make free transform, flip it horizontally and move the center pivot right here to start enlarge the image like this a little bit. Yeah, that's cool. Not the image to be in a confident place in the visual. A bit down large, down a little bit. Okay. Yeah, This fight. And now let's start using the pencil. Yeah, pen tool. It's lovely. Take one big line like this. Be smart using the curves How to deal with it. Yeah, and a long one again. Yeah. This Yeah. Don't skip any part And look at this noise. Smooth curves. I like this. And another one. And down we go here and the other clubs and long line another curve in here. And look at this tiny part. You know, you can't miss this one. You have to be smart and cut it right and take other one. And here is another small, tiny part taking also. And like this, another one and a curve. Another line. Just be patient. Won't ever hurt. Don't you ever heard this is for me this important part, That's most important part and hold the whole process. Yeah, Lying another curve and up. And Romans, there be patient. We're almost there. And another one. And look at this curve. Ah, skirt. And I smooth one and another girl. We're almost that. We're almost there. Yeah. Here. Okay, Another curve. Another long line it because then we'll make it selection. Feather. 0.8 pixels. Okay. And copy. And starting the mask of the table. Yeah, like this. And at the end, take it a little off the table, okay? And delete. These two layers were named to the printer. And this to table and put them in groups. Now open the background image and photo shop and drag it to the fight. Yeah, like this. Then closed this sell it to back, then make features form of flipping horizontal to match the direction of the print in large and no jitter becomes matched. The perspective of the print like this A little bit to the left, the pivot trick to the right and larger, more legit. Be patient. The large it more Okay, a bit two left. All right, I think there's good. Zut, 100%. Look, it's it's slow raise village. So I think I'm gonna make girls Ambler because it's already blurry. Back out. 2020 notes. When it's too much, I'm gonna make it aid. It is good. You see the difference. I know that's better here. Okay. Yeah. Reminder. Always judging image quality in 100%. Only so important. Rename it, then group the layer as you see the black at the front and the back of the background had the same level of darkness, so need to reduce it in the back to make more death. So I'm gonna create a new layer, too soft light and the first tool with the white color to make more depth at the end of the picture. Ah, up, up, up there. And there Ah, bad. A little bit in the dark places? Yes. Into the first. That's better. Okay. Yeah. You see the white place like this, we need to increase the white only. So we make selective color. Air air, increase it. Yeah. Okay. That's nice. I like this. Oh, okay. Yeah, I see the difference. Have used curves too dark in the background. Like this. Yeah. There. Okay, that's nice. And then make it. Let me honesty to take the same tones of the background. Okay. See the difference? Yeah, that's lovely. And I'm gonna take out from here a little bit. And from here from here also. Yeah. Like this. Okay, I like this this better. And the Grady int to take out from here. Just give me the source of light here. Am or more. See defense. That's beautiful. Okay, that's more then. At color balanced layer and in shadows, add more sign and blue. Yeah, more sign blue. Yes, the difference and tones. All right. Better science. It's good. A little bit off blue. Things better highlights a bit yellow. Yeah, Always judge it after before old do that's so important. And now we're gonna take the play religion and drag to the fight. We make a selection and copy this area, which we need. We make features, form and flip horizontal, and we move it to the corner and in larger, a bit more, more. Okay, set Black Point. Choosing curves to make it more focused. But before we do this, you know the rays are too intense. It's too harsh. So I'm going to use Gaussian Blur to make a little softer. So the skeleton broke a 20 pixels. See after him. Four. That's good. And I'm gonna make it scream. Yeah, I love the sell off flares. Okay, I'll see before or after. Yeah, it's too great and we're gonna name it. Flare and the Slayer depth. Take them all deleted, see the difference and get back. Told that, of course. Let's go to the table. It's textures too bad on a near yellow brown colors to make color harmony with blue in the background. So we opened with texture image and drag it to the fire. Then close this top here and a career clip. It Leske adjusted to the table edge and this too a justice to match the printer perspective . Yeah, a little bit from left up a little bit and from the right wing lifted and stretch it up. I think we're getting close. But the left Okay, a bit a bit from down there. And I need to make this life parallel to the line to get right perspective. Yeah. Nice. Pull this up. And it just this to okay, lift it up. You're getting close. Yeah, OK, little bit from the right. Okay. And you see these lines off the table? I wanted to make it the right perspective with the printer. That's too important. It's too lovely. I like the CIA again. Close. Ok, a little bit. Okay. A little bit from there. The from here? Yeah, that's nice. So, K and we're gonna rename it. Would Texture has received the texture. Need more highlights to add a volume to it, you see? Yeah, needs more more highlights. Okay, so we're gonna duplicated, create clipping, mask and set black Onley using curves and click on any shadow point to take the highlights on Lee exaggerated and make it scream and rename it to highlights. Oh, sorry about this highlights. And we're going to use the eyedropper to copy Mittal color like this is the difference in his situation can arise. Increased the situation to make a bite. It's what? It wasn't really? Okay, that's great. The difference. Anyone eat reduced capacity to 50%. That's good. Yeah. Take a good look. That's after enforcing the difference. There are more highlights there. Yeah, I like this. That's better. Take a good look. Okay. And then we're gonna We're gonna convert this layer to smart object, and we're going to use camera or filter. And we're gonna use the clarity. Yeah, just to make it more space for more. We're a good look, you know? Yeah, that's lights. And OK, we're gonna use this to strengthen the wood texture. Yeah, that's good. See after before, Yeah. That's a love clarity. Hide these two layers and make a selection to the shadow area from the previous table. Do I get up and make it multiply? Set white point using curves. Impress on bright area to make more focus on the sheriff. Yeah, like this. And it needs to light it up more so we're gonna use curves. There's a little bit This makes it softer. You know when when you will use it in the middle of it. It effects all of this. So we're gonna use this upper part, does makes a psalter, and it affects only the lights that we're gonna use. I drop her again toe add color to the sheriff and rename it Shadow and Hughes Saturation in colorized and used the eyedropper to take the color to affect the saturation. The difference. Okay, that's good. Gonna make a mask and we're gonna lighting up. This part goes the source of the light effects. This part can be any shadow in this and a little bit from down his ingredient. Bear from the left. See the difference after before, Old as was said use after him before to see what you have done. Yeah, that's good from there. Ah, a little bit for down there. Okay. Yeah, it's getting brighter, and the shadow are better. Yeah, it's over there. We're going to use the brush of bed to light it off these parts, and we're going to use the situation again and put it down this layer not to fake the shadows they were gonna take from this eye dropper. The mid tones and the plus a dropper to take or the other red tools to effect their tones of the table as we need it. So gonna make it a little yellowish to make a nice harmony with the blue background and such a little bed. Okay, that's good. And see, before and after, that's better. And we're gonna make a little bit lighter to the whole of table. And we're going to use the Crips again to make it a little darker in the shadow parts, only the shadow parts. Yeah, the bed. Okay. And of course, we're gonna take out the source off the lights and the table here. I usually brush in the mask, of course. And here, light it up a little bit more. I see there. Okay, that's lice. So you see, the shadows now are peeling very well. And lights also good. Confused cribs again to make it lighter a little bit. Yeah, this afternoon before. Okay, we're gonna may convert off the mask and take out only the spotter area. And to give me the smooth look off the source of light through this, ok? And this good gonna make a new layer and make it so Flight and then we're going to use the brush tool toe. Add more lights. Yeah, right here to make the form of the table. Better. Don't miss the study part over there. Don't this said? Okay, that's better. Yeah. And we're gonna dark in the shadow parts. A little bed with a big brush. Yeah, there and there. Okay, that's better. It's getting more four better here, like this. See the before and after. Take a good look. This before or after. See, what else would you have done here? The fact of lights occurs. Yeah, that's better. And we're goingto put some vibrance in it. We're gonna reduce it a little bit too negative on eight and nine is good. Okay. Again, use nine. Negative. Nine. They had a fado killing red despair and then going to placate the slayers, emergent together and close the original woods. And I need to blur the edge just to get in the mood to get in the mood of the background. Yeah, like this this better. He had the play using the Blur to off course and just be careful using it. Not to mess it up. Yeah, a little bit, But at the edge. Maura at the edge does the background is out of focused. Of course. So we need to put it like this. Yeah. Get more blood. More blood. Okay, All right. And at the table layer to be more blunder to be rough. Okay, I think something I don't like it here. So we're going to get back to history. And yeah, this merged layers, we're gonna put it, and we're gonna click old click to get back what we have torn with the razor tools. And where is this sport? Okay. And we're going to get back to the blur tool. It just blur a little bit of a little bit. There. They're there. All right, that's better. Just take it easy. Easy. Don't Russia take it easy. Focus on the it's and we're gonna create a new layer and get also down the shadow not affect the shadow. Agrees the eyedropper to take the tones off the background toe factor on the table to get him more in the mood, you know? So, yeah, that's better. And gonna, of course, with a soft light. And take this bluish lovely color from there and affect the agile. So again and again and again. The study parts them. Makes it beautiful. Okay, so the sea before it after c. Yeah, like the difference. It's lovely. Now we're gonna go to the printer, and we need to darken the highlights area to alleged the visual light. So getting s curves too dark, a little bit from here from the middle to dark in all of it, and we're gonna fill it black and made the effect on highlights area only. Yeah. Like this? Yeah, a bit. Yeah, that's better. The reason I did this goes the source of light. It's not that harsh on the tables. I can't be like this of the printer, you know? So we're gonna reduce the highlights of a bit. Yes. Smooth. All right. Yeah, right here. Yeah, right there of bed. I love this off course. Decreased the positive Crease it like you want it, and I'm gonna make new layer clipping mask and make it so flight, and we're gonna take the color of the background and put it a little bit off the edge. No, I do this because I want the picture to be all in one mood. You know the printer Yeah. When they see they believe it's a this it's all that table. And the background is the real background of this picture. You know, just fill it. Fill for the mood of it. Yeah, a little bit from background, the edges and but here. Ah, but from the whites of background. Yeah, See, that's better. This study parts make it more beautiful. Off course I love this. And also gonna use the eyedropper to take color off the table. And we do the same like the background, the pitter the edge of the Pender here in here to give me the nice mood. It makes me believe that the Brender it's on the table. And this is the background. Yeah, that's lovely. Don't forget the polluted material. Try it out and show your outcome. See the next episode And I hope you liked it 4. Lecture 2: Hello, everyone. Let's start our second lecture. We'll start making a big shape in the breeder. You can do any shape. You like anything that let's do it. We're gonna use the pen tool. Yeah. Get Ah, play with the curves of the better. Yeah. Why don't make these curves off course, I do it to make the form other prints, right with the shape, you know. So, like this? Yeah, that's good. And another curvy part. And don't there? Yeah. It was a limb here and another and make selection, creating new layer and fill it with a blue color. I chose blue because it's strike tone for the whole mood. You know, where you were playing with the moods with blues like this. So I like the blue color and we're going to deal with some things. Here. Really? Is the stab to fill it up, Not to make this tiny hole. Yeah, that's good. All right. And other here is to step. Of course, he's all to know, and we'll fill it like this. All right, that's nice. And we're going to get back to the layer, group it, take a load selection, go to select mortify contract and make it 30. Okay. Making in verse and press on it to choose this part. Only it make a new layer. Fill it with great color, okay. And disliked. We need to fix it by Penn Tour. Too much. The outline edges. So we make selection after we finish the part. And Philip? Yeah. Okay. See this part? It's from the original printer. So we take Patch Tool, and we deal with that in a second. And now, Lord, selection off edge layer and not selection to make the at shape much the camera angle. Nice. Make select in verse and use the razor tool to remove the margins. Yeah, like this this year. That's good. Okay. All right. That's good. And see the study part. So well, you spend tool. Yeah. To take out this part and fill this part also. Yeah, that's good. And then we need to create shatters that highlights to the edge to looks real. So we're gonna create new layer. And we used Ben tool making, clipping mask, and we take this part, all of it. And of course, we didn't hide. So we're gonna use the brush to give me a tow. What? Your full down but up there. And they're there. Yeah, it's nice shadows to give me the real look. Yeah, here. The selection over there and going to go up there, but to the edge to fit in with the printer. That's gonna need till Ivan needs patience. So this we're going to give it it here of it. Down. Yeah. Just steal with the Kurds as curves can deal a square skirt. So what will deal with it as curve? And there? Yeah, just a little bit here, because this is dead little bender. So the shadows mawr shadows and over there and over there a little bit Toe the edge over there. And remember, it's on the layer alone. Start all the edge layer and we did a clipping mask. Force It's here. Yeah, well, let it up a little bit. It the shadow here, All this using brush. What? Black colors. That's lovely over there. Just some up there up here. But there in a blank articulo. Yeah, that's nice. It's lovely over there. I think we're getting close. Ah, lovely. Lovely. Yeah, School there. Yeah. Stick it out a little bit from here. A bit. He, uh, yeah, this school. Okay, And down we go. Here. Uh, here. All right. Some dark places here. Okay, That's one big bush there. Like this. Okay. Here. Okay. Don't get bored when you see the outcome. Israel feel that you want to put more touches? Where? Ah, play with it more. That's what I'm doing here. It over there. But there. And so it outs of it, Ed. Okay, over there. All right. Here. Yeah. See for it. After this lovely touches off, blacks gift me. Really? And now this part you have don't mess This one make selection here, you see? But over there to give me the nice form out, up and down. Yeah, I see the difference. That's beautiful. I like this one. So they're down here, okay? It will make selection off the edge and modify contacts for pixels. I want to make highlights. So I did all this and it a new layer with white, and I want to take out this edge, so I'm gonna use the pen tool over there. Over there. Over there. Just stick with me D patients Over there. Over there. Oh, they're here and here. Okay, Yeah. Come up, Ed. Tool, come a bit quickly. Come on. All right, all right. A look. A look. I was almost there. Yeah. Take this more than easily. Yeah, here and would lead inside part and we keep out the outside outline, all right? And we're gonna make a bass can to lead a little bit of it because I need the highlights to be smoothed. I don't want it to be this hard. She can't be like this is gonna be to deeds, not trio, you know? So we need so to lead a little bit here a little bit there, you see? See this Smooth highlights gives me Maura list. Oclock. I like this over here. You see these stones? It's getting too close to the tones off the printer. Which so lovely. All right, there, There. Yeah, but here. Love it down here. Yeah. Gets me the smooth dwarves. All right, That's good. Okay, okay. Yeah, yeah, yeah. But here. Okay. And we're gonna make a blur. Gaussian blur for it. One pixels is good. So it seats fitting and I were going to create a new layer clipping mask, and I want to add a little bit noise. Just not to be solid year. You know it's fit in with the printer, and when you look at the printer, you'll see that it has noise on it. So we'll get this for and we're gonna tools 50% gray overlay and then to the filter noise and add noise. 2.5%. Take a good look on it. Yeah, it's good. I like it, But I want a blur in a little bit. So we're gonna go got simpler and make it 0.3 pixels. That's good and so important to make it on 50% great player. And now we're gonna put some details, some textures. I am going to take the structure on it and I want to make itself slight, but it's too harsh. It's too big. Can't But at this big, So I'm gonna enlarge a bit and make it more smaller. Yeah, that's good. Uh, it's lovely. They move a little bit to the right and 30 percents. Good. And I want to take out in dark in a little bit of it. Yeah, that's good. Before and after, and I want to take out some edges of it so that I wanna duplicated again doesn't get me the same march edge, but it gets gives me smooth and softer. So I want to pick a Did you see that's good And put it there. But it everywhere on this edge Yeah, like texture gets me more to the mood. Deal with it. As you love. Just you wanna one of the li little bit vet take out, split it on it, Of course. Clipping mask gives me the sheep. Right? One on it. That's good. Over here and over there. See the difference? It's not solid anymore. So that's nice. And of course, noise is not enough. Every detail he put in it gives a better look See, before this what? We merged, it got back to normal. So it can it. So flight. Yeah. See, difference. That's beautiful. And I want to put some details. So, um, going there this before or after this? One of a sure that everything's fine. Okay, that's good, I wonder, nearly, but if there and just puts blacks, that's fine. Okay, are going to get back to the printer. I want to take this part and put it up, but under the noise and under the texture, but to get affected with it and to a little bit to take the shape of the down part a little bit here. Live but their school, as I said and lead this sport. I just want to save you know, that this black and white thing and I took this color this great color just to match the girl color of the printer. That's good. Okay. Got back a little better. The history. I didn't want to be like this or delete some of it a little bit. That's good. A razor took some part off hand over the self, the edge to appear fake. Okay, that's good. See, difference If and I'm gonna take pen to make the brush size the same brush size and seem black and press enter, it gives me the black. It's good. Yes, on details. Makes it lovely. Lovely. I love it just a little bit. And but more. Yeah, that's good. And we take this part. It also Philip with black seem of the printer. Yeah, that's good. Gives me a hole in a you know? So this lovely? Yeah, I said it all with black can be Can't have any highlights because it's down. It's in the blacks and the shadows. And that's good. All of this is good. Yeah, a little bit. Blacks. I guess I kept more shadows. Get more. I love it. Alright, some highlights, Uh, just to lead out a little bit. Okay. Yeah. Okay, that's good. I think we're close enough. Yeah. All right. That's good. Um, I'm feeling happy. That's go to the next step. I need to divide the shape into three parts. Yeah, like there. So I'm gonna use the pen tool from the start into the end to make line, to know the perspective of the printer with a table. So I'm gonna press enter to give me white in a new layer and get it down a little bit. And now I know how to start. So ungreased mental again. Baker Straight line press shift to take this part. And for me, this would be the face. Yeah, And just get back to the basic layer and car appeared put Any color you want anything doesn't matter. Just to know the difference and get begin the lead the white on from here From there Yeah, just fast. That's fast. And this Also copy it, Hugh, And make any color. All right. We have now the face, the side and the ground. We group them, I see a difference. Okay? And we're gonna call the space and their side. They don't get a take this whole part of the ground and also copy it and we're name it floor. And I'm going to get the basic color that I chose from beginning and close these two layers . And now we're gonna add the will texture to use it on three faces. We get the texture image, we drag it into photo shop and we get a tell that's tries it and the saturated and clipping mask on the floor layer. And just get a labour smaller fit in to the right perspective of the printer and off the floor. Yes. Search it right here. It's such a right there. Yeah, we're getting close over here the bit just focus on the perspective. This is the most important thing in our process. And now stretch it here. Elected up like this. Lovely electors. Alright. See the stone import the stony plu part with to fix it now. All right, that's good. And we're gonna make it most employees. Yeah. Said in there's a blue Tony part. Fix it now. Yeah, that's good. Yeah, we're gonna make it 50%. I love this. And we're gonna add another image, another texture, But it on the photo shop this I would take this sport. Only this quick selection, that's what I need. And copier in the lead. The rest. I put it up just to use Dutch and burn just to see the whole image. And I used dodge and burn to make a flat because I want to put my own shadow on my own highlights. I want to any distraction off any picture love Dodge. You know, I used are just clean it just a clean to me to make it fled to Maykel the shadows and our lights like a middle like a great on like this usually. Okay, that's beautiful over there with a big brush. Just play with it over here. Okay? It got complicated two times. Doesn't want to use it with the side and the face also and clipping mask on the floor layer and put it also on the same perspective and the other one like this to give me more life, You know, more life for the structure. Every text report gives you more details. Lovely details as a mean to see what we're doing. Be smart and take care of this tiny things a human would miss out and most apply. Then we're going to jump on the side layer, bring a texture, image and slowing. Yeah, right. We're gonna put it up just to see the whole image in front of us and feet since form, Get it down the bed and rotated to fit in the side layer. Yeah, like this. All right, We're destroys it. Okay. And I'm gonna use the Dutch again to make flat the same hole process. We did it in the floor. We're gonna do it in the Cy, on the face, the same of it. I'm gonna put my own channels and my own highlights. Yeah, that's not gonna take time like the floor, but just give it all the time. It needs to placate it once to use it also in the face and clipping. Master the side. Just put it on the right edge. This okay? That's good. and we're going to stretch it to be in the right perspective from above. Get a down a little bit, okay? It's getting close. All right. I'm gonna small it a little bit. Okay? That's good. Animal supply. Yeah. See this tiny blue part? Because fix that right now. Yeah, here ago. All right, that's nice. Okay. And also this one. Open on the face clipping mask and put on the right perspective, the same whole process again and again and again. Okay, it's down there. The beautiful here. Smooth and lovely. All right. Okay. We'll get a smaller a little bit. Just be careful. Okay? That's nice. Yeah. We're now have fully who will texture on the three phases, then multiply its k. Lovely. Okay. And do you remember the two layers? Yeah, they're they're gonna put it also on the face and the side to be the same as the floor. But here, fed perspective. Right? Okay. It's not bad. Okay, that's good. A little supply. And the other one also on the side clipping mask and do the same process smaller. A little bit. I just used the edge on stretch. Okay, Stretch from above. As we do that. The last picture. Okay, that's good. All right. And multiply now. Do you see the texture? That's right. We have to be careful. The air, like this tiny part, can ruin the whole process. We have to be careful. This just fix every detail in It. Took a long shot on this nice. 5. Lecture 3: Hello, everybody. Are you ready for the third lecture? Let's do it. As we saw at the best two episodes, we're now gonna continue, and we're going to get the lamp file and put it in for the shop and small its size a little bit and make it 18. Okay, that's nice. Put it here and duplicate it and duplicated to make three lamps. All right, Now I wanna make the perspective right. So I'm going to do as a day before I'm gonna use the pen tool, and I'm gonna make a line align toe the perspective and get it down. Yeah, like this. And I'm gonna make the lambs on it to give me a nice perspective and write. What? Yeah, a little bit secure from there Askew here and skew up there. Yeah, that's perfect. A bit. Okay, that's good. I'm gonna delete this layer, and I'm gonna make a layer. Could be masked, multiply and a little bit shadow here just to give me volume Not to make it, flett. Yeah, that's better. This will make it real. And another layer here clipping, mask multiply. And he is the brush. Yeah, the volume here. Good And for 3rd 1 the same mask, multiply and brush in some volume here. Amazing. Now I'm gonna get the flare file gonna put it, okay. And, um, goes tries it and I will delete the's part. I don't want it. And patch tool to fix the swallowed along this flare and make it scream. All right, that is good. But the curves would release out these boys that I don't want. Yeah, these black parts of the one, it And I'm just going to stick with the flare. A smaller little bed here on the lamp fit in there. Okay, that's good. Yeah, that's amazing. But tests a magenta is has a lot of colors. Don't want other. So I'm gonna colorize it and give it science to fit in the mood. Yeah, that's cool. But also keep the blue pallet. It's too important. Don't put any color. No, it's not like this. So it's good and merged it, and we're gonna take out a little bit from these harsh flares. Yeah, a little bit from right and left, but from above and from below. That's good. Okay, that's amazing. Yeah, right. Just gonna But some lights for it all right. They were gonna duplicate it and apply a layer mask and put it on the other lab. But I don't want it to be the same. But I want to be repeated. The same flair, the same lights, all this. No, I want to play with a little bit. So I'm gonna take this making girls Ambler, so play a little bit. See? That's beautiful. That's different. Make it three is good. The other side also. And I'm gonna use this march tour to make some random players. It's not specifics, not a picture. That's my hand that's doing this so I can do it easily. So easily Smudged toe three horns there. I love this. Okay, I'm gonna delete with their razor a little bit off there, and I'm gonna do the same at the last one here, in here and smudge. A little bit to the bed. Little bit. Little bed bed. That's good, cos they're easier tool to take this harsh light. Okay, that's good. Yeah, we now have three lambs, three lighting labs. I like this. Okay. And we're gonna take out some things with a razor. Okay, that's beautiful. And now we're gonna make the highlights. So we're going to create a new layer, make it overly, and used the eyedropper to take it on from background and light it up. Bring this light and blue color. Used the brush tool to put some highlights around the lambs. Yeah, he in here, up and down over there to give you the great look off the light. Yeah, that's good. Okay. All right. Bed beside all of them. Okay. Here, in here. Any? Uh Okay, that's good. Alright, more, More. Um, here. And I'm gonna put this strong highlight on the labs, you know, made the per small and give strong line highlight. That's good. He had the lamp are lighting up low and more of the light. More off specific lights in the center. That's good. And we're gonna create your layer. So slight. Played smooth, down, down, light down. Okay, that's good. Getting used occurs to create more highlights and more specific ones. Clipping make unmask, inverted. And just up there. Hear, hear. Easily, easily. Is lead on crusher easily. Every step is a great step. You do here. Up, up. Okay, That's good. That's good. We're now lighting the labs very nice. All right, Stephen. Florida, after only three layers can change the world here. That's good. Okay, a little bit here. All right, that's good. And here and here. Up in here. Okay. All right, that's good. Okay, we're gonna play with some Huell and it citrate a little bit and get themselves science. Yeah, this before or after just a small detail can make the difference and just delete what I've got out or what has gone out off the soon will be dead kidding. We're gonna make shadow for the lamp. So we're going to go to the lamb player. Makes election to read a new layer is they are dropper to get a director from background, multiply and fill it. Get it down. Down, down, down, down, down. Right. All right, take selection, make mask and inverted. Okay, that's good. And a little bit A little bit. Okay. We're gonna blurred with motion Blur to give me the realistic shadow not to be flat. All right, that's good. And we're going to use the blending options. Take out some of the whites I used. I love bloody options because it makes a realistic makes you know, you can just use the Grady in and take out this. No way. The planning options helps you to create a nice moves with the whites and the blacks. That's what we did there. And we're gonna reduce the past a little bit. A five percents good and a player risk and duplicated. Put it on the other lab. Yeah, that's a nice one. And implicated. And on the other one to skew a little bit. That's perfect. Also, we're gonna put some small detail, which is the smoke, and we're gonna get it every rule. Ask now, why put smoke? Why do but and where to put it. I'm going to tell you we're gonna put it in the lamp to make it real, to make it more realistic. If you're walking in the streets, you will find a lap, and they're still smoke out of it, which makes it more real. And that's what going to do now and where sitting in this all right. And I'm gonna use the levels to make it more realistic. And to this, reduce it better. Don't use a pastie with smoke specific with smoke. If you want to try and do it of course, but I give you an advice to use the levels. It's better. And it gives the smooth, you know, the smooth shadow on the smooth highlights. For with smoke, that's better. And now we're gonna make layer mask, and we're just gonna take out these spoke. He gonna take our well, what we don't want here. Yes. See difference. It's just a slight, lovely difference. That's what we need. As I said before, every detail matters. All right, that's good. Select all these layers and grew them see, before and after. Yeah, I see the difference. It's beautiful. I like this. Okay. And we're going to create a new layer, and I want to show you something important we're gonna choose. The red color is a clue for us in any highlights off any lamp has some certain rays goes like this and like this and like this, like this here in here and here and here, and also intersects with the other rays, create some highlights, parts and some shadows, and also this light would go there and affect this part and create a nice highlight there. So that's important. Create new layer. And I'm gonna roughly sketch the blacks and the yell. The highlights. Sorry. There. Here. It's gonna be dark part here. It's also dark part. But it's like a radiant starts from black and get softer. Here is the same black and softer. And here also, it's gonna be a dark part here, but also here, supported here. It's gonna be a dark part. Okay. And here and here, you know that the light, the source of light, starts harsh and then it goes softer. And here is gonna be dark also to some funny sketch. Just to get my point. That's important. And the light also starts harsh, and it goes a little softer here starts strong Here, here, here starts later and then goes about mid tone. And here and this is the light part that we talked about. I hope you get my point. It's here, and there is gonna be also light. Ah, shadows here in here. All right. That's a clue for me and for you. And I hope you got my point in Let's take these two layers. We're gonna apply what we said in a new layer clipping mask so slight and some and bring big brush and some shadows. Exactly what I talked about. I'm gonna play it now. Haysom shudders at the edge to give me nice shadow here. In here, In here. Give me more, for better. Better That's better Here or shadow. And therefore the highlights. A little bit. Here. Here. All right, That's good. Soft. See the past year. 3% to sauced. All right, I'm gonna created you, layer all source off light more shadow and see this part the end part of this wall and the other world. It's kind of it's gonna go kind merged. You know, there's no some strong shadow that separate them, but clearly merged. So the supportive part and a little bit at the end here, on here, also for the four more. Okay, that's good. Here. Here. Okay. Some Grady int a likely with Grady and brushes. Gives me a nice, smooth shadow. Hear more here. Can Els on this layer of side. Get back to the face, Liberte. Shut up Here. Ah, just make the for smaller. Take a good look. Of what? The way to get back to the side, Bring the curves and gonna play a little later. All right, Here as we said about the light, it's gonna be here. Okay? Yeah. Better. All right, that's good. Curve saves you, man. Curves really saves you yet more in the little bed. Higher. Good. See, defense. It's beautiful. Okay? And you get back to new layer for the floor. So, flight, and we're going to do exactly what we have done on the side. That on the face, some shadows, it started edge shadows here. Here not to be separated. Fake? Yeah, exactly. Has to be blended a little bit with the edges off the soil. In the in the face. Yeah, a little bit there. Yeah, that's nice. All right, That's good. Here and here. Remember, we didn't do anything for the highlights. Not yet. Shadow's shadow shadow here and here. Okay. Got to get back to the highlights, but let's finish the shadow. Well, here. All right, that's good. And now for the highlights Smooth, smooth brush Smoothes. Just played safely. Played really safely. Don't rush it at all. A bum and pump and another bump. It's good. I think we're getting close. I love this. I love this. All right, all right. We're almost there. Pushed to war here. Here 6. Lecture 4: Hello, everybody. And welcome to the fourth episode, Remember, the foot is not over. We're gonna play so much of this one, and we're going to start with the main here off this, and it's man going to drink it to the photo, shop the picture and put it in the printer room and close it. And we want to cut the men to be feeling the image. Yeah, he's been tool here and here, Shoulder. And here. Don't miss in apart Here, here, here. The elbow and here shirt going to the heads. Yeah. Okay, that's good. Hear, hear. Here. I'm not going to take the proof because I've got a put something else and we're gonna continue with the trousers here. Every detail is betters. Every detail matters here and here and here you go to the shoe. All right. It's good. It's good. Ah, the shoe. Be patient. Okay. Sparred. Oh, trousers gabbed. Ah, good. Up every curve. This play, right? Thinking is your fun moment. Hear, hear! Choses again. We're almost there. Ah, I show again. Hear, Hear. Here. Uh, it shoe. All right. It's good Over there. Over there. I recurve again. Okay. All right. here. Oh, I until is good. We're getting close. We're getting close. Don't get bored here. Ah, up. And we're going to take this part, and I'm gonna deal with it with the stamp tool later. Okay, That's good. Okay, Don't worry. We're almost there. And get back to the shed and the elbow. I get it back to the shoulders. Okay. Their curves here. Get back to the face year. Hey. Ah, the hair. Don't take it in one curve. And also dawn. Press on every detail in it. We're gonna do some hair later. Don't worry about and finally make selection. You put a feather and take it. Okay? There's some things here. We need to take it out here with pen tool. Good. It. Okay, uh, take it here. Here. All right. This one. And also this. Okay, here, here, and here. In this, too. And see the study part. Get it out. All right. Yeah. Deleted. Okay, that layer mask. And we're gonna make selection. But if I contract one pixels good and we're gonna take out this white edge now in this layer mask who did an invert? See, I took it out safe time and to make it look better. And we're gonna continue refining the edge and restore what we need. Oh, here, use a brush with a layer, mask it, do whatever you need, and whenever you want, they were fighting the edge. Okay, that's good. And we're storing. Okay, that's better. I know the brush too small, but you need to do this cause it's already its size is too small, so we need to deal it this way. Okay. I don't want a deal. This one just take out this edge. Why here, this moral edge. Oh, old. So take this. Would and with should were there. Here. Okay, that's nice, right? So it's a win, and I'm gonna create new layer clipping mask and use the step tool. Remember, it needs to be corrected below over there and just fix. It's too easy. Fix this and we're gonna merge it with the same layer. Call it a painter. It we're gonna make features for right and got a resize it, make it smaller and made the percentage of with 87% All right, that's perfect. They were gonna get it to the back a little bit it like this. Get a nudge. It, uh, to the right, the back a bit. Right more. But I want to get back to the group of the labs, and I want to make a slight change of the balance between the labs and the paint. Yeah, this slowdown. Yeah. Perfect. That's what I need. See, that's better. All right. See, we have a problem here. When we moved this groups, the curves moved and the old mask moved. So we're going to do it by selected by selecting these parts and fill it with black the curves and in this flare, fill it with black, This place in this place with black. And we used this much tool to fill this up. All right, that's cool. As you see the side, it is shared at the brown there. It's not matching the same of the shape. So I'm gonna put some science in this room. Here's a hue saturation. All right, I'm gonna make some sign. Yeah, that's better. See, Difference gives me more noise, harmony and more. Nice pilot. All right. And we're gonna get back to the painter. We're gonna do some hair for him using the brush tool and pressing on this shapes and the Olympics and go a little bed bear to make the brush softer. And the brush should be size one. The smallest size. Yeah, right here. The bed just leaks. Um, curves some curly held, Yes, Curly here and here. All right. Just to make it really boreal here, that's good. And we gotta Birgitte with a painter, and we're gonna get back. And I would have put a flare here. Why do I want to do this? I wanna save myself self effort, you know, by fighting to make this painter live in the same mood. So the flares gonna help me in this one, it's gonna have the painter to be in the same mood, so I'm gonna put it here. It's gonna put me some nice highlights and some effects. Get a is gonna make a restaurant and used the curves to take out this part as we did before with the flares. He, uh, right and lose their masks and delete thes parts. I don't need it. Use it with a brush, Sophie and softly to get out. Take it out a little bit. It's lovely there. All right. It's good. And we're gonna do features for and put it on the lap with a pivot. And here we go. We make you ask, and we take out the parts that we don't need using ingredient from down there and from above. Here it here. Yes, he difference. Helps we get into the move better. Would you leave some parts? Don't hesitate if you know what is something to be there. Just the leaving. Get it out of there. All right. Is the brush to delete some stuff and restore others? Your store these circles off the flare right here. See? Okay. And we're gonna go and get some rays here. We're gonna put some rays on it. So we got to get the ray file A Put it for the shop, okay? We're gonna features form and make it smaller, and we'll get a turn it to scream. Put it beside the flare. Yeah, restaurant is it that features four began. Get give it here and just faded. Writes there. All right, Good. The bad. Here it up and down just Yeah. Okay. Okay, okay. We'll get close or at this, and we're going to use the use situation and get it colorized and more science to it to fit in the mood. That's perfect. Layer mask. And we're gonna delete the's harsh layers, you hear radiant takes out. All right, that's good. See, before and after. Okay, that's good seat before and after for it after. Yeah, it's a nice touch. Okay, We're going to group them and call the flares. As for the painter, we're gonna dodge a bird. Him and this is a nice part. So we're gonna create you layer 50% gray and make it overly go to bring the bread. And we're gonna start burning this guy a little bit. The shadows. We used such a bird to increase the lights had increased the shadows. Okay, a little bit. Shadows here. Ah, he, uh, or shadows More lights to increase the volume. Here. Some lights. Here's some shadows. Lights would do it. How the light shadows off the background and the whole more takes us would take payload to it. And a test like this here and here. Some lights here at the wrinkles gets more. Three d More realistic. Love this. All right, s'more more burn more bird. Don't burger too much you see this threat color? Don't worry about it. I know it doesn't look that good, but we'll deal with it later the way and some wrinkles. Just played good with wrinkles. Don't rush it here and here. And wrinkles would to here and here. Yeah. Okay. Right here. The trousers. That here lived here. All right, that's good. Some shadows, some shadows, more shadows or shares on the wrinkles. More lights of wrinkles. Okay, play with it. Lovely. Right. And more. The shoe. More lights of the shoe. Okay, seed for it. After. I'm not going to tell you. It was so flat, but I think it was really fled. So what put Dutch a bird makes it more realistic. Good. Good. Hear it here. That's great for the left. Nice, right? More and more Head war. But here, the piece. Yeah. Okay. We're getting close. He, uh Okay, nice. And we're gonna call a D and B as the number dead. We'll go to get the curves, and we're gonna make it a little bit down, but shadowy a little bit. A little bit. All right, layer mask converted. And we're gonna put some shadows in the shadow parts to make it more shadow here on the face to know the shirt. Oh, the wrinkles. The's are the parts that way from the light that takes more shadow. Don't hesitate you, isn't it? The worry? Foreshadow more shadow trousers. Thesaurus parts away from the light needs more shadow. All right, that's good. Don't worry. Everything is under control. Anything. You do it wrong. You can just control that and get it back. He had here and here. All right, Schuler better lights there. Take it out. Okay. Some vehicles just focus on the wrinkles. The lights get into the wrinkles. It's different. Alright, Are the face a little bit? And at the edge. Okay. See difference. That's beautiful on the house, Herb wrinkles at the edge. It's a little slight touch. See? See what I'm doing here. Wrinkles leads some more lights to get into. It goes to get more three d more more realistic. All right, that's good. Here, the edge again and other wrinkles. Yeah, that's lovely. I loved us, okay? And now I'm going to get the huge situation, and I'm just gonna reduce thes friends. Take eyedropper, take half toes, plus eyedropper, take old direct owns in his face and in his head and just give it a little yellow, a little bit yellow and de saturated a little bit So this one is better. Okay, that's cool. You don't get the curves and I'm gonna make the red light. Green light leads the most light and parts ever like this. See, it's it's gonna burn from the lights, but don't worry about it. We're gonna show you how we deal with this First to do this and you get blending options and take it out from the blacks to keep only the highlights. Yeah, this see? Gonna be a clear best. And ask the painter get modify contract and 1% I wanted red light, an inverse it. See, he gave me the outline of the painter as a white Not not so white, but this lighted part Well, the painter and I'm gonna play with a little bit is the brush. I want this like to get in inside the painter a bed and to reduce this light a little bit, how we do it. We just look at the labs to see how the lights go, Toby, and just fitted with it. See the streak? ALS The light will get it to it a little bit. Yeah. Still gonna be just an outline. Okay. Yeah. We're gonna used the broad blur tool to just soft in this part. Not to be so pixels. Okay. And we're gonna get better brush here. Here's some light. Will get into his shirt. See the wrinkles gets more three D by the light. Okay, that's good. Give it its time. Dawn. Crush it at all. I've seen Don't rush at all because really don't Russian and all. If you just want to do something so fast, don't go from the beginning. I guess eso lead some parts that the lights look will be added to the blur tool. For this part goes the texture off this shirt or whatever it cools. It's not gonna be this harsh like the other shirt. It's gotta be more smooth, more blurred. Okay. They're gonna reduce somewhat. The shadows just lead this part called the shadow of the head. Right. That's good. Doubt has more volume in law. Realistic going no shot here and lead from this part. The spark it have any light? Some of the trousers just reduces here a little bit, okay? And reduced on the shoe because it's far away from the light, so it can't have this thing. Harsh red light, testicular from here. And from there, of course, no lights can't be here and from the trousers because of the shadow of the shirt. He is the blur tool for this one because it will have sublight. But of course, love that harsh light, like the rest of the clothes. All right, that was the pressure a bit. Okay, see to it easily, easily. There. Just delete some of it and put also some of it to go nice with the recalls. Okay, that's good. Over there. The Rakell, some lights there and here. Okay, 20% of past. You be really helpful. Okay, Just 4% now. I love small details. I'm sorry. I love this. So get a juice here. And here are the trousers. And also here, of course. Can't be shuttered here. Doh, doh Doh. No lights here. A reduced it. Here also. All this must be decreased. Okay. Here. Used. All right. Bus, Little bit. The vehicles were going to get some lights in it. Yeah, the brush too small, but needs to be that upside. Okay, so there other ankle a bed. I just need to be blended. Better kids get it. Better. Better. And now to lead this part, it's away from the light. And also this part. Dis traduced the edge. Elin, bid here. Okay, Here. All right, we're getting close. Don't worry about it. We're almost there. All right. See? Difference. See this? Foot rim light? Yeah, I love this. All right, then we're going to create a new layer. Confesses the lights that the areas didn't catch it before, and it was too dark, like the hair here. So we're gonna put some lights and make sure it's normal this time. Not so flight or overly. It's normal. And we're gonna use the brush with a white color 50% of pesty in their 40 okay? And going to reduce from the rim light layer a little bit from the hair and put touches here. Okay, take a good look. And now we're gonna put some color balance que shadows, and we're gonna increase a little bit off the blue and silent to get it more in the mood and more of the palate highlights some science. Air, Sea difference. It's too slight, but it's better. It's better. Have new some curves too dark in a little bit like this. Why would did this? Where did curves in a new layer? Because if we did it in the same curves layer with did before, it's gonna be so shadows will be burned off the shadow so we can choose that way. We need to use it on another layer. And we're gonna use layer Basque using brush to put in the shadow parts. Some of it don't worry about this reddish color. We're gonna deal with it as we did before. And here the heads bet on the clothes. Don't worry about any harsh. Everything is under control. Okay. And here the clothes again. All right, All the trousers on the shoe, okay. Or getting close. He, uh, with the wrinkles. Be careful with the wrinkles, some shadows and some highlights at the edges. Hear, hear. Okay. Some details over there. Okay. And at the edge again, it's going well, right? See? After before. That's good. All right, that's good. And we're gonna make your situation to reduce the color of the Reds this for the half tones in the plus for all the reds in the hands in the face, every red and the painter and some yellow and saturated more this time. Negative 23 make it reduced to light a little bit. Okay. See, that's better. It's really better. Okay, We're gonna get the curves and reduce the highlights of the bed. Yeah, like this. And the shadows. Also a little bit to reduce. The contrast in this way is better and more professional than the brightness and contrast. It's too much. So I'm gonna make a 50%. That's good. Okay, sport after And I'm gonna get selective color and bring the blacks and negative three for the yellow to make it more blue. Yeah, that's good. And I think I'm gonna create new layer. Yeah, a new layer. Uh, there's a wrinkle on the clothes, I wonder. Fastest the lights in it makes off light and go toe these Frankel see this one's get the brush to be soft enough. Justin fesses the lights here, here and here. As I said, the small details matters. It's too important here, here, and this will catch light, so I can't miss it. Hear and let hear. Okay, that's good for me. I see Before and after. Yeah, that's good touch. That's amazing. Okay. And I'm gonna get better. The Dutch in Bern. So the Contras took some blacks, so I'm going to get it back some shadows here on the clothes here on their ankles. All right, that's good on the shared. Okay, I'm gonna get the curves again, and I'm gonna make it more dark and a little bit floor. The hands goes, became a little bit flat, so I'm gonna make it more real a bit dark and okay. And this before after, I'm gonna call it. Okay, that's better. That's better. 7. Lecture 5: Hello, everybody. And welcome in the fifth lecture. And now we're gonna put the shadow of the man. Before we do this, we're going to do the same as we did with the labs. We're gonna talk about the lights and how it's going to deal with the shadow. First, we're going to create a layer underneath the painter and like this, we're gonna talk about the lights, the source of light and how it's going to intersect with the perspective off his legs in three lamps here and here. And it's gonna dissect like this goes there. And here it's gonna make, like, a little square there, and the light's gonna be like this. So it's going to give me three shades. One it's gonna be harsh, and the other is going to be mid tone, and 3rd 1 is gonna be really blurs. And how did he do this? I've got to do with the pencil and start with the shoe. I'm gonna draw with Shadow, see, like there's a tool just focused. How to make ID look like the real shadow of the man. Yeah, just curve her, you hear toe their shoe. All right. Uh, I'm not doing this randomly, bird, anything that school. We're gonna do it better in the next step. Yeah, this is the curves air I'm trying to do with the wrinkles off the genes. But I'm gonna fix it later, and I'm gonna cut it right here, does all the rest. I'm gonna take it in the radiant. Well, like this here, here and here. Okay, that's good. And we're close to shoe and thats no. Okay, that's better. OK? And selection. And I'm gonna take the eyedropper and take the dark tone off the background and couldn't make it multiply and then fill it, okay? And now I'm gonna take out the unrealistic things, and I'm gonna put some realistic wrinkles as much as it can. Yeah, put something more here and take out from the ankle bed. More for the jeans. T smokers toe appear as wrinkles isn't there is a tool to do this. It's easy, but needs focus. Okay. And now more and more, just focus in every step. Okay? And so mountains a man pad, You know, gonna put some more here and take out some of here to make the wrinkles looks realistic. As much as we can. Okay? And I'm gonna put tending option. The blending option helps me theaux appeared texture. It doesn't get anything of the highlights, but it makes a nice mix and blend with the background. And it keeps the texture, that's why use it. See, it doesn't affect the lights, but makes a nice blend. Yeah. Okay, that's good. Little bit. All right. There. Okay. Makes makes me feel like three. Instead of the men. I'm gonna make a layer mask. Used ingredient to delete some of it. Yeah, Like this. Ok, a little bit more bit. Okay, that's good. A little bad. All right. Um, good with this. The bed just put some more. It was so loud and zoom and just see if there's nothing more or there is more to boot. Okay, that's good. I'm gonna use the for tour toe. Blur the edges, Ambler, the whole shadow, a little bed, this you can do it also with the couch in blur. But I used their tool because it's fast and it gives me saves time. Yeah, All right. Like this. Okay. Like this the chasm there also works well. Could this So if you need to try this or this. It's you're on your own till where you like, and we're gonna call it Shadow number one. Okay? And I'm gonna use the pencil again to create the second shadow of the middle lamp. And as we said, it's gonna intersect with the first chateau here. Okay, sects, with this one, and it's going to the right. But there. I'm sorry. I need to be more focused with these steps, so yeah, six time. Don't get bored. Okay? I'm gonna got it. Liver. They really But there, here, here, Here. Okay. And we're closed there. Okay, that's good. And selection. And do as we did before. Fill it with a background layer and it could multiply. Okay and blend again. Blended, blended, blended to the texture. But about All right, that's good. Okay, okay. We're there Are good making a mask and Grady int just to lead a little bit, okay? And I'm gonna use the smudge. Yeah, I want to use this much. Yeah, it's much to stretch it a little bit so that it becomes more realistic and then used the gravy in again. Yeah, to delete it. Yeah, that's better. That's way better. All right. That's good. Yeah, that's good. A little bit. Oh, okay. Okay. Here we go. And we're gonna put some more here. Put some more. Put some more. Good. Put some more. OK, So, man. All right? We're close, and we're gonna do it, but so more. Here. You see this? Tiny. Thanks. I was gonna jump on the next layer, but I can't miss these tiny things. It's important. So important. Guilty. Put some wrinkles here and recalls there. Spurt and lead as we want. Everything is under control. Killed elite a little bit there. Okay, Some an it's amounts just to see the difference. It's good. All right. And I want to add a pen tool, small shape to the shadow and fill it. All right. Selection and feel it. Okay. And I'm gonna use the brush again. Just fill this small part. Okay? Right here. And then I'm going to use the blur tool, Tobler. The end of the edge gets something boring me to know that the close its shadow to the man needs to be harsh and strong, and it gets faded. What goes away? So we need to blur the end of it more. I don't get a curry. It's a layer and make it multiply. And we're gonna put some darks on the show. All right? Why do this got the shadow of the leg effects? This site, as we said And as we talked about the perspective off the lights. Okay, good. And we're gonna call it Shadow to Perfect. Now, I'm gonna make third shadow and a source of life from here and used depend tool making like there. And as we said, it's a past is gonna be less than the others and going to stretch it a little bit here, Okay? And they're bump, bump, bump there. Okay. Our match linked with the same shadows. OK, here and selection. Fill it. Okay. And multiply. Make the blend mode and blended to see the Dexter. Okay. And it's Yeah. Okay. And make their past 10% used ingredient and elite these parts. Okay, there. That's fine. Okay, just put some more here. All right? That's it's better put some more there. Okay. We're don't find it was just some Grady in here and here, okay? We'll get back to this layer and add another one and make it multiply. Then we're gonna put some shadows here using the black tones. It just appeared that the man is standing over there. It's not just shadow on light. Needs to be some half tones between them. Yeah, like there and on the show. It's important. Two drawn shoe to make it realistic that this man and this shoe, it's on this ground. Okay. For their in here, Okay. You don't find right. It's good. Okay, that's fine. How about some in Okay? Can create another layer beneath the painter they're making multiply and also a little bit more down shoe. Yeah, it's more, more more of it. Or of it. Okay. More of it. That's fine. As I said, we're gonna put some shadows in there That creates a nice, smooth, mid tones and shadows so that the man is really standing over there. Smooth patient. Okay, make the less tool and select the Spartz and nudge it the bill up. Raise the sport. Okay, Who's the brush? Can't put some shadows, but more. Yeah, he's the brush in here. Here. Okay. And now we're gonna use this layer that would put show in it to put more here on the shoe. Okay, more. The shoe. That's good. Here. Yeah. More. More. Uh, there So that the shadow pumps from the ground into the leg, you know. Okay, so more. Here. Alright, some out. See what we have done. We're gonna create your layer. It gets so flights head is the brush tool with black color. And Philip, a little bit there. Yeah. Here. Hear, Hear. Here. Okay. Over there. Over there. All right. So loud. It will seize ahead. Okay. Right here. Okay, that's good Here. All right. And I'm gonna David, No, A beards. Abyad, Chatto. All right. See after before. All right, That's good. And I'm just gonna check some layers. I think I'm gonna reduce the pesty. 89% is good. Yeah. Okay. Um, going to do something. All right? No, I'm going to get back to shut a one, because I'll open it again. Can best 85. Good. All right. Yeah. We're gonna blend it more a little bit. Yeah, I just love details. I'm sorry about this. Okay. Oh, that's fine. And close it and open it again. Just take a little bit out from here to slide it up a little bit, and here we go down. Just make it smoother. All right? Get back to Damien Chatto. And just because put some touches. All right, that's good. And close it. And here it is, all of it. Okay, it's It's going good. Too far. Closing open and again. All right, close and open. Just checking. I'm sorry about this, but I like to check my stuff. You can just so many. Okay, Okay. Okay. All right. We're going well. And so then just all right. We'll take all of this and put it in the group of Boehner. That's fine. Now for the fun part, we're going to get the brush fire and get to the photo shop. Open it and copy it here, flip it horizontally free, transform it and make it size smaller, like best Semenza n all right. And make its with 33 percent. Yeah, that's good. OK, flip it again, and we're gonna take you with the petal. All right? Use depend. Tool. I know we spent tool so much today, but we needed all right there, there, and it's not gonna be this hard. We came a long shot with the pen tool. So There's gonna be easy for all of us. I don't gonna take this curve off the hair of the brush and the other curve here. Okay, Get to the silver and the body of the brush. It's easy. It's go. Here we go. Here we go. All right, we're there. And make a selection. Okay, Make further. 0.8. Okay. And deleted. Then we get back to the layer, and we call a brush in a group and the layer brush. Then we'll make a mask, make a selection of it, go to select modify contract one pixels and just take out with the mask. The feather. All right. The edge of it. It's gone. And that's good. I just want to get back some stuff here. I am sorry for my details on here. Okay, Lead a little bit off the edge. Yeah. Okay. That's gonna play layer mask, okay? Or take a little bit. And that's good. And just 12 I did a little bit here. Okay. And end to this part. See, this tiny partier made last tool and we copy it, and I want to make it a little bit told her over there and put it right on the brush. Okay. Yeah. What? Get in it. But you see the yellow brush there? I want to take it out. I don't want to see any yellow color, so I'm confused. The stamp tool here to take this out and used to clothes to jump on it. All right. Like this stamp tool? Yes. Until it's like magic man. So he and here, Okay. And of the clothes from the clothes. Hear, hear. Okay. I want to see it. Are doing a good job. Yeah, well, here we are doing a good job, So let's continue. No. Right here. Here that I want to see. Any yellow. Okay, that's good. That's beautiful. Now get back to the brush. And what So men make the past e 83 you know, sexualized better just to see and make a layer mask. Just delete the hand part using the brush. Start that hard. Just be careful and just concentrate using it. Okay. There, There, There, There, there, there, there it's gone. And the hand there. Get out. Get out. Just fill this part and take this part out. All of it. All of it. With a brush tool. It's easy. Fill it a bit. All right, Viola. And it's here. It's easy. Just like magic. Okay, that's good. Only gonna used it now. Here situation. I wanted to saturate it, make it black and white. All right? And just don't want the black and white on their hair off the brush. So take it out and use the curves to Darknet. More and more and more and more and more. More, More, More, More, More, More. All right, that's a good tool. So I'm gonna making layer mask, and I'm gonna do with the brush the place that I wanted to be, which is only in the body of the brush. It's good over there that I won't affect the silver or the hair of the brush. So that's good. We're gonna create layer, make itself flight. I want to make the highlights and the shadows to be to give it more volume and more dynamics. Yeah. See this? It's better. And some shadows by using the white and the black colors. It's easy as we did it before. Here, on the hair, easily. There, there and there. Okay, some highlights there. All right. That's good. Okay. Okay. All right. That's lovely. Okay. And just delete this highlight. Doesn't have to be this harsh. Okay, So, men to see what do in and going good, That's good. I'm gonna create a new layer, make it clipping, mask, multiply and just want a dark in the silver. I didn't do it. In the soft light goes a killing affected. So in the multiply it well, and that's better came or dynamics. Yeah. Now you feel it's like a rounded brush. It's not flat anymore. Hair a little bit in the hair a little bit highlights. Okay, that's life. Okay. And we're gonna put some dark here. The edge. 10% capacity. Just some details, some small details, Another layer. Make it soft light and put also a little bit off. Really light. Just a small room light. We're gonna make the big room light now, but just take it step by step. Russia. And here just a raise. A little bit here. Okay, that's good. It's better. Just put a letter bed here of the lights. OK? It's good. Okay, that's good. Just take out a little bit of here. Don't make it this harsh. Get back to the multiply layer and make a shut off the hand on the on the brush and the other hand on the brush here. Okay, that's good. Okay. No, it looks real. Looks like it's hand handling this brush for you. Okay? Talking over there in a bit. It's good. And we're gonna use the curves again to make the rim light as we did before. We're gonna get it so white, so white. Okay? And we're gonna do the same procedure as we did it before. Like this usually. Okay, all rights. Now brightening up. Goodly your mask and select the brush layer. Planning and risk first selected goal. Then just go to this layer mask, right and go to select modify called tracked and making one pixels. Then fill it. It gives me the nice from lights. So did it before, and we're gonna take out of it a little bit. Just make it small. Would make it more realistic. We need only the edge of it. I don't need it here at all. Just a little bit of it. We don't need it there. We don't need it here. You don't need it. He, uh, off course. it all needed here. Just need a little bit of it. Okay? Yeah. This tiny highlight, the source of light. It's going this way. So it gives me the smooth highlight. All it lead over there for the shadow. And here also for the shadow. This he said she waited a little bit and that you sit. It's to say more, okay. And get back to this layer and just put some shadows more. Don't get bored. I promise you, it would be something differently. Door something that you will love. I assure you this. Oh, get this and just decrees it a bit. Okay? It's now getting more realistic. Not this. And this is the brush group. 8. Lecture 6: Hello, everybody. And welcome in the sixth video. And now we're too close to finish what we've been fighting for. And now let's continue. I'm gonna bring the pain bucket photo injected for a shop. Take this blue book it? Yeah, with the pen tool where if you spent to a lot of 1,000,000 of times here, But as I said before, it helps me so much. That's why I'm usually a lot. Ah, with the curves here. Okay. Yeah. And another movement. Of course. You know what? We want to move the pencil a bit from to the left or to the right to use the right and the left of the keyboard so that it helps me not to do it again. Uh huh. If I want to take out this stretch line Press old. Okay, Now we're close to finish on to take this point. This curvy part supported taking the less it here can down, we make a selection and feathers, You put it, we cup it and would lead the picture. Do you see this time departed from the background and need to take it out? You know, used to mental make a selection, feather 0.8 Also and deleted too easy. And now features four men, make its size a little bit smaller. And put it here, besides painter. All right, I'm gonna flip it now. The horizontal so that I match the source of light that's aborted. Every detail matters a step before, and I've got a group called a paint bucket here for the bucket. Later also, And I'm gonna use the hue saturation to you. See that? The Jetta color on the silver part. I'm gonna take it off with the eyedropper and will reduce the situation, their mask and just take out this magenta part I don't want it doesn't mean anything in the photos, so I'm not gonna keep it is in the brush and take out all these parts. Okay. Here. Okay. It's the Audi saturated. Okay, don't rush. Making any step. I know it's now. It's not enough in the mood, but be patient with me, it will be. And I'm going to go now to registration again, making color rise. And I want to get this science tone. Yeah, the situation. See the color. Okay, that's nice. May get 73. It's good. Okay. See, before and after, and I'm gonna fill with black here. And it just watercolor rice. The blue parts. Yeah, with the brush. OK, here parts. It's getting more science. So it gets more in the mood right here. A lot of drops off the color when whether I see the color feels feels relieved. It's lovely. Okay? Yeah. Okay. Just be careful not to do it in the silver part. The best. This one here, here in screen part I don't like it. Just paint over it and I would get to the curves. I want to put some blacks a little bit here from the middle and the right, making me honestly to take the color about the the original color off the the paint, their mask And I'm gonna paint on the black, all gonna call it the Shadow. Here are the parts of the bait here. The post that the light didn't catch it. Some help me to make a nice form. All right. Feels like I want to jump here. The order on the ticket bath of this paint. It's lovely. I like it. And I've got to just take a little bit here so that the lights go here and here. Okay. All right, Scott. Well, a little bit shuttle here, all right? And I'm gonna make a new layer, make it multiply too dark and more. The silver part. Yeah, Like this Because I can't have this harsh light. All of it. Don't. You're only okay. All of it in the, um, esque. Just take out some parts that I did it. Yeah. Okay. You see that? I'm using the brush a lot. Like to multiply soft light like this goes the fields better. And now get used bloody options. Just blend this blacks a little bit with silver to get the texture. All right? Ah, a little bit. Here, there. Take out a little bit. Just a little bit of put some more blacks a little bit. You're gonna light in. This part of this is the part that catches light. Adam got a Korean you layer and also make it multiply that. Do you see this strong source of light down there? I don't want it. So I got a paid over it. Yeah, and I'm gonna make a tiny shadow beneath it. It's not the final shot off course, but step by step, okay? And they're a little bit is a black color. Okay, that's better. Okay. And I'm gonna use the selective color just to play with colors a little bit. I'm going to go to the blues, give it more sigh in a bit. Ah, some agendas. Okay, a little yellow. Ah, that's good. Okay. And I wanna reduce the black bed. That's perfect. Now I'm going to go to the U to the whites and just want to make it more shadowing to the new chills. But science and a little bit green, You know, the opposite of the magenta is screened here, and also the opposite of the yellow is a little blue. Okay? And some blacks, That's perfect. We're almost there. Just touches off. The blacks are to get a little bit color. Don't want to be that dark. And I want to be black, though I don't like this a little bit blue and reduced blacks a little bit a little bit. Okay. See the difference? That's beautiful. And you earlier, and I'm gonna make ID here, get a tick with their dropper. The color of the background. Just paint over it. Yeah, that's harsh. I'm gonna make it color. Okay? That's beautiful. Yeah, it's now getting in the mood. All right, That's nice. Get a pain here a little bit. Also capacity. 80%. That's good. That's good. That's better. All right. And I want to make the rim lights. You never miss the rim light of this. The most fun part for me. Harsh lights, harsh light, harsh lights over there. Over there. Yeah, just light. I love this. Okay, I'm gonna make a trick. So just look at it. I'm gonna make a selection and get ahead left a little bit inverted and get a fill it. I didn't revert. Layer basket. Divert the selection to stake from the background off from the paint bucket so that the curves give me the room light. And don't feel the pain book. And as you see this telling your, um, light, get me in the mood more gonna put some lights. I gotta feed it with the bucket and just stick out from down. Okay? I'm gonna use the curves again, and I'm gonna dark and a little bit to help you with the four and the curve. Still a little bit. A little bit. So, kid, Black more their masks. And just on this tiny what Ports del there it's getting more and more to stick out a little bit and were to close here. I'm gonna get back to multiply layer. Just see this stark bad, dirty look. I want to take it out with the areas or tool. 5% capacity not to be so hard. Yeah, I'm gonna get back to Ah, all right. And just shadows here, here, the multiplayer. Okay. And now another hue saturation. Just wanted to saturate. Minus 10. He has seen are the difference. See the blue colors. Okay. And as we did with the painter Shadow, I've got to do it now with the paint Bucket Shadow is a bad tool Gonna take part like this , and we're going to do it three times at the Painter. But it's gonna be less shot a week, or the painters are gonna be so hard like him. Yeah, multiply. We're gonna just perspective, right? Use a divot in the free transform, but here, stretch it a little bit. Okay, That's so but here. Okay, that's good. And we got a blend option. Just There is a little bit of bed and except here to get give me the texture off the floor . Okay? And goodies the blur tool. Tobler the edges a little bit. And thats so K layer mask. Just live. Ask Grady. It always a little bit right. That's good. And OK, but OK. And l for the second shadow, it's gonna be, of course, less. The 1st 1 first one is the hardest, wouldn't. And this one's gonna be less steady. Pen tool X election in the layer and multiply bland option to the same same se bangs. Exactly the same layer mask. Radiant. Add raised a little bit. And God, I get the blur tool No, are blur. Ah, he, uh Okay. All right. Got to get better. This would just lead a little bit to match the other would. Okay, that's perfect. All right. And now, But again, the 3rd 1 and this one just gonna be slightly appearing looking. Be harsh at all. All right, you layer, multiply after filling the color blend options. You're gonna take out more this time. Just just for texture and a pastie. 30%. That's good. Layer mask. Radiant. Just take out the edges. Okay. Blur, tool. Blurred bed. All right, that's good that we have the pain bucket on the floor and just multiply a little bit shadow for the Indians of the bucket as we did exactly with the painter the bucket will be would have that shape seem shadows. All right, now we have the bucket on the floor. Oh, my God. That's magic. I love for the shop. Okay, See, this one? Just wanna take out just this tiny part because the source of, like, touches this part, so it's not gonna be harsh. Okay, This is the group of the pain bucket and all right, I'm gonna flip it and just take it in the paint. But group. And now is the fun part for me. It's the painting that we're gonna put here. I made a new layer made Ah, big white shape, and I'm gonna just it right to be fitted with perspective, using the free transform. That here. All right, lift it up a little bit and just get here, okay? And I'll just liver from the left, left it up a little bad care, but from rights using adult to stretch both sides. Okay, Just know, just not yet. Just a little bit here. Okay, Let but Del but right. All right, now work. Okay? I just want up, you know, make this curve, you move so that the painting would be lying down from the sprinter. Oh, now it's better. Okay. All right. That Serbia. I made hide. Of course. Ah, our here. Okay. Ah, but here. Okay, that's good. Okay, okay. I think we're good now, all right. And I've got a know a little bit. Just you right here. Okay. That's liberal rotation. That's better. Sway better. I'm gonna group it. Eg, call it paper. All right, paper also. And I'm gonna get now the picture of the painting, and it's a lovely landscape. You see, I chose this for this picture specifically for the colors to be fit in the harmony and the mood off the whole visual. And, ah, based inside. Of course, it'll get adjusted to the perspective of the paper, And if we just it better paper okay, in here or the edge, He for the other edge. I'm just here to touch the edge, and I've got a deal with the white shape using work, but just let me fix this first in this tiny part of gonna deal it with warp. Okay, down we get it. And from here, also a bad. Okay, That's beautiful. Yeah, we have a savvy drawing, and you layer make it so, Flight. I just wanna put some shadows using brush on the top of the failing. Just a tow Liar. Our eyes. The P dig is really now touching the floor and just put some lights here because of the source of light. Don't the labs. I'm talking about the main source of light of the picture that's coming from the right. That would do the first steps. And I'm gonna put some shadow here so that the the printer would match the light paper. Okay. And I get the curves. Dr. Miller bit here, layer Basque. I just want to make the edge is under, but darken here and here, so that will be flying. Just one to let it touch the floor. Be lying on floor situation. Your situation. Get this yellow parts. I want to give it a little bit of reddish color to match the whole visual and to match the table a little bit. You see, David, It was good. I get to saturated a little bit. So that's nice called Harvey that have got to get back to the science. See, we have a lot of sites are gonna take this. Have told the plastic all the other tools of the sides wanted saturated a little bit after making. Yeah, I was It's just such a rated. Now, that's better. Adam, get a dark at the highlights. A little part live? Yeah, This part. That's good. Okay, I think I would jump also in this painting. Lovely. I'm gonna get the curves again. And I just wanna to saturate the contrasts a little bit as we did before. And this move is tricky and also professional to do it. It's better that the contrast tool see before after it really better. The peeper. Yeah. Now I wanna make the trick that the brush this brush really painted all this picture. So I'm bringing by my Trickett brush and it took some parts that are gonna rotate it the opposite to stick out a little bit from here. See, that's good. And I'm gonna get another brush. Teoh Teik Small touch so that the brush really bad. It's only depart here. Wait. Two size smaller. Yeah, right to your exactly right here. Or that the painter brush did this part to be more realistic. Okay. No, that's good. It a tagged out. Just some devil. I would've puts a level so would give me All right, 75% of it. Good. Okay. Uh, you see this? This part different. All right, but oh, I wonder. Reduced a little bit. So good. Open it again and make it 6 40 30 All right, Good. What if yeah, that's what That's way better. All right. Hello. It takes to be smooth. I don't want any harsh things at all. And I'll get back to the paper, make a selection. I wanna make the shadow of the paper. So you create a new layer. Choose with the eyedropper, the darkest part of the table in multiply. Fill it. All right. It's lovely. Okay? And I'm gonna make layer mask deleted and restore what I need. Get back my brush. Restore what I did here on the edge. And here are the other edge. Just just be careful. This spots this study details makes it more real. So we need to give it or what we have. And this part of going to draw it with my pen tool starting from this edge. Here's something here. Get down. Down. All right, That's good. Stone. A bad bit. Bit. Here, Here, Here. Okay. And get a little shadow from the paper to the printer up. Okay, at here. Stretch a little bit and take away these parts, because election, you layer and multiply. Go make all supply and used my brush to fill it. Or it. Yeah, Okay. Fill this part. All of it. All of it. Okay. And I'm gonna go use my blur tour to fade this edge as we talked about about fading the shadow. The closest part needs to be harsh that it fades away. This is the law of the universe. We can't change it, okay? And create a new layer balsa ploy because I want to spread the shadow a little bit. The reason I did this and not just leave it the shadow like this doors. There's no source of light above the paper so that the shadow can be like this. It's lead leads the horse source of light above it. to be like this. So we don't have this here. So this case, we spread the shadow beside it. It gives me smooth look, right. Features form. It just just adroit with perspective. Okay, that's perfect. Then we get back to the shadow on the floor. Using pen tool would get the Spartz here. Who? Here, Take this whole part. X election. New layer Take with my jumper. The darkest shadow like a sculler off the word. Make it multiply and fill it. Okay? I gotta get back to the blood. The options. It would do the same as we deal with the big bucket shadow and the painter also textures blur lor the edges blerp blerp blerp blerp blerp blerp blur the edges layer best gonna take delete some of their just bad. Okay, that's beautiful. All right. Okay, so well, okay, just restore a little bit here. Okay? Past you. Just a pest. Teen. No, we don't scared back. That's better. Okay, there we have the shadow for paper on the floor and all the table. That's good. Can it? Back to the slayers. I'm gonna put it in the paper group. Get back to the brush group. and take all of this week copy and merge it all. All right, And take the hair of the brush part. And could it, Lord? Because I wanna play with a little bit. So I'm gonna make a warp. And it just wouldn't give the effect that the brushes is really painting now. So the needs to be worked a little bit, like bending here. Okay, that's good. All right. And I made layer. So flight based inside to the hair of the brush. I want to give some highlights and some blacks. All right, That's good. Yeah. Killer bed. And you layer for the shadow. I made a drop here up off the black and use it as a features form and structure the bed. So it gives me tiny shadow and also faded away without using any blur. Anything. But we use this, this study part, we can't use it with the bucket or anything. Where we we delete here, bed with the razor tour, okay? And I'm going to do another one. Okay. After this and you're layer another word, I think you would take it just to make it more realistic to the pesty. 30% I plan to lead a little bit. What? There is a tool of it. Okay. Bed here. Here. Okay, that's nice. All right, just more. A little bit more. Okay. And I wanna play with selective color, so I'm gonna call it first shadow. Can this layer this player merged together and get the shadow down and merge all what I've done again to be one brush and used the selective color Get to the blacks, make it three off the science and five for the yellow. Okay, that's good. Selective color for all of this at more science and more blue for the nature's also more sayed and more blue. Okay, on with a layer mask, a water take out the parts off the floor and the side and this school all of this robotic taking up cause it's already filled with science. So I don't want and anymore sign for audit. Okay, that's better. It's like change, but it effects and I'm gonna group David FX and were to close toe finish. All right? And if the father is going to slow with you because the layers are too big or too much, we go to the elite crop pixels up there and we work it. So we delete the outside things off the rule by the flair and all of this. So the file gets back faster. All right, that's better. And after deleting the crop areas, I'm done here and it's over. Thank you so much. And I hope that I helped you with some tricks and some ideas and photo shop. Please don't know the materials and try to be a visual by yourself and sent it to me, winning your execution and questions and by by my friends. 9. Quick Revision: