Photoshop Manipulation and Editing Masterclass

1. Class Preview : the photo shop manipulation and editing masterclass contains projects that will help you master both editing techniques and come for simple and complex photo manipulation projects . This'll class will teach you nondestructive editing, which allows you to edit or change a photo without disturbing the original photo, giving you more control over changes down the road. The first section will show you photo shops amazing editing tools, including the content Aware tools where things seem to disappear like magic. We live and review how we can change the season of a photo quickly by using selective color . Will we use the spot healing brush tool to retouch with ease and brighten up dull photos with dodge and burn Way will change hair and clothing color by painting with blending modes , and even learned how to paint on gold makeup for dramatic effects and lighting. The second section of this class will focus on photo manipulation projects that vary from easy to complex. The first project will start to review the many ways to isolate and selector images to be placed in new environments and also learning how to edit glass to adapt to its new background, who also change white wine into rent. The next project will turn a simple bottle of olive oil into a beautiful fish bowl. We'll learn how to select and cut out objects with finer details and have a pain on water with realistic effects. Way will do a head swap project. Next, I detail the process of how to swap heads using a combination of tools like the liquefy tool and the clone tools. The next project will focus on painting, makeup and producing dynamic lighting effects to create a character worth remembering. Lastly, will use all the tools we covered in the class to conquer a complex photo manipulation with six photos that will look like one magical world when we're done. This class is perfect for aspiring graphic designers, those who already practice graphic design and want to improve their editing and voter shop skills, or for those who want to create digital art with Photoshopped to show off their talents. This glass focuses on several real world projects I've had to do for clients during my 14 year freelance graphic design career. And, of course, a few fun ones is well practiced. These tools this class is guaranteed up your photo shop game. No matter what your level is, This class is gentle enough for newcomers to photo shop, yet still applicable to those with skills, So let's get started. 2. Selective Color: so I wanted to do a really quick project based on a real world client project that I had to do with a photo manipulation. So this is clearly a picture of the summer, kind of maybe late summer. And I used to work for the wine industry, and they wanted to take something that was clearly in the summer, and they wanted to change it. So it was autumn or fall, and that seemed like an impossible task. Until you find this great helpful tool in Adobe Photo Shop, that tool is called selective color, and you get there by going to image adjustments. I'm just going down to selective color. And so we're gonna be able to adjust the slider on this to be able to change a summer photo to a fall photo and also the other way around. If you have a fall photo and you want to add some green tones to it, you can do the same. So this will be able to isolate different channels or different kind of color modes, and you could be able to change all of the reds and the particular graphic and are able to add other colors in those red colors. So it basically selects anything that's yellow, anything that's green, anything that science. And so this has a lot of greens and yellows that we would like to make more brown, tan, orange and yellow to become fall. We're gonna go down to greens and see if we can adjust the slider a little bit to be able to bring out a little bit more of the orange autumn fall colors. So I'm just kind of adjusting spiders back and forth to see if I can't find a good match here. So now I'm gonna go down two yellows because I would be the next thing. I wanna bring out war so we don't want to. And Blue we went out reduce the amount of blue. So we're just decreasing the scion or blue. We'll want to add a little bit of magenta to bring in kind of the brown of the leaves. The yellow will add a little bit more brightness and vividness to it, and I'm on the yellow color we don't want, um, overdramatize it. So I'm just gonna kind of leave it at that. I could do a couple other ones. We're just gonna go down each channel and make adjustments until, um, and you'll notice how the sky changes with this. This is almost the only blue in the photo. So when I change it, you can see how I could darken the sky or I can lighten it quite a bit. The same thing with Magenta. There's not a lot of magenta and this photo, so you're not going to see a lot of changes. Let's do the Reds. There's some reds in here. I could probably bring out a little bit more, but you could see how already we could see the little machine over here. How that's changing a little bit. As I adjust you notice the trees in the background adopter red. When I increased the magenta, which we want, we want to add different tones. We don't want everything to be brown. We want to have a little bit of orange, a little bit of green to make it look realistic. So just go down each channel to try to get what you need. So lastly gonna do blacks to see if I can't bring out in the shadows? Do you see that could take all the blacks, the shadows and the image and adjust them based on the color. So that could make it even deeper if you add black to black and they can reduce the amount of black to make it lighter, so that will add a little bit more contrast. If I just increase the black a little bit, she could see how that added a full autumn theme to a once summer picture. So let me go back to our history and go ahead and select. This is what we had before, and this is what we have after. So we're able to kind of change the seasons just by using one tool, which is selective color. 3. Content Aware Tool: clients are constantly adding me to remove objects from photos. Whether they don't like the look in the lamp. They want the girl removed because they just want the texture. They want to add their own product. There's so many different reasons why you need to eliminate a particular piece from a photo . And how do you do that? Realistically, how do I remove this lamp? What do I to put behind it? And that's a great question I hope to resolve. There's something called the content Aware Tool, which can literally we can trace around a object. And Photoshopped has an algorithm algorithm that will fill that place inside with an average of what's around. It will take an average of what's around it to create something behind it. So we're gonna do that real quickly here. So to be able to use the content aware tools, we first need to make our selection some signature. Grab the simple lasso tool, and I'm just gonna trace around the object. I'm gonna do a little bit of a border around my objects so it doesn't bring any of the shadows cast by the object. We want to go ahead and eliminate those two. So doing a really nice, generous margin around the object and you're gonna go to edit. You got to go toe, Phil. There's also content aware fill a swell, what we're gonna go to fill right now. And we have the set on content aware, and we're just going to do We're gonna have color adaptation selected. Click Okay, it's gonna magically disappear. Is gonna be fun to watch. And so it's not always perfect. What it did is it kind of took a sample of what's around it and tried to fill it in with similar texture. As you see, it kind of brought this little bit of an awkward shadow cast behind. So you almost always have to go back and kind of do a second little films kind of going over that area. Good at, uh, at it, Bill. Let's go ahead and do your content built. And then there's also things you could do to make it a little bit better by cloning using the cloning tool. So I'm gonna grab the clone tool right here. I'm going to get a nice, pretty decent sized brush. It's gonna be the soft round brush get a hold down option to take a sample, take a sample not of the blurry area, but of this nice, crisp area that is clicked and took a sample. I'm not gonna do 100% opacity cause you're going to see exactly where I'm painting the brush. So if you do a 50% opacity, it will be a little bit more subtle and it'll blend in better. And then I'll take another sample again. Drag it over. That was continue to do this Until I get more of a seamless texture and pattern, you could probably spend another 10 minutes kind of going around and doing that can also increase the capacity just a little bit to get more that stronger trying to get that blur out of there. So now we need to remove the woman from the photo. So I'm gonna do the same thing. Go ahead and do my lasso tool number two grabber lasso tool in order to trace her. Have a nice, generous margin. We're do something in a little bit different. Before we just went up to edit, we went to Phil and we just selected content will content aware, but As you can see, there's a its very own option, content aware fill here in the edit menu. We're gonna select this one, and the difference is we're gonna have a little bit more control with our selection. So as you can see here, this green part is the sample area. So the ALC algorithms gonna sample everything in this green area to create the area and the and the woman selection so it could be able to find samples of pixels to use to replace, so we can eliminate things that we don't want to be a part of the sample. So this little door here, we really don't want that to come through. We just want the blue texture. So I am just getting rid of items that I don't want it to sample. So the green is where it's gonna take that texture sample from, and I'm gonna don't go down here to output settings, and I'm just going to current layer. You can actually do a new layer and will create a new layer with what it replaces on the inside. But I'm just gonna do a current layer going click on OK, okay, so it went ahead and did. Okay, job. There's still some kind of imperfections, but I'm just gonna continue to trace around areas until I get smaller and smaller and gets a little bit better. They're going to the same thing. Go to content, aware fill, go and click on OK, and each time that's gonna get a little better and better. And they can also go back with the clone tool and did what we did before. We take large samples and we kind of pain over just kind of smooth out. There's a little bit of rough texture leftover behind after removed everything. So you go in with the clone to one kind of clean it up a little bit more time. There's also something I wanted to review, and that's the healing brush tool. You could find the healing brush tool right over here on the toolbar healing brush tool. And what's great about this is it's a brush version of the content fill content, aware. So instead of having to go up there and select, you can actually paint on where you want to change is to be so I'm gonna get a nice big brush, get a nice, big brush. And we're just gonna paint the areas that we want it to, uh, kind of replace sample here. This could kind of help us clean up our texture a little bit. Sometimes you have to use a combination of different tools to get the right effect that you're going for. So I'm just holding down to sit. It works just like the clone tool. I'm gonna hold down the option key to take a little sample of this is nice and clean up here, and I'm just painting it on. Has taken samples of nearby textures to kind of clean it up a little bit. Great. 4. Spot Healing Brush Tool: Oh, we're gonna talk about one more variation of this tool. And right now, we were kind of doing the healing brush tool to kind of do a wide area to kind of blend everything. We're gonna go just north of that and select the spot healing brush tools. It's gonna look just like this icon. We have that selected and let's say is going unlock this layer. I want to remove the letters. I want to add my own letters. So I need these remove first so I could do that a lot easier By using the brush version. We don't have to sit there and trace around the are. We could just brush it away. We're gonna do a nice skinny brush, one about the thickness or a little bit thicker than the words. So, in this case, about 112 pixels, you could do whatever works for you, and I'm literally just gonna paint the are away. It's going to take samples around it to find the right selection. We don't need the to, and so you could see this is just like magic. It's really fun to do a lot easier than having to select it and then going upto editing content vill that's its took a lot easier to do a lot of fun. So now I can add my own objects in here for whatever reason I need that for. And once again, that is the spot healing brush tool very, very handy. 5. Non-destructive Editing: part 1: so I wanted to do some photo editing with people so I can show you the power of nondestructive editing. And I talk about nondestructive editing and other parts of the course, or if I've already talked about it, I just want to kind of review. This will definitely explain what that is in action. So nondestructive means you never touch the original photo. You always have it there. Eso Right now I have the photo, and I'm gonna show you this of what destructive editing would be. So let's say I want to bring out highlights and shadows in this woman space. So how we do that is the Dodge and burn tools right down here. Dodge, that's brings out highlights and burned will bring out the shadows. So I'll say this like the burn tool. I have it. Let's set on mid tones, and I don't have quite as much exposure. Maybe 50% exposure. And I start to kind of bring out particular highlights or a in this case, low lights. Then I want to bring out highlights. I switch over to the Dodge Tool. It's gonna do kind of mid tone, not gonna bring out certain parts of her face and bring it out. What's bad about this is I'm editing this layer. But if I ever wanted to go back and maybe soften certain things, I did, I can't. It's stuck its honest one layer. I have no control over it. So how we dio nondestructive editing as we add another layer on top and edit it that way using blending modes so that our original layer is always intact. So now let's go ahead and create our new layer. We're gonna make this layer 50% gray, and we're gonna be able to use a blending mode to be able to get that to disappear. We're going to show you this inaction was cruelly creating a new layer, and I got to go up to edit. Bill could also do that. The quit command. For this I'm gonna do 50% gray, which is option. Here's click on 50% gray click. OK, it's going to fill the entire screen with 50% gray. So this is the trick. This is where we blending modes come in handy. So I'm gonna go ahead and access my blending modes here, and I'm gonna do overlay we're gonna go ahead and toggle this on and off and you can see that since it's 50% great, I can talk about this on and off and you cannot tell the difference. So that's good. So what we're gonna do is we're gonna be able to do dodge and burn tool on this layer, and we don't have to do dodge and burn our original layer. So it's therefore nondestructive? No, I zoomed in our model here, and we're gonna add some of those highlights and shadows here, non destructively. So I have a little layer here. It's set on overlay. You just do the Dodge and burn tools the same thing as I did before. Birth is going to be shadows, and dodge is gonna be highlights are gonna do the burn tool. And let's just do mid tones for right now. Once this kind of bring out certain items that we want to kind of add more depth and dimension, and sometimes it helps to get a small brush to get little minute details. And so we really want the eyebrows to be brought up to zoom in, and a lot of times will need to reduce exposures. You don't get anything too dramatic. We want have super dark shadows. I just want to bring out certain elements of her face to make them pop a little book more, add more definition by adding having shadows to her nose, gonna bring her nose out of my element a little bit more. So it's just not all blended in, pops out. Same thing with down here, kind, adding some shadows. I think we already kind of did her lips a little bit. I always bring out her eyelashes or certain elements here, and at any point, I think I overdid it are messed up. You can always reduce the capacity or eliminate this layer altogether and do it again. So that's what's great. I still have my original photo here. I just click on here. I can actually reduce the opacity if I think it's too much or go back so we could talk all this off and on. It's kind of our our shadows. So let's do some highlights. Click on our layer again, just a much easier way to add highlights and shadows. You don't destroy it, so just play around with range. Highlights are gonna bring out um, kind of more brighter highlights. And then the shadows were to bring out a little bit of the darker portions of the highlights to kind of play around with your shadows highlights and I a lot of times to do mid tones was kind of in the middle, a little bit of both when she doesn't need as many highlights as she needed. Low lights so we can go well, that was a little too much. Here's the original, and there's kind of the dodge and burn, but that is too, too much. So I could just reduce the A passage of 50%. Not Cantata Galan often see how I kind of brought out some of her lips and her eyes a little bit more. We could do the same thing with her hair. So with their hair, let's go ahead and bring out some of those shadows. Get a nice big brush, mid tones gonna do kind of a 50% exposure I was gonna see kind of see how it's kind of bringing out more of this little lights. I'm using the burn tool. We could make that more dramatic by increasing exposure or flipping two shadows. Bring out the shadows a little bit more in your hair, making your hair a little bit higher contrast and switching it to highlights now to do some highlights really quickly, miss photos already professionally edited. So this is really just an example. It's already really well done, so it's kind of hard to add shadow and highlight stuff, so that's already really well edited. Just doing in. See, those highlights are already a little bit too much, so not a whole lot of changes. We bring out her share a little bit more. So if you ever want to see what you painted, go ahead and toggle off your original document and you're gonna see justice gray layer and you're going to see if you go ahead and do 100% opacity. You're going to see everything that we've done you can almost see kind of where the eyes and the nose where we did kind of the highlights and the little lights. You can kind of see a little bit of a face here being painted where we're bringing out certain things. Let's stop toggle. Our original went off, so we just talk all this back and forth, and that's too much. So let's reduce the passively a little bit. We just want subtle changes before after is kind of adding just a little punch Courses is already a beautifully edited photo. Next, we're gonna do a photo that needs a little bit more work so you can kind of see what I usually do when it comes to photo editing and doing nondestructive editing to kind of bring certain photos more toe life. 6. Non-destructive Editing: part 2: So now we have our second subject matter. This photo is pretty flat. It's a beautiful photo, but it means a little bit more of a dynamic pop little bore highlights and shadows brought out. So I'm gonna go and delete the layer I had before and I'm gonna do a brand new layer and we're gonna do the same thing. We're gonna go up to edit Phil or to do that 50% gray option right here in contents. Click. OK, that's gonna be our nondestructive layer. Of course, we need the grade kind of go away. So we just go do that with a blending moon. We go down and we do an overlay. You can tell when you toggle on and off. It doesn't affect the image at all. So now we get to our Dodge and burn tools. Let me go and get her burn tool. Let's see what we can bring out and what we can kind of change here. Kind of want a really dramatic, almost not nationally scary. But have you more depressing kind of looks, I'm just kind of bringing out. I might need to make a much smaller brush and bring that exposure down. That's one a little bit kind of painting an arm just like a paintbrush, bringing out more definition. I was changing my brush size from time to time. He was bringing out shadows there, under her eyes, right here under her lip, where there already is shadows. I'm just bringing this current shadows out a little bit more, and also with hair. You can really see a big difference. There's increasing my exposure or my yes, my exposure just going around through here, bringing out particular things in her hair as well. Okay, And so now it can switch over to dodge and add some highlights in particular areas. I would go in her eyes and kind of bad and highlights that way. Really bring him out. Let's see how that's really come in the life and also play around with your rage as well. You don't have to be stuck on mid tones that's gonna bring out your highlights a little bit more, huh? I'm gonna go back to mid tones to do a more general painting. Just experiment. Have fun with this. Take quite a bit of practice to master that you kind of see her eyes really popped out, but they almost look a little to ghostly. So what's great about this is I can always go get the eraser tool. I had a dull that off a little bit back that up just a notch. Just wanted to really bring out her eyes. Let's go and toggle what we've done so far. Let me do highlights. Go and get my highlights A Dodge. It's gonna bring out our lips a little bit more. All right, so now there is after and we haven't really spent a whole lot of time with it. Um, and let me just back off the capacity of my whole layer just a little bit because I don't want to be so high Contrast, let's go and toggle what we painted. So that's kind of what we painted. You could see where we did the highlights and the low lights. And so this is before and this is factor. You gotta be really careful toe, not overdo it. A lot of times I'll toggle that and I realize Oh, yeah, you know, I thought I was in a good place, but after toggle ing it, I see that maybe I I did the eyes too macho. I did the neck too much. And you can always reduce the opacity on your layer or go back and tweak it. That's what's great about nondestructive editing. If I don't like this, I could just start over. I still have my original image. I don't have to bring it back in and re edit it. You could do several different versions to just do as many layers as you want with this. So there we go. There's some just kind of quick ways we can edit where next we're gonna do, um, you do the same type of concept we're gonna use blending modes and the paint brush tool. We're gonna be able to change colors really dramatically and really quickly by using blending modes. 7. Changing Hair Color with Blending Modes: you. So now we're gonna use nondestructive editing to tweak the color of this woman's hair. So what I did is I just added a new layer, and we're going to This kind of similar principle is we did with the Dodge and Burn tools, but we're just gonna do a overlay as our blending mode, and we're gonna just paint it on straight on this layer, this layer one. So go ahead and call this hair color. And I went ahead and picked what I thought would be like a really cool our bird orange kind of color to paint and bring out in her hair color. So just overlay on a new layer, and I'm just gonna do a nice big brush, and I'm just gonna paint it on. You could see how it's really bringing out color in her here. If I do this really having that golden kind of touch, it's gonna pain around, have a nice soft brush. Okay, so we're able to do that, of course, is on another layers who can always toggle it on and off. We could also reduce the opacity if we just wanted to look a little more natural or we could take the eraser tool and kind of a race. Certain areas maybe reduced the capacity of our eraser tool. This kind of soften certain areas a little bit so we can go ahead and toggle off this layer and see what it looked like before and after what could go ahead, brush this little area to here. So just have kind of this brush tool is gonna brush this on. Bring that out a little bit so you can kind of see more consistency with our hair. Changes color. And if you ever make a mistake and you go into here a little bit, just grab that eraser tool and get that off. We don't want anything to look like it's glowing. Er, we don't have any color outside of the hair has taken the eraser tool cleaning things up. So what's wonderful about having this nondestructive editing kind of capabilities is we have this on a separate layer, and I could just go to image adjustments and I can go up to see let's try color balance, and we'll be able to kind of tweak the color a little bit so it could make a deeper darker , had more green. Take that away a little bit more blue. Kind of add a nice, realistic kind of hair shade for her. If someone we could do this to our real hair, make life a lot easier, wouldn't it just kind of adjusting this a little bit? Could make it really read. If you want. It's kind of interesting. If anything went and go up to anything in the adjustments will have an effect. We're gonna get a brightness and contrast. Of course, if you are in photo shop, the new version of 2019 version there's now an adjustment layers panel. So instead of having to go up to image adjustments, you could pop over to your adjustment panel and be able to do everything here on and call that out a lot quicker. So just kind of a little tip for you, depending on what version of LOTR shop you have. So you go to exposure. Exposure always has dramatic effects to reduce the exposure a little bit, so you can almost make her hair really dark, really light, almost blond. Good to see all the wide variety of things you could do. We could make her blonde. We have blonde, we have read. I mean, we could just continue to do all sorts of different shapes. Colors. So there it is before there it is after. And you could do a lot of things just by painting on and using these blending modes, doing the overlay and then just using the brush tool in painting over to do the same thing with skin change skin you could take change, hair color, anything you'd like. So it's great. And of course, we could do the same thing with articles of clothing. Let's say I wanted to create a new layer and paint on a different color for her. Let's go ahead and do our overlay mode and get a paint brush tool. And let's say we want to make it blue or purple, this kind of a darker color in the paint brush tool. We're gonna get it pretty big, and we're just gonna paint on color. It's gonna pain around her sweater. You might need to find, too, in your selection, like a smaller brush and kind of do a little bit more detail. I'm just kind of doing a quick example, kind of painting it on miniature. All the areas are covered so you don't have any splotches of un colored area, and it could even zoom in and do a smaller brush and kind of clean this up a little bit. Pick that on. Sometimes a smaller brush will give you a little bit more precision. Of course, we have a 59% opacity, so it kind of did a nice light kind of purple, but can always do a full opacity and make it deeper. That's your desire. Terms of color go back in and continue to make it deeper. We can also go to image adjustments. We could do any of the adjustments to change our layer right here to make it higher contrast to make it brighter, vivid, just decreasing the brightness, it's gonna increase the contrast just a little bit. And once again, goto adjustments. When you go to our color balance, what could add some red to it? We can kind of change are shade here. I love color balance. It's probably one of my favorite adjustment options. Click down the highlights and change the highlight color to make it more of like a pink so just like that, we were able to kind of change the color of her shirt and go back into history. There's history panel. Go back to how we had it before and how we had it after. And he could probably go into kind of clean that up. That looks a little strange right there, just kind of dark in that. Or bring it out. Highlight a little bit more. And there we go. Just just simple is that 8. Painting Gold: Now we're gonna have a little bit more fun with blending modes and painting on dynamic color to make really dynamic effects. So I created a new layer and have it on overlay just like we have been doing so far in the class. And I'm gonna grab a hard round tool. This time I've been using the soft round, but now I'm doing hard round and I had a pick like a really cool what I think is a rich gold color. So it's gonna be kind of right here on your color picker is gonna be gold. Could have a little bit of gray in it to be brown, but with Gray and I was gonna cover, see if I can't paint something cool over the eyes have, like, a little makeup effect. And don't worry, if you mess up over here, it could always just go back with the eraser tool and clean up. It's gonna do that. The not so just kind of an interesting kind of makeup. You could do a lot of different dynamic colors with this. Have it go down the face. Another thing you can do with this makeup, it's gonna zoom in. I just have a simple hard around. I still have my hard round brush. Click once kind of gives a really cool effect. Click once, then maybe make that one smaller click again. You know, I could cut it. Do whatever you want with this. It's quite amazing. So I just love how that gold, since you haven't overlay blending mode when you go in that kind of let's texture through. So it almost looks like it's a part of her makeup, so you can take that and even apply a little bit of eye makeup. Using this technique, we could even do the entire face. This way we could look like her entire face has a gold pain on it. Painting it on using a soft brush spent a hard brush. You could change the intensity in the highlights by changing the darkness of the gold color . So if I want to add some highlights that this lightning a little bit or if I want to bring out some low lights, it's bring it out. That's a really dynamic lighting this way. I have a new layer overlay, and I have a purple color selected. I have a very large brush. I think in this case it's 5000 pixels is pretty large brush and just click once to create a little bit of a dynamic lighting. I could go back and grab maybe a warm pink tone. Click up here. Let's go ahead and slider layer panel So you can kind of see consist of really cool lighting effects that you could do. Um, what's kind of do a purple tone? Although we kind of already did purple. Let's try a blue Just click it down here and then we could maybe try and orange just kind of playing around with this a little bit. So maybe not quite green. Let's go back to our orange. See how that looks, where you may need to keep it all coup color and do like a lighter purple. See how that looks. We're just playing around with dynamic effects. Bring out another cool or warm tone right up here So you could see how meat, um, kind of some of the effects you can do by simply just doing the overlay and then painting. Having a big, big paintbrush kind of has a Grady int mesh effective. You know what, Grady? It meshes are 9. Selective Color: part 2: There's gonna be a very wonderful example of selective color and the power that it has. I was able to download this photo and I'm gonna change the seasons on this one. Cem's gonna go up selector layer and go ahead, do selective color. All right, so there's a lot of reds here. I want to change it to green. I wanted to be the middle of the summer. Go ahead and find. So we have our reds. We want to bring out green. So we want to increase yellows when a decrease magenta as sledding this around to find you could see it. What a big difference this makes to. So let's increase our greens here, maybe increase our yellows. It's going down each color there. See how the greens air really coming out when I increase the scion or the blue color on the yellows. See how that change from the background there to there. So the yellow seemed to really be making the biggest change, some changing the yellows of decreasing the red. It's gonna take some tweaking to get used to, so it's gonna go down the list and see if anything can help. Not a lot of blues in that photos. That's probably not gonna change a lot. Was trying Magenta. I think I'm already at a great kind of stopping point here. Let's try blacks. If we can't deep in anything or lighten it, we're gonna click on, OK, so we're gonna go back to where we had it before, so that was kind of before and kind of after, So it kind of changed the season there really quickly. By using selective color, we're gonna change this Red Cup degree. So I'm gonna go over kind of some ways. There's a lot of different ways would go in and brush agreed on, but that is quite have the same effect. We're gonna use selective color since it's a very stark is the only thing red in this entire photo. So using selective color will be an easy way to change this. So I need to have a really great selection because I don't want anything in the background to change. Just want the mug to change. So I'm gonna go ahead and grab the quick selection tool going to see how that does for me to go ahead and zoom in and see how it s so click and hold. It's gonna go ahead and select it nicely for me and is clicking and dragging. It's doing a pretty good job. I always try to use this tool first to see if it works. Well, I'm gonna go ahead, get the little guesses top part of the rim, the class, and that is OK. I can always go back, get the have the subtraction mode on. I'm just kind of subtracting my selection. Great. So now I have just that I could actually even, maybe do you select the coffee part? You know what? The coffee to change color. But that might be OK. Okay, so now we're gonna go to image adjustments. We're gonna go down to selective color. So this has a lot of reds. We're gonna really be ableto do a lot with what's left the red category. So I'm going to ship this down to see if I can't find a good color change here so you could make it any color. Really? Make it pink. Make it purple. Like it like a light purple. You could see how easily we're able to kind of isolate the mug. We'll be able to change the color of the moat Mogg with selective color, but it's a lot easier. So let's say we change it to like a light pink, so it's a lot easier to do it that way then, as opposed to maybe creating a new layer and doing are soft light and painting it on. So let's say I wanted to get a blue. It kind of tends to paint over the white, and it looks a little strange, so sometimes you just have to find the right tool to do it quickly. In this case, it was selective color. 10. Retouching : Let's remove some blemishes. Buckles, marks just kind of things that nobody wants on their face. So let's go ahead and zoom and actually picked out a guy for once have been working with female photos this whole time. So I thought we go ahead and work with him and kind of removed some of these blemishes. So we have a couple of tools that we can use. We have a spot healing brush tool appear on a or the healing brush tool. Who we have a spot, the healing brush tool, which would be good for larger areas. But for small blemishes, the spot healing brush keyword on spot is the tool that you want to use for removing blemishes. You haven't click on that tool. We're gonna make it fairly small about the size of the blemish. If not just a little bit larger, we're gonna go in. It's gonna be like magic. So let's go ahead and find a very obvious blemish. So right here I'm just gonna reduce the size of my brush till it's a little bit bigger. Then the blemish get a click once and it's gonna disappear. It's gonna take samples from outside to create a replacement. Texel Pixels for that area. Click. And this is great for small areas. Do not try to use this on large areas. If I used this and painted on a big, large area, it's gotta look chunky. So you see how it brought kind of this different colored skin from over here doesn't look very good, so you have to use a different method for large areas. But this is great for these small blemishes. Little freckles, moles, sometimes small tattoos. If you needed to remove that from skin, I've had clients have me removed tattoos from people removed blemishes. There's a lot of things that clients wanted me to do before I used a photo in a design from this kind of had a lot of experience. Do some of the stuff client work. I was gonna continue to kind of do very small blemish work. I'm not gonna do anything bigger than this brush. We'll have to do some other things to clean up using large areas. So I'm going to do this for another few minutes and I will be right back. So I use the spot healing brush for a couple more minutes and you can kind of see the effects it's had. This is where we were before. And this is kind of what I was able to do with about five minutes of the fresh feeling tool able to kind of eliminate some of those glaring mistakes. And we don't wanna over edit this and make him look fake and make him look like he's got makeup on. That's the last thing we want to. We want to keep some blemishes on there just to be authentic and be relatable and be a real person. So now I'm gonna go ahead and click on our man, and I'm gonna go to selective color and see if I can't maybe eliminate some of that redness and his cheeks. So we're gonna go up to selective color, which we've been using lot. See if I can't go to the Reds and reduce that by adding a little blue, it was kind of reducing a little bit of the readiness they would go that it's a lot better . See how yellows look notice. The readiness is not quite as obvious. And there several several ways to do this. This is just one method depends on what you think works best. So let's go ahead and go back in our history to see kind of the changes that made. So this is before and this is after. And if we didn't want the background to change, we can always to select our guy and then do selective color. So it omits the entire image. If we just wanted to be very selective, we could just select with Lasso Tool or the polygon lasso tool, select him and then do the color changes. So it doesn't change everything, but I think we've already made a lot of progress in about 10 minutes. So this was before, and this is after we can further reduce the readiness by doing our little nondestructive dodge and burn layer is going to create a new layer. I'm gonna go up and then you fill it with 50% gray. So I have a 50% gray with the same thing we did before making an overlay an honest layer on to do dodge and burn. And this will help us kind of lighten his skin just a little bit. So I'm just going to a very little bit of exposure. I don't want a big dramatic change. I have the I think I believe I have dodge on just kind of lightening the red areas, just clicking and bringing out highlights just on where I think it's really dark and red. You can always go back and light it up. We want to so that just kind of further light to skin in certain areas. And we can also grab the burn tool once again. Just do a little bit of exposure. Well, stupid tones, and we can bring out any particular areas that we want to bring out. So just kind of overdramatizing certain shadows. I love toe bring out highlights and shadows and hair. I'm just kind of making that more dramatic. I can also get the Dodge Tool, bring out highlights here, which I love to dio bring up the exposure so just kind of really makes the hair pop out. You can even do this with the eyes. Let's go ahead and make that really small. Bring out the eyes just a little bit, just a little shine. Not sure if the eyebrows need a little bit of highlight either. Just a little touch. Okay? So there's our little man here, So let's go back to what we had before. This is what he was before. This is after, and we could even take our little layer here that we just did our Dodge and burn on. And we can reduce the capacity just a little bit because this is when I talk about that on and off, I think it's a little heavy. Sam's gonna reduce the capacity by 50%. We just want a little bit of a change, just just to have a more natural period. Since do, he still has blemishes, yet he looks still looks natural and normal, and he doesn't look like he's got make up on. So that's kind of the trick to editing is being low key and not being too dramatic, but kind of getting rid of those blemishes that are more distracting than they are helpful . So hopefully have enjoyed this section of the class where we got to really work with people and I learned how to manipulate that. It's it's a great starting point to learn how to edit people in photos because working with people so essential in terms of me as a graphic designer have always had to edit photography even though it's already been edited. Their symbol reason I need to edit the photography to fit with the design piece I'm working with are with being so. It's really great to know this stuff and how to do some small editing. You don't have to be a photo editing expert to be able to use some of these tools, and a small amount of edits will get you really far as a designer. 11. Layering Masks Part 1: today we're gonna work on a really neat project on we're gonna be ableto we've typography or type in and out of any object in this nature shot. We're gonna do that through the use of layer mass. So we already use layer mass to make a 50% gray layer and using the Dodge and Burn tool to be able to bring out highlights and shadows on people's faces without destroying the original photo. We're gonna do something a little bit different, but we're still gonna work with layering masks. So I'm gonna do this simple project, demonstrate how this layering mass work. So I'm gonna just use the type tool. I'm gonna type out a simple word. Let's just do typography. You make it fairly big, Make sure haven't spelled correctly typography. And I was gonna double click this just kind of take a look at his as oh Sands, which is a really nice, bold typography if you don't have it in your library to use. So I'm just going to use that you can use Helvetica or any kind of san serif font or a syrup on if you like s So what I'm gonna do is I want to try to position this. And sometimes I like to go ahead and go to my layer and reduce the capacity to a little pit to kind of see how I can weave the typography in and out and kind of create a really neat, layered effect. So I'm just kind of position certain words so that very critical parts of words aren't covered up. Okay, so I'm just gonna position it right about here. Go ahead and make it a full opacity, so I can kind of see how it looks. So we're gonna use layering mass to be able to weave these people in and out without having to cut out the people in separate layers, which we would normally do would go ahead and try to sell to get our selection tools. So, like, the man out copy and paste him on a new layer or use um, a layer mask to kind of crop him. But this is a lot quicker way to kind of mask objects. So I have my layer selected, and what I'm gonna do is I'm gonna add Ah, my layer mask right down here is gonna go ahead and click it. So I add my layering mask and I'm gonna go ahead. And when you have layering mass, black is what takes it away What takes that object away or erases it and white is what adds it back in. So I have it on just pure black right now. So just pure black and I'm gonna get that paint brush tool, and I'm gonna go ahead and make it a slight transparency again. So I can kind of see where I'm cutting it out, and I'm gonna go ahead and cut out the O from this man right in this area, and so black takes it away. So that will take it away. And if I ever want to add it back, let's say I take too much away. I go ahead and flip it to white, and I added back in, So I will be adding and subtracting with black and white. So we kind of go back and switched to black. So now brush is a really important because right now I have a soft, round brush. So when I make in a race, kind of when I kind of paint it away, it kind of adds this feather to it, which can have a nice effect and make it look like it's a shadow. Or it could almost make it look like it's not fading enough, so you can do that effect if you'd like. Or if you want a sharper cut out, you could switch to hard round, maybe make a smaller brush and go in and just do a more precise cut out. It just depends on the look you're going for and what's great about layering Mass. If I mess up, I could always go back and paint with White to go back and get a little bit of the excess. I didn't take off her. I took too much off. So let's say I'm just erasing this portion due to do to do and let's say, Oh, that was a bad cut out. No problem. Just gonna switch to White, maybe get a more precise brush size zoom and and just kind of paint that back out till I get what I like. And this is where I'm doing this with the mouse. I'm gonna do it with the mouse the whole time. That's probably what you guys have access to, But if you had the wakame tablet or, you know, an iPad where you can plug in like an IPAD pro. This is where that really comes in handy because you can paint using the wakame tablet instead of just having to use your mouse, get a little bit more precision. So sometimes I like to reduce the A pastie quite a bit and darker areas that I can't see. So let me go ahead and switch. I'm on my layering mass. Go ahead, delete this area where this guy's now office and sometimes I switch between the soft, another brush and, um, kind of the more precise Ah, hard round brush. I'll switch between these two. Sometimes the feathered effect gives me a better look. Just depends, So I'm gonna go ahead, switch back. I'm gonna leave the p how it ISS So now when we go ahead and make a full capacity and kind of see how we're able to create that really cool three D effect, what? Looks like the type is going right through him. Um, we could do the same over here. We're gonna do a couple other little, but to show you kind of an example how I'm painting using layering mass and I'll be right back. So let's continue to play with this a little bit. I'm gonna reduce the restaurant. Uh, transparency. Here you go ahead and paint with my paintbrush on my mask. Make it kind of a bigger tool. And let's do a soft around kind of just do some general areas. If it takes too much, I reduce the brush size, and that gives me more precision. Once I kind of get the border erased, I could get a bigger brush and just kind of take all that away, and you could do this with anything. It doesn't have to be. Typography can be another object or an animal. It just kind of the power of layer Mass and how that works. That's a pretty need effect gives it a really nice, layered look. I can go in and add a new layer, and I can paint on shadows and kind of make it really pop out in the environment. And I can add shadows that the A would cast on her so I could have this layer underneath typography and kind of make sure you get a nice, soft round brush making a little smaller, so she would have some shadows cast here. Right? And I can reduce the opacity on that shadow layer. It's making it look a little bit more a part of the environment. Same thing with the P. I can go in here and create a new layer and just paint on the black shadows right here where the p would kind of be popping out, casting a shadow just like that. Maybe reduced capacity a little bit. So it's not too strong. Okay, so it could just create another word. This is what's so neat is you have a lot of power here and flexibility, So I just copy that. I'm going to delete this layering mass. I'm just going to right click my layering mask. We're just gonna do a new one on this word. I wanted to kind of show you an example of how you can use this to paint over a lot of different environments. So this is gonna be cold water ful, and we're gonna have it kind of go through the water. We're gonna use layering mass to kind of layer that waterfall on top. So we're gonna go ahead and creator layer mask sums going down here creating a layer mask. So now I'm gonna want to race things to make it look like it's taken over by the water. So I'm gonna have black and have my brush. I'm gonna get a nice, soft around brush. I'm gonna make it pretty big. And I'm just going to reduce the opacity quite a bit. Maybe like 25%. We just want to do different kind of techniques to make it look like it's covered by the water. And we can increase the capacity in certain areas, All right? Just creating different lines of different capacities. We could make it smaller, right? Make it look like it's only going in certain areas. So you're ending up getting a pretty cool effect. And if you ever feel like you've gone too far to switch it, Dwight and will erase it and take it away, lighten it up for you. So it looks like it's behind the waterfall. The waterfall is trickling through it and let's do another one just for fun. Go ahead and delete that layering mask and I'm just gonna title this title. It fun, and you could just put it anywhere on these rocks. You could put it down here in the rocks, or we could have a rest right here. Have a rest right here. Make it smaller. Hi. We're gonna make it a little bit transparent. We're gonna zoom in and find opportunities to cut it away to look like it's resting on the rock. Could cut it right here. See this kind of rock part of the rock that gets cut here a little bit, never ever to go back. And I'm painting with white now. I'm getting it back right here where I cut a little bit too much and just like that, I'm gonna go ahead and switch it. It looks like it's cut out of the rock once again, I could add shadows behind it. Just paint on. Let's get my nice, soft round brush, Make it nice and big pates. Um, shadows here. Go ahead and drag this layer underneath. Right. So maybe it's casting some shadows behind there, and I can always just take the eraser tool in just fine. Tune those shadows to do. Wouldn't have shadows on that and you'd have it behind it, we wouldn't have it on top. So it was kind of erasing that. That would just reduce the transparency of my shadows. Have a little bit of a shadow cast. So that was before this is after, is adding a little bit of shadow, so just kind of having fun With different environments you put on the water, you can leave it in and out just by knowing and utilizing the layering mass system. 12. Layering Masks Part 2: So now we have this really fun project where the conquer here in about 8 to 9 minutes, we're gonna be able to use layering mass what we just did in the previous video, and we're gonna be able to make this effect possible. So I'm just gonna zoom in, zoom in So you can kind of get an idea of what we're gonna be trying to dio. We'll be putting some objects above and sub objects below to give it this really neat interactive feel. And you could see, since we're using typography with this how you could really apply this to client work, commercial work, paid work. This is the kind of stuff that you could do for fun, but also the kind of stuff people love to see in their ads and paid work. So this is why I wanted to kind of include a project like this. So I'm gonna go ahead and kind of delete all these layers were start from scratch, was able to reset the typography. You go ahead and download, load this file, or be able to have access to the link we can download and resource guide. I'm gonna double click that's fornicated to share with you Which ones I used. I use Archer thin for this top font. And I wanted to do some font pairing, which is pairing together different types. Ah, font styles to given. Interesting Look Ah, this is Daido. I know the passive they die dog But it's actually pronounced Eido. I didn't know that until the other day. And then if we double click, this is his as of Sands So I use as of Sands I use that in the last video just to kind of let you know You can use whatever Fonsi like. So go ahead, go ahead and zoom in You ready to see some opportunities where we can put some things on top of the typography and leave some things behind it To give the layered effect, It's going to start up here with the fonds. Go ahead and zoom in on this one I'm gonna add are layering mass like we have been doing and we're going to grab black is pure black and we're gonna do a couple of different brushes, so I'm just going to continue to use the soft and hard around in different situations, so in this case, I'm gonna go ahead and reduce the transparency here so I can kind of see what's underneath . And right now I'm gonna get a smaller brush, maybe 41 pixels, and I'm just gonna use the feathered one on this. I think that will have a little bit of a nicer look. Especially when you get down to the legs. Here, go very small. He don't be too precise, especially if it's gonna be zoomed out. But you definitely want to have the most realistic look possible. I'm just getting a small brash and do in the legs e there were gathers the legs. So the ladybug is now above it. And so same thing. I think there's like a little ladybug down here. Go ahead. Make him a little bit visible. His little antenna might need to do are really tiny brush for him. Maybe just one pixel into school paying a little antenna for him. And now we need to find the right thickness for that little piece of grass. Little blade of grass here. So I'm using the feather. Gives it a nice feathered look. Doesn't look too sharp when I cut it out So now there's our little ladybug. And so you have little elements like this that could also be cut out so that little food line could be cut out. So just get a one pixel, go ahead and cut him out. Same thing with these little areas, we could get a little bit thicker. You can't just cut some of these areas out. Just moving around. Gotta be cutting these out using the feathered brush version. And if we mess up, we can always go back and paint with black would cut too much away. Okay, Pretty happy with that? We got this little guy right here. We can cut out using the feather brush and cutting it out. That has a nice look to it. Let's zoom out. I have this blade of grass. Let's do these two more areas. Was paint that blade of grass through and let's do that. That should probably be enough elements. Let's leave this underneath so it looks like it's going underneath the tea and then going in front of the tea. So it's kind of got that movement. Okay, so let's make it 100% to see how we like it see if there's any opportunities to clean it up . Great. So kind of a really needle really need effect. Let's do the in and then the real quickly it's under the zoom in, and I could already see some opportunities to cut some things out. So you need to add my leering mask and cut out right there and all right down here. It could be a lot of fun. I'm gonna leave that behind. So it goes in front, weaves behind and then goes in front. Kind of gives it a nice look. And I believe this one. Let me go ahead and make the end. That's a separate letter. So it's gonna need its own layering mask. And I believe there's an opportunity here. Reduce the transparency quite a bit. So I could, but this little string This is where I really wish I had my way. Calm tablet mind broke a couple of years ago. I have the iPad pro, but I haven't had a chance to connect it. Teoh photo shop yet. I'm really missing it right now. Okay, So there were You have that those elements in there, we'll see him out and then we have one last thing to do. That's the wild. We're gonna try to integrate him into the ground here, so it looks like he's stuck into the ground and we have some ground kind of coming up covering them up. We're also going to do a reflection to make it look like their wild is reflecting into the water. Okay, so have the wild. I'm gonna reduce the opacity on him. One more layering, master go added a layering mask and going to grab a pretty decent sized brush so I could kind of paint on the ground. I'm so a couple things we could do have a soft, round brush so I can kind of do a softer cut out one. The bottom. Okay, switch to see how that looks. So that has Ah, certain look. It's a feathered Look. Let's see what it looks like if I switch it to something hard. So doing the hard, it's not gonna have any of the feathering. You kind of go down. I'm gonna get up, down, kind of make it look like it's resting on uneven ground and so it can switch that and we could not do a combination so I did kind of a hard cut out there. Ah, but I can go and switch back to the soft round and make it a smaller brush just to give it a tiny bit of Ah, a feather. You could make it rough. So it's not just like a smooth cut out doesn't feel like it's gonna be floating on nothing . There's like environment there that it's cutting out, and we can also not gonna do this in the class. But if you wanted to do a transparency and do a couple of these twigs coming out, it will help really integrate that wild into its environment. And so let's do kind of a quick reflection. Go ahead and zoom out. I gotta go ahead and, uh, just duplicate that layer, and I'm gonna hold down, shift and move down. If you have a older version of photo shop, you don't have to hold down shift. But the newer version of photo shop will automatically scale it dimensionally. Guideline that up where I think it would be cast in the water, and I'm gonna go ahead and go to Filter Blur. I'm just gonna do a Gaussian blur. That's gonna give it a nice blur. And right now, I haven't on the layering mask, so I'm gonna click on the layer instead of the layering mask. So I want to actually click on the core letter character, typography, whatever you wanna call it. So I'm gonna go back and try that again. It's gonna go to blur Gaussian Blur. We're gonna need to rest. Arise are types. Let's go ahead and pasteurize it. We don't need to re type it, so that's OK. Let's go do a nice blur enough where it looks like it's fading into the water, so it's gonna be a pretty significant blur. So you see there how it he could barely make out the letters, but you could tell it's from the letters and we're gonna do a blending mode on this. So let's find the right blending mode. We wanna have the same colors, the water underneath, so it's probably to be soft light, so I put a soft, light blending mode on it. So I'm gonna toggle it often on so you can kind of see, So that's Ah, this is gonna be before, and this is after, so we're able to count really add a little bit of the reflection. So the next thing I would do is probably find tune a little bit of this, some edges here and kind of paint with a little bit more detail. Maybe find some rocks that can cut out and really zoom in and figure that out, but had a little bit more time. But I really love kind of how this looks and how there's just feels like it's a part of its environment. It's not just typography placed on top of a photo and you're done. You could be really creative, creating advertisement kind of using this method, and I'm gonna show you a couple other examples on the screen kind of share kind of a lot of wide variety of things you could play around with. I want you to play with this. Have a student project. If you wanted to taking a stab at this and go ahead, take one simple word and find a way to weave it into the environment. Any photo of nature that you like, maybe one you've taken. Maybe when you downloaded from pixels dot com, I want to kind of see what you could do to practice those layering mass. You couldn't do layering mass on anything. So not just typography, but people and animals and all sorts of things. That just helps you cut out things a lot quicker without having to cut out all these separate elements and having them the separate layers arm. This is a great, nondestructive way to leave things in and out of this. That's environment. 13. Double Exposure Part 1: today we're gonna accomplish a double exposure peace and Adobe photo shop. So we're gonna take this two different, very different images and overlay them using blending modes to create a really creative, artistic art piece. So we're just gonna need these two photos. It's very simple. We're gonna have the photo of the woman and the photo here of the birds with the tree. So we're gonna overlay these using the blending modes. You can find these photos on pecs als dot com. I have the links and the resource guide so you can be able to have access to those two photos. We're gonna take our base photo, which is gonna be the photo over. A woman was gonna go ahead and unlock our layer, and we can adjust kind of sizing a little bit because it's a pretty high resolution photo. But I'm just gonna go ahead and bring it down just a little bit to 2500 pixels just to kind of bring the overall size down. So we bring the photo over the other photo. We don't have to stretch it too much, but that's really up to you. So I just kind of reduced the size just a little bit. I'm gonna go ahead and take my photo overhears Go drag it over and there we go. See how the photo of the woman is a much higher resolution photo than the photo we brought in. So I'm glad I reduced the size just a tad. So how we overlay this over the woman So we're gonna do that using blending modes. So I have my layer panel have right out here. You go ahead and change the blending mode down here, and we're going to try the lightened blending mode. So you notice already it's creating that double exposure effect are overly effect. So I'm gonna go ahead and zoom in so you can see the details We could drag this photo over and any of see how it has the white background. So what it's doing is it's telling the photo toe let through. All white pixels are very light pixels with lighten mode. Eso If you have this over a white or very light gray background, all the other rest of the image is gonna seem like it's cropped by the outline of the woman's head. So it's important when using this lighten blending mode and trying to do the stubble exposure effect that you do with photos with light backgrounds cause it's going toe Let that, uh, there's light pixels or white pixels through, so that's kind of an important thing. I've tried this technique with darker photos, and you have to use a different blending mode to get the double exposure to work. So I'm gonna be using light, wider backgrounds. Ah, lot of times you can download photos and remove the background so you can put the person on a white background so you could achieve this effect using the lighten overly effect. Okay, so I have this year and we could find any combination of how we want to crop this so we can zoom out. We can make the smaller we can have kind of the birds coming out of the sky just like that . We could make it a little bit smaller, could make out more of the tree line and kind of a little tip. When I'm doing kind of double exposures, I like to kind of bump up, um, kind of a nice border. So instead of having a tree be down here. And you have this open gap. I like to put that tree to this line right here. This tree line kind of bump it up to the border of her head. So it kind of crops it a little bit nicer, just like that. Okay, so in school and press enter. And this is a black and white photo that we have of the woman. So what I'd like to do is go ahead and make take our layers. Just call this lighten, guys. We're gonna take our voter, that's on top, and I'm going to go ahead and just make that a grayscale image was gonna go to image adjustments. You There's a couple ways you could do this, but I'm gonna ask you to do a very quick to saturate taking all the color out. So now the photos are able to I feel like they're one photo because I stripped the color out. So we're gonna also do duo tone effect to apply kind of a color to the images. Well, okay, so now we have this little bit kind of down here. You can tell where the image ends, so I'm gonna go ahead and add down here. I'm gonna add a layer mask. There's your layer mask right here. My good scooted up, so you can see is adding a layer mask. So have this little layer mask. You're have the selected, and I'm gonna go ahead and get a Grady int We're gonna do a black to white Grady and just a simple black to white radiant, and I'm gonna go ahead and roll down. So now it's going to cover up with the black is going to make that disappear, and I'm just gonna try to find the right adjustment. So I think that's great. So we already have kind of a little bit of an effect going here. We can also do the same effect on the bottom. So it looks like she's totally cropped out using this effect. So we're gonna do that next. So we're back, and we're going to go ahead and replicate the same effect, but do it down below. So let's go ahead and grab our original image and drag it back in. So we're just dragging a new layer and we're gonna go ahead and flip this over some Just taking the transform, rotate tool of this kind of doing a top down kind of turning it 100 and 80 degrees. We're going to the same effect. We're gonna go ahead and go up and go toe lighten, since we have a white background and I'm gonna also dis saturate. So I'm just gonna go toe image adjustments and de saturated to make it look like it's blended. So you could see the same effect happening here where it looks like she's being kind of corrupt and disappearing down below so we can find the right format. We might need to make the picture a little bit bigger. I don't like stretching images too big because I don't want to reduce the resolution, but just trying to find the right cropping here. The right tree line. So maybe right about they're So you noticed it cut. It comes off here. I don't have an extra tree. Got it kind of getting cut off. So it's kind of a natural, Almost looks like a paint brush, like she's paid it on with a paintbrush. So I'm gonna do the same effect. I'm gonna go ahead and add a layer mask, click on add layer mask gonna grab my black and white Grady int and I'm just gonna go ahead and see if I can't feather some of this bottom part off So you will notice that you see kind of this cropping worth a little light gray and white. So you see the definition of her body. I wanted to look like this is where it's cropped where you have the tree line and you don't see her body just to kind of create kind of a painted airbrush or kind of a painted feeling . So you don't see kind of that definition of her shoulder. So there's a couple things we can do. Let's go ahead and isolate this white area. I'm just gonna get the magic selection Tour the Magic Wand Tool nine. It's gonna click on this white background. This is a little bit of the easy background to do, and I'm gonna go ahead and take a sample with my eyedropper tool gonna sample this gray and I'm just gonna get the paint bucket to one's gonna fill in this white selected area. So what we did there is we were able to kind of get rid of that definition where she was cropped out, and now it looks like she's totally painted or ah, cropped out. You don't really see the outline or border of her body where it waas, so it kind of has a pretty cool effect. So now I want to kind of prep this. Uh, now that we've kind of done this and let me go ahead and delete those birds really quickly , go ahead and describe those out because they don't really belong there. Plus, we already have birds. Appears you don't wanna overdo certain elements and a piece of art. We're just gonna go ahead, crop that out, crop that out really quickly, and we're gonna go ahead and prep this. We can do a couple of neat things color wise to this right now, it's just black and white or good people. Add a blast of color here in a moment 14. Double Exposure Part 2: so went ahead and used the crop tool to crop the invention. I think a little bit more of a balance in appealing way where I don't have too much white space on one side. Ah, and I'm going to go ahead and get rid of some of this right here in this hearing to go ahead and zoom in So you don't see too much trees on her neck line. We really just want to kind of see it where it's on the bottom. Go ahead and select our bottom area and I'm going to go ahead and select Are layering mask . Describe our radiant tool. We're just gonna kind of do a little bit of a lower blend there, right? So now we're ready to add and apply color. So one thing we could do it could brighten the image a little bit so it can select our base image right here. Go and put up woman and let's go ahead. Make is going to image adjustments and doing some lightning, but we can increase the brightness just a little bit to kind of bring out a little bit more of her highlights. We could reduce the contrast so if we increase the contrast, it's gonna make the shadows in the highlights. Ah, have a higher contrast of each other. But if we reduce the contrast things the darker side of her face are gonna kind of pop out a little bit more and we want that we want that. So I'm gonna reduce the contrasts and increase the brightness. We could do some other adjustments, but I think this photo is already professionally edited. I think it already has a nice balance between shadows and highlights. So let's go ahead and apply weaken due to things are gonna go down two different avenues going to do do tone effect. And then I'm gonna go and apply some blending modes to paint on some dynamic color. So let's do duo tone effect. First, I'm gonna go to image mode. We want to make sure this is converted completely to gray scale. So we're just going image mode words code gray scale. We don't have to necessarily emerge, but I like to click on don't merge and then discard Just don't worry about that school and discard the color information. So because I clicked on not murder, do not merge. I still have access to all my layers, which is nice, but you could do either or if you feel like you don't want to edit after you pretty much ready for color. Okay, so now we're gonna go to image mode. And now all of a sudden, you have duo tone mode available. Sorber couldn't click on Duo Town, so we just went to image mode Duo town and he could do a monotone, which would just be one color, which could look cool. But I love doing tones because you could add a combination of rich colors so you could do a cool color and a warm color together. And it has an effect. And the darker you go, the more those shadows or deeper colors are gonna go. The lighter you go, the more the highlights are gonna be brought out. So this finding the right combination of different colors to use works out wells. It could do warm due to like doing the warm and cool colors, because it really adds that dynamic poppet effect. I don't want to be too dark. So if I go down here to black and it's a little too dark. I go appear kind of in the middle middle tones. You kind of have a nice a nice blend there. So, you know, I want to take a little bit of the pinkness away. So I'm just gonna go up here too blue, maybe do a light blue. You know, whatever color palette you think would look good. The no purples air really huge right now. But I don't want to go super duper pink either. So maybe that kind of cool purple effect. So I gotta go back into my history. You kind of take a look at what we had before. So this is before. That's just a typical black and white This is after. So the duo tone adds definitely a sense of, ah, kind of a modern touch to the peace. And so that's one way we can do it. And then you could say that you could do to all sorts of different shades and tones and colors and kind of get that nice, single or dual ink kind of effect, like you'd see on a screen printed T shirt. And what's great about the duo tone affected. It's only two inks. You could easily get this printed on a T shirt, and it's only using two weeks, which kind of reduces the cost. But next I'm going to show you a different approach to add even more dynamic, colored at multiple colors or as many as you want. So I'm going to go back into my history toe before we started to do the duo to in effect so that I believe that would be right about would add some brightness and contrast we converted to grayscale. Let's go ahead and go backs announced no longer in grayscale if you could Image mode, it's on RGB. So what we're gonna do now is we're gonna add a new layer. Some are layer panel out working at a new layer. I was just called us overlay, and we're gonna make this a blending mode is gonna be the overlay blending mode. And we've done this effect a little bit and other lessons that I've taught and another lessons in this course we're gonna do the same effect. We have overlay words Rabah brush and let's do our soft, soft, round brush. Let's make it fairly large. So probably definitely in the thousands. So maybe do. Let's try 1500. Go ahead and manually type that in pretty good. Maybe, you know, make it bigger. Let's make it 2000 all out to 2000 ice, big brush. And so I'm going to do, Ah, similar effect going to kind of some cool toes and warm tones. So I'm just gonna kind of pick a random kind of cool purple tone. I'm gonna click anywhere up here, and you can kind of see a little bit of that color popping out. You can create really cool, dynamic effects. So let's go ahead and pick a warm color. Now we're gonna pickle. You could create a new layer and put it on overlay so you could have control over specific colors Or you could keep all this on one layer. Just depends on how much control you wanna have over the peace. So right now, I'm just kind of clicking on areas I think would make a dynamic pop what's to kind of an orange tone, and so you could do any wide variety of colors. And what's great about having this on a separate layer? If I don't like it, I could just throw it in the trash can. I can create a new layer and start over. So let's start over and do a different appearance. So I think we need to have almost half a sunset. So maybe have some some bright orange is up here and then kind of do kind of work her way up the color wheel here and do kind of a pink tone here in the middle. And then we can go down and get a little deeper and do some purples, almost like creating a sunset and then finally grabbing some blues and then finally getting a dark blue to kind of have the effect of a sunset. So that's pretty bright and dynamic and can always back off the capacity. A little bit of we don't want it to be super strong. We could have it be really settled like this where we could have a beer superstrong like this, But I think I'm just gonna back it off just a little bit or and go up to image adjustments and just kind of mess around with exposure or brightness and contrast to cut a brighten it and kind of add your own effects, and I am on the overlay layer. So we have the overlay blending mode on. So I'm just adjusting that get a hue and saturation, we can reduce the saturation. That way we could change the hue and that will give us quite a range of colors. Let's go back to what we had and this with lightness. So whatever you want to do with your piece is great Experiment and got to do what you think looks right for what you're doing. You want to do something bright, vivid like this, or do something with a single or two inks to cap kind of a screen printed T shirt effect. Um, you could do that too. So I just want to kind of show you the process of creating this piece of digital art. Ah, super popular right now, uh, my suggestion would to be to grab photos that have light backgrounds and to use that lighten click on this that lightened blending mode to kind of get the effective how it's cropped. How how I showed you earlier in the lesson. Um, and of course, if you get one with a darker background, they're gonna experiment with different bloody moods. But I've had better luck using wider backgrounds, and you'll notice that with a lot of these double exposures you see online, ah, lot of them have white backgrounds because it's a lot easier to work with. The lighter backgrounds with the blending modes is very dark black backgrounds. So that's my little tip. Hopefully, you've enjoyed this quick little project. 15. Facebook Student Group: So now that you're learning more and starting to practise projects of your own police, check out the exclusive Facebook group for my students in my courses. This Facebook group is an open and friendly place to post your projects. Thoughts, questions and ideas. Anything relating to design. We even talk about topics relating to going freelance with your design skills, so police join us for some great discussion. I try to respond to each Facebook post. Sometimes Facebook is just a little bit easier to have that back and forth conversation, and it's a great place to meet other aspiring designers. Just search for the term learned design. Go freelance in the Facebook search to find a group, I look forward to seeing you there. 16. Wine Glass Project - Part 1: so for our first project is gonna be very simple. We're gonna take a cut out a glass of wine. It's gonna be a white wine, and we're place it onto a background and adjust some of the blending mode setting so that it looks like it belongs in that environment. We're also gonna play around with color settings to see if we can't change a white wine into a red wine. And I got this inspiration for this project from a riel Ah, project that I did with a client a couple of years ago when I worked with the wine industry , this was very common. We couldn't quite find the perfect photo. We always had to kind of bring in a glass of wine sitting on a barrel, and sometimes they wanted to change the color or tweak it. So this is kind of inspired from a riel client project I did not long ago. So this is the first photo we're gonna work with. You can go ahead and find and download this and the resource guide that I have in the class . You can find all the images there. We need to isolate this one glass and there's several different ways to cut out on isolate objects. There's one really neat, very easy option. I always try first, and it's available and the newer versions of photo shop you go to select and you go down to subject and there's gonna be a little bit of an algorithm that's gonna run that's going to try to find what the subject matter of the photo is. It's not always perfect, but it does a pretty good job, so you could see how it isolated the to subject matters. It doesn't isolate them perfectly. As you can see, it doesn't quite select those items, so we'll have to mainly go in and kind of clean up the selection course. You can also use several other ways to cut things out. But I've kind of found shortcuts and using a combination of different ways to cut it out has always been easy for me. So I just went up to select and you go down to subject and it gives you a head start. So I'm gonna go ahead and grab my lasso tool for you to do the magnetic lasso tool. I find that works a little bit easier, and I'm gonna as I give this a little bit of basic. So if you know this, you can go ahead and conical A's over a little bit. But this is adding to your selection up top, and this over here is subtracting from your selection. So I'm gonna need to subtract that selection. So I have seen little subtraction sign. We're gonna go ahead and a subtract this whole element. We don't need that anymore. We just need the wine glass. And so you notice how that subtracted the selection. And now I'm gonna go ahead and clean up this election. You have to see how could the magnetic tool does? So now I need to add to my selection. So I'm gonna switch upto ad and you can also hold down the shift button and kind of go back and forth between addition and subtraction. We're gonna go ahead and add to my selection the hold down shift. Go ahead and bring that in. It's bringing, inasmuch as I can using these tools, and then I could just go back and hand select the rest. Okay, so now I'm just gonna go in and I'm gonna switch over to the Apollo gone. So it's no wonder gonna have that magnetic quality. It's gonna be a little bit more manual switching to subtraction. I'm just going to subtract the selection, get a nice smooth cut out. I could go back down here and add a cut on can also use the pin tool to find to get better manual curves cut out. We'll do that a little bit later in another project. So many ways to skin a cat when it comes to cutting out objects. Okay, so I'm just gonna go in and just find, too, in a few of these selections. I'm not gonna for you by cutting them all out manually and let me just do one more. Let's do a subtraction and subtract this little bit. And then I'm gonna show you a way to kind of smooth at your selection even further. So its able to smooth out my selection by using the polygon lasso in the magnetic lasso tool. So I got what I think is a pretty general cut out. But let's say I want to smooth my cut out. Maybe it's not perfect. There's a way to go to select and mass right up here to go and click on selecting Mass. And this can kind of help you smooth out your cut out a little bit more. We're gonna go down to smooth and just increase the smoothness. And what it's gonna do is any sharp edges. It's gonna kind of round out some of those sharp edges and picks elation, so just adding a little bit of smooth helps. Feather is great in some cases, although you can see the feather cut out. And it looks obviously gotta be very careful with feather not to do too much feather. I just do just a little bit to cut a soften the cut out. But don't don't be too dramatic with your feathering and you can shift the edge, you can actually have a negative shift of your selection. So if you have any white selections that are still included in your cut out, if you do a negative kind of shifting, it will bring that selection down inward on away from maybe that white background you're trying to select. But I think I'm pretty good. So it's gonna do a zero for shift edge. Gonna click on OK, and it's gonna kind of soften that cut out for me. So now I'm ready to cut in pay. So I'm just gonna hold down command and see and could cut that out. Or command and x. Sorry. I'm gonna cut that out. I'm gonna be able to paste it on my new background. So I have my new background that I can place my wine glass on. I was going to command V, and it's gonna paste it in there where I could just go to edit and copy and paste that way . Here's our new wine glass. And so one thing I'm gonna do, going, going back, I'm gonna decrease the size of my image. Right now, it's 6000 pixels. That's huge. That's going to take up a lot of space and photo shop, a lot of memory. So if you have an older computer, it might be good to kind of size it down just a little bit, but still retain a really nice resolution. So I'm just gonna cut it in half. So you guys may need to do that if your computer is not brand new or has more than eight gigabytes of Ram So I gotta go ahead, Zoom and let's do a 50% See how that looks. Okay? And now it can paste our image in. And let's kind of get the right size and just holding down a newer versions of Photoshopped 2019 and hire. You don't have to hold down the shift button and automatically scale down nicely. But an older versions of photo shop you have to hold down shift before you dragged to get that nice dimensional scale in going on. So now I'm gonna find the right placement before our wine glass. We just want to show the top. We'll show it right here. You go ahead and click in center, and now we have our layer. So here's the issue, and here's what we're gonna resolve. This doesn't look like it belongs at all. The lighting is different, and this is kind of got the white background behind it and needs to have some transparency . So what we're gonna do next is cut out, cut out this white portion onto a separate layer and add a blending mode so that certain pixels or let through in a certain transparency way. So it looks like it belongs in the environment. So now I'm gonna get another selection option, just kind of show you a wide variety of selecting specific objects and cutting them out. We're gonna go up to this quick selection tool when we go highlighter layer here. And what this does is I can click and hold, and it's gonna continue to grab areas. So if I wanted to grab this bottom area, it is click and hold, and it automatically selects it, just like the polygon lasso tool. You could subtract selections and you can add to your selection, So I'm gonna go and click off and show you one more time. It was called The Quick selection tool. I have the addition on that's gonna click and hold. And just like that, it automatically selected this little area and can click and hold it and select further certain areas. So great. So I'm going to copy. Actually, I'm going to cut. So you go up to editor, you can do your little keyboard shortcuts to cut, and then I'm gonna do command V that paste it right back in. But see, notice how it pasted. Kind of awkward. It's kind of shifted off a little bit to be able to paste it right back where I cut it out . There's a special option to go down to edit, paste special and paste in place, and that will paste it in the exact location that you cut it. I'm not sure why it doesn't do that automatically, but maybe they'll add that in the future. So now what we have is a divided Weinglass. So we're gonna mess around with the blending modes. The blending modes are gonna be right here in our layers panel right here, most of them default is normal. We're gonna play around with blending modes and blending molds are gonna allow pixels from the background in the layers below to show through. And there's several different blending modes that let specific amount of pixels through, depending on which one you select eso. I'm just kind of kind of preview through ones that I think would have the most realistic effect. And I'm just kind of scrolling down, I think already found when I think that I'm pretty happy with this, gonna be up top multiply looks really nice because it's kind of letting some of those dark pixels through so it doesn't look washed out. So so far multiply looks to be a linear burn is pretty good, I think in my sample, I did before when I was practicing, I believe I used soft light, which doesn't really show some of this highlights as well. So I think I'm gonna go with a different one and do multiply. So now I have the multiply layer effect on, and now you can see how it kind of shines through some of the background. So it looks like the glass is actually there, but it's a little too dark, so we just need to go up and do a few little modifications to make sure the lighting is correct. 17. Wine Glass Project - Part 2: So let's cut out the bottom section. I'm going to go for this one, going to grab Let's see what to will probably be best the quick selection tool that will select our layer fairly quickly. Gonna click. I'm just wanting the golden liquid area and I just couldn't see if I can't smooth that selection out a little bit. You can always go outside of it. Since it's transparent, there's nothing beyond that point. I'm not necessarily select this portion because that's not gonna be transparent. As much as the liquid is trying to maintain that, I'm just gonna get the polygon last. Teutul do subtractions to kind of clean up this little selection. So it's not so gritty a little but more straight of a selection in the same thing with addition to add any stragglers. And I have my selection. So I'm gonna go ahead and do the same thing. I am going to cut. We can also do a masking. We're gonna go into layer masking a little bit later, which is nondestructive editing. But for this case, I'm just going to keep it simple. It's gonna cut. You're going to use my shortcuts command ex im gonna go up to the top and do paste special . And there's, of course, the shortcut there. Make sure you memorize that. We're gonna be using that a lot. A lot of shortcuts in the class. So now we have this as an isolated layer, and we can either use blending modes or just reduce the transparency just a little bit toe . Let a little bit of the transparency show through the glass. We'll get toe layering mass. We could have also isolated this with the layering mask so that we don't destroy the original glass. But for this case, this is a permanent change. Um, so I'm not gonna worry about it so much with this particular case, so that hard light looks really good, so just kind of going through our settings. We just want this to be a very, very subtle transparency. It would be even better if we could blur the background behind it. So hard light seemed to work as well, which is the same setting that we used up top. The only problem is it makes it look almost like I don't know, highlighter yellow. It doesn't look like a very appetizing a glass of wine anymore. So I'm gonna go back to normal, see if I can't dis reduce the in transparency just a tad so it could maintain that rich white wine color. Sometimes a blending modes work. Sometimes it's better just to reduce the opacity. Just play around to see what you think. Works. So you notice here I will have a capacity of 83 on the top and I believe, actually have the same capacity here. Here we go. So now we need to kind of add a little bit more richness to this kind of white wine. It looks kind of dull. We want the white wine to look appetizing. So I'm selecting this isolated layer here. Gonna go up to images and we could do a couple of different ones. There's exposure, vibrance and saturation. All three of these could have an effect on the saturation color. So exposure, I'm gonna increase this boat exposure. What's were brighten it, but it also washes it out. You gotta be very careful with exposure. Could overuse exposure quite a bit, do that as a little bit more richness. So right now I'm experiencing I'm just gonna cancel. I'm just gonna go down my list of adjustments to find out what works. There is no magic way, just years of experience. I kind of figure out which options work and which ones don't. So that looks more like urine. We don't want this to look like you're in. Definitely not appetizing. Adding a little vibrance helped some setting a little bit of vibrance. That's all I've done so far. I never clicked on exposure. I never saved that option. You in saturation if we ever wanted to change the hue. This is where I go first by just one of the general change, making a little bit more orange because if you notice this is sunset, right, so it's nice to add a little bit of the background into the color. So this was taken in a very white, bright background, and we put it on a evening setting. So adding a little bit of that orange and their helps. There's also another option to add an orange, which I could get to later cats and click on it. So I just added a little bit of orange by reducing the hue. You can also go toe adjustments and go to photo filter, and this will apply a little bit of a color to the overall layer. So you get a photo filter, you could actually apply orange. Cool. You could do a sepia, which that might be a nice color that matches my background. This adding a little bit of sea Pia, maybe just a little bit. Just little changes were not doing anything dramatic. We go to our history and always go back and toggle and see if you like the changes. So this is what we had before. It was kind of a highlighter white wine. It just didn't have appeal to it. We added a little bit of richness, a tiny bit of orange, and it kind of reflects the evening setting. We could do the same thing with the top of for glass go down. We could go to photo filter and add a little bit of that. Sepia should be kind of that sunset color and notice how it changes a little bit on there as well. So I'm gonna toggle my history and show you the effect before kind of had this totally white washed out look after it added a tinge of that evening color. And I'm just I'm just going around making small adjustments, so I'm just increasing your pastie a little bit on there. There we go. So I think I'm pretty happy with this. I'm just gonna make one more small adjustment. So we're gonna use our Dodge and burn tool for this. We're just gonna kind of bring out the rim of the glass a little bit. So once again, we're battling for this to not be washed out. We don't want it to look washed out. Wanted to look rich. So we're gonna go ahead and find my layer here. There's my top layer. That's gonna be ah, top of glass. It's great to title them if you have the time to do that. So I'm going to go to my Dodge and burn tools. Let's go ahead and find those here they are. Sometimes my icon shift around and I'm just clicking on Burn Tool was gonna burn a little bit, and burning is gonna bring out the shadows and dodging is going to bring out the highlights and to do non struck tive editing. You would do this in a layering a separate layer into a blending mode. We'll get to that later when we do people and we start to edit people. But for this I'm just gonna keep it simple and to just a simple burn tool straight on the layer. Okay, so have the burn tool. I have shadows. You can go up here, please play around with ease. Sometimes shadows bring out the shadows. And sometimes if you dark in the highlights, it has a different effects on Let's start off with shadows. Notice how the rim is kind of coming out a little bit. You switched the highlights, and that kind of does not have the desired effect. So that's OK so I could get back to shadows were springing out some elements of the glass just brought out that rim a tiny bit more. So when you zoom out, you could see the rim a little bit. So there's one more thing I see is this stim doesn't quite look like, um belongs into the environment, has that kind of white effect where it was taken on a white background. So I'm gonna go and clean this up a little bit. I can either take the eraser tool and clean it up so it doesn't have that white line. I'm just taking the eraser tool, just doing it manually. Or we could have selected by hand Zuman really far selected by hand. So here's kind of our stem and glass We could do a couple things to make this not look so, uh, Stark compared everything else we could do some of the same edits when going up to image, and we can do a photo filter and add that same sepia to kind of have that evening effect added to it. See how that kind of matches now. So let me go back to history and show you the change. So you see now how it's kind of wide it out. This kind of adds a little bit of kind of that evening sunset reflection. We can add a slight blending mode to this toe. Add up some transparency. Seems going up to here to my blending modes when we bring out my layer and we can experiment. Some of these might be too dramatic and show through too much like that's too transparent. So it might be better just to do a slight opacity change just a little bit, just so you can kind of see how it shows through. And it doesn't look like it's totally unreflective. So there's are a little wine glass so far on their we can actually work on the lighting even more, but just kind of a sample to show. There's different ways to cut things out, and there's different ways to kind of, ah, experiment with lighting and everything. So there's one more thing I want to do just for fun. Let's see if we can change this white wine into a red wine. 18. Wine Glass Project - Part 3: It's a little bit of a challenge, but it kind of will lead you into some of the things will do in future lessons. We're gonna be able to change in a bottle of olive oil into water. And so I'm gonna show you how you make dramatic changes in color to something. And I've had the client requests this where they had a beautiful glass of white wine, but they want the client wanted red wine, but they love the photo. So I literally had to take a white Weinglass and change it into red wine for the client. And it worked. So let's go ahead and do that right now. So I'm gonna have when selecting a school and find our there's our layer do this wine layer . Okay, so we have that. We're going to go ahead and edit this a lot of times. If I'm gonna do permanent changes, I'm gonna just duplicate this layer. I'm gonna do white wine, and I'm gonna just toggle my visibility off. So let's keep that just just in case I don't like the red one, or if I could want to switch between white wine or red wine, I could just toggle that layer on and off. So this will be our red wine layer. Okay, so here's or what? Red wine layer. So let's go ahead and make some adjustments. So there's a couple things we can do. We're gonna go up to adjustments and we're gonna play around with a few of these. I'm gonna go to Hue and saturation just to kind of see if I can't get a tinge of that red and then add some more saturation to it. So I was gonna move my hue to see if I can't find a nice red color. So that's gonna kind of be my red looks a little pink, but that's no problem. Be able to change that. So I'm added some saturation, maybe not quite as much. And then I'm going to reduce the lightness a little bit and click. OK, so that's kind of a dole red wine would really want to add some richness to it would go up to exposure. This is just experimenting with all your adjustment options. I work in a kind of reduce a few of these things here, so I'm just reducing the offset and increasing the gamma soon See how subtle these changes are and what a dramatic effect it has on the wine glass. So once you kind of apply an adjustment, I'd like to continue to apply adjustment after adjustment until I'm happy with how it looks so we could go toe vibrance. That's another way to bring out richness in a particular, um, layer. So adding saturation seems to really help bring that read out. And another thing we can do is we go back with the Dodge and Burn Tool and add more shadows here. So I still have that layer selected. I'm gonna get the burn tool. I'm just adding will go ahead and zoom in kind of adding a little bit of more shadows to give a more dramatic punch. I'm gonna switch between highlights to two than shadows. Giving it a punch also could do the same thing with the Dodge tool so the Dodgers could add highlights is gonna bring out highlights just like this. It looks like the sun. Where's the sun coming from? It's right here. So the sun is probably hit right about there, and that's too dramatic. So all you have to do is bring down your percentage of exposure may be cut in half, so it's not as strong as its click. Once click again, it's adding a little bit of a dramatic punch to our red wine. So there we are. There's a red wine glass. I don't think red wine would show as much transparency in the background as a white wine would, because it has a little bit more, I guess does not die but has a little bit more of a color that doesn't show through transparency. So I'm gonna increase my capacity a little bit on my red wine glass. So you just see a little bit in the background. And the only only other thing I see is we still have some yellow wine left over from this other top of the glass. So I'm just gonna go and kind of de saturate that just a tad would go to hue and saturation and just go down and reduce saturation until I'm happy. That kind of takes that yellow out of there. Okay, so now we have a red wine glass. I can also lock that layer that layers already locked. I got a duplicate this have our little white right white wine glass next to it. Tuggle my red wine off and talk with my white wine off. So there you have it. You have a a white wine glass and you have a red wine glass. And you might I might need to change the opacity on that. When you move it over a little bit more could even have them overlaying each other if you'd like, just like that. So there you go. It looks like it belongs in the environment a little bit more. If I had another hour or so, I'd probably really work on that stem and try to get the highlights on that matching a little bit better. But I'm happy with the top. Definitely something I had to do in real client work. Just a very quick project. We're gonna move on to something a little bit more fun. We're gonna turn ah, glass of olive oil or a bottle of olive oil into something incredible. Some really cool crystal clear water with a beautiful fish in that we're going to do that project next and we're gonna kind go a little bit faster with each project 19. Fish Bowl Project - Part 1: thing is gonna be our second project. We're gonna turn a bottle of olive oil into this beautiful aquarium for a magic fish. And so we're gonna do all the textures, paintbrushes and details to kind of create this effect of the fish being inside the bottle . So the first thing we're gonna do, we gonna need to photos for this really need our olive oil bottle, and we're gonna need our beautiful fish is the first thing I want to go ahead and do is cut out our fish. We're gonna want to bring that into our olive oil photo. It's gonna unlock this layer, and there's a couple ways we can select this one. This might be easy. It's a very simple background. So I'm just gonna go ahead and see if I can't take my magic wand tool and go ahead and click anywhere and get a perfect selection just like that. So I'm gonna want to reverse the selection, cause this is selecting all of the background sums go to go select and then in verse. There's also a little keyboard shortcut that you could memorize. So I'm just reversing out that selection, and it seems I just need to clean that up a little bit. I'm gonna just take my polygon lasso tool and do subtraction. I just need to subtract a few of these little selections that kind of accidentally made. And then we can clean up this a little bit later. Let me add. It's better to over select and cut out than under select and cut. They have things missing from your fish. So I'm just going around with polygon lasso tool. And I'm just gonna just do some manual cutouts. Course I can always do selected mask and smooth out my selection a little bit. I think that will be okay for where it's gonna go in the glass. The fish is not gonna be zoomed in a significant amount, so that a little bit more of a rough cut out than I usually like. But that's okay. I'm gonna go select and mask. I'm just gonna smooth out my cut out. Just a little bit of a feather. It just a tiny bit and maybe shift my selection inward. A little bit toe. Make sure I don't select. Bring any of that white background with me, so I'm gonna go ahead and copy. So I'm just doing command. See? Copy. Shortcut. Gonna pop that into my olive oil. And let's first see how big this images. Um three. That's great. That's not gonna mess up my computer computer at all. And I have a pretty great computer, but not everyone has, you know, 36 megabytes of RAM that could really mess up your program. If you're working with an image that 6000 by 6000 pixels, it can get to a gigabyte in size very quickly in terms of, you know, just trying to save this space on your hard drive. Okay, So here is this. I could go ahead, command v, the paste of that fish, and I'm gonna go ahead and scale my fish down. Try to find the right placement for our fish. They want him to be too overwhelmingly big either. So maybe you're right about there. Might work. So now you can see the first problem we have right now it looks like he's floating in front of the glass, but he's not inside the glass. So I'm gonna show you a couple of tricks where we can add some highlights on top of the fish to make it look like he's inside, as opposed to just sitting outside of the glass floating. So now we're gonna paint on the highlights with the brush tool. So I'm gonna go ahead and create a new layer. That's gonna be our highlight. Drag that on the top over the fish to grab her brush tool over here, and we're gonna make sure it's a soft round brush. It's gonna have a soft feathered look. We don't want to make it too big. We just want a little kind of skinny highlight that goes down over the fish and in the water to kind of bring that fish inside the glass. Or at least give that effect. So it's good to draw down married, apply a blending mode circuit of use, blending modes a lot. Um, when when you do photo manipulations, let's try a soft light, so that's not gonna wash out the fish. If we were, just do just do it normal and then reduce the opacity kind of gives that washed out look, which is not good. But if you do a blending mode and go down to soft light, it gives you the highlight, but without washing out the fish are looking super obvious. So now just with that one change, it kind of brings the fish inside a little bit. We're gonna also do some other things to help bring that fish inside. So next we're gonna change the water or the oil in this case and to water. So there's a couple things we need to do. So I have my layer, my olive oil layer selected, and I'm gonna want to isolate this bottle. Now we need to dis actuate the bottle to get rid of any traces of that green olive oil. So we're gonna de saturate before we start to paint on our blue water. So there's a couple ways to disasterous and there's one special way we're going to do it to retain kind of the lightness in the highlight of the bottle. So there's a couple ways we could do this would go to image adjustment. We could de saturate, but you notice how dark it makes everything. You kind of lose all the highlights of the photo. So we're gonna go back and try something a little bit different. You got a hue and saturation, and you can diss actuated this way, but you still have the same issue. So there's one more thing we can do is go to image adjustments and we couldn't go toe vibrance going click on the vibrance, and we're gonna reduce the saturation that way. So you notice how it dis saturates it, but it also retains a lot of those beautiful highlight colors. It doesn't make it really bright, so I just went toe vibrance and reduce saturation that way. So now we're ready to paint on our blue water before we paint on our water. I wanted to clean up her fish selection a little bit. It's a little rough here at the bottom, and I really wanted to make that look smooth. We could take the eraser tool and we could try toe manually. Smooth out that selection by using a soft around brush, or we can take the eyedropper tool. Do a little trick. I would go and sample this white color right here to sampling the color that we want a race it would go up to select and then go down to color range is gonna select everything in this particular color range. We can adjust the fuzziness to make it accurate or a little less accurate, the less range selection down the image. So just kind of you don't really have to change a whole lot. Just kind of mess with Faison this and see how much you want to select. And sometimes sometimes this is mostly trial and error. So go ahead and click, OK, and you notice how it selected a lot of that white stuff out. But see, it's going to select a lot of white stuff in the fish that we like that we don't want our race. We don't want to erase that. So if I click on delete, it erases that and it leaves these holes in there, All we want is this to be trend trimmed off. So we're gonna keep that selection. But we're just going to de select the rest of the selection. So I'm just gonna take a polygon lasso tool or I can't even take my lasso tool and go ahead and get my subtraction selection. And I look, subtract anything. I don't what to disappear in the fish, right? So I do want all of that bottom area to go away, but none of the top. So not gonna press delete and it deleted that little bit of that color age. And look how smooth that cut out looks. Does that not look really smooth, So that's kind of an easy way to smooth it all out for you. So I just went up to select color range and isolated that that white part I wanted to trim off and then just de selected anything I didn't want to cut off up here. So now comes the really fun part. We get to paint water onto this bottle, so we're gonna create on the very top layer. Actually, I think highlights gonna remain on top, so it's gonna be above the fish. We're gonna add a new layer. That's gonna be our water that we're painting on. And we're gonna get our paint brush tool. Let's go ahead and grab her paint brush tool right here and we're going to select. We continue to use this soft around brush. We're gonna get a nice big brush. Argues 300 pixels for this. So it's nice and round, and we're gonna pick a nice, beautiful watercolor. So this is where it's gonna works. Have to experiment a little bit to find the right shade. We could make it more purple, make it more light. I think more realistic water, especially in a bright environment like this, is gonna be more on the lighter sky blue color. So that's what we're gonna trial with. So I'm gonna go ahead and just make sure where at 100% opacity and there's one more step so we have our soft brush on. We want to put a blending mode on this entire layer before we start painting so we can see how the water's gonna look as we paint it. So instead of a normal, we're gonna go down and try soft light. So this is gonna let it's gonna be a blending mode that's gonna allow, um, it's gonna paint on and make it look more realistic. So go ahead and paint our color on. Let's make sure we had 100% opacity. See her water coming to life a little bit. We go outside. Don't worry. We can always just use the eraser eraser tool and get it color. Shigenori. See kind of a nice layer. You can also make it more rich. You could even add another layer and paint on another color. By using the soft light, we could paint on top of the same layer, maybe add a deeper color. Certain areas kind of add a richness to it kind of painting on to continue to add color and depth having more than one color. You notice how used about three different shades of blue to paint? I'm still on the same layer and just doing a soft light brush. So now one thing we need to do is we need to take your eraser tool and make that a big soft brush We're gonna race, actually, maybe not quite as big, just kind of erasing anything that went over. And so here's the trick. So we want to erase anything in this bottom area because this is just part of the thickness of the glass that's not gonna actually have water in it. So we're gonna want to delete that. That kind of adds a little bit more of a realism to to everything kind of knowing how reflections work, shadows work kind of helps and doing photo manipulations. But it will. That is the start of the glass and you will see water there, but not down there. Same with this very edge right here. We don't want it to go all the way over. And I think I've seen Blue that spilled over just cleaning up my selection. Same thing with his top. So that's not always reflect the blue. Okay, Now we have our water and to kind of add a little more realism and help bring that fish inside the bottle a little bit more. We're gonna pain on some bubbles. But we're also gonna bring in a space star texture to kind of add a little bit element of bubbles to kind of bring some depth to this water because right now it's just static water . You don't you can't tell there's anything in it cause there's no bubbles. There's in the waves, there's no action. So we're gonna add that next 20. Fish Bowl Project - Part 2: so you'll be able to find this photo and the resource guide. You can download this story image photo from pixels dot com and what I like to do and love to use space photography to add kind of a rich texture to water in other kind of elements. So I'm gonna go ahead and drag this photo in. It's gonna be gigantic. So I'm gonna zoom out, go ahead and get it to the right size. So I have my space photo on top of here. We're gonna use a few blending modes to try to blend this in a little nicer. So once again, we're using blending modes a whole lot in this class. So I'm up here and I'm gonna try to preview what I think would look really good. So let's kind of previews. Who so far enlightened is looking pretty good. Screen looks a little too washed out. That's too harsh, so we're just kind of going in. Looks like overlay or so soft light. Soft light is something we really I really use a lot because it's really a blend of not too dark and not too washed out. That's got that's really interesting right there color. But it depends on what you're going for. I think soft light is going to be the winner Was gonna take our race or tool, make it nice and big. We're just gonna trim off the rest of this texture that we don't need anymore. We don't need that anymore. We don't need it up here and we don't need it down here. Let's get rid of all that excess texture. I'm also going to get rid of the texture down here below. I believe there's like some kind of landscape that was getting in the way. I don't want that to show through. So there we go. It's really starting to come together as a couple of the things we could add our own bubbles so we can, you know, maybe. Maybe you don't need the texture over the entire glass. Maybe it's only on certain parts can always just take their race or tool and get rid of certain areas. Just like that, we can add additional bubbles, so call this bubbles. We're gonna go down to our brush tool and there's gonna be some preset brushes should come already included with your version of Photoshopped. They're special effect brushes. This might be when I downloaded Kyle's splatter brushes. Um, if so, I'll provide a link in the resource guide to these. Or you could download any kind of bubble our circles bladder type brushes to use. So I'm gonna use these splatter brushes. Remember, zoom in at a few more bubbles that are gonna be around the fish, and I may need to reduce the amount of that texture of space. So it's used a little more subtly because right now it's a little too mitt, too much of the texture. So here's my bubble layer. It just could have popping a few bubbles. I need to make sure they're white, and I need to make sure that probably small just gonna add a few little bubbles where I think the fish will be. You have a lot right here. What's great about adding these bubbles on top of the fish? It's just one more thing to help bring the fish inside the bottle as opposed to just existing on top of the bottle. So it's just one more element toe lay on top of the fish, so let's go ahead and take our Let's see, where is our probably should name use better bubbles? Highlight. There it is. There's our space photo, so I'm gonna go ahead and take the eraser tool. Or I could just reduce the opacity a little bit. So it's not as strong. Get a nice big brush for our eraser tool. It's kind of race some of the bubbles area, so it's not quite as intense. It's kind of adding a nice highlight around the fish. When I do that, here we go. So now our water is coming together. We can make our water more rich. We can change the color. We have our little color right here. We could simply go up to image adjustments. We can do the vibrance weaken, do saturation. We could add more vibrance to our blue. We could to saturate it. You can add more saturation, but I don't want to over saturate it. I should go and do anything to your objects of photo filter. You can add a warm tone to it, so you see what that did. That was before. That's after. So that adds a little bit more realism in terms of the color of the water looks more realistic, but if you're going with kind of a magical theme that looks really brightened, beautiful. This starts to tone it down as a little orange to that bright blue and kind of softens it a little bit, doesn't it? I think I'm gonna stick with may be softening a little bit. I think it looks a little more realistic that way, so I like how the fish is cut out. There's just a few little areas I might do the same thing where I select this little area and do the same thing where I select the color range. Click on OK and I Have that selected does have to de select this area with a lasso tool because I don't want to cut out all these wonderful areas of the fish was trying to isolate that little bit You, you lassoing bless o love the lasso tool next, selecting a lot easier than the polygon lasso tool. Sometimes you don't have as much precision, but it's nice if you just want to circle a few elements really quickly, press enter. Perhaps we need to highlight my fish layer. Press enter and magically it's gone. So we don't want to select that. So let's de select all that beautiful top of the fish. And now we're ready to delete. So I just want to show you that how I did that again and it's going to zoom out So no one's ever gonna look at this really close up. So some of the selections, they don't have to be perfect. This is how they view it. There's one other thing I want to do. This obviously looks like a grayscale image, but we can change that. Next. I'm gonna show you how to add some color to our cork. So let's paint on our court color. I'm just gonna create a new layer and name it court, and we're going to select a brown tone color or tan color that we think would match the color of a court. So I'm just kind of doing have a tan gold color kind of here on the color picker. We're gonna grab my paint tool just like we did the water. We're gonna select this and make it a soft, light blending mode. So when we painted on, it's not gonna cover it up completely, and we want to make sure we have our soft round brush and make it. That's probably a good size would be a little bit bigger. We're just gonna paint it on and magically it turns to color, right? And then we could make it. A deeper color is that might not be deeper. Deep enough have can always go to hue and saturation and adjust the hue. We think it has too much green in it, which I think it does. We can bring some more reds and saturated a little bit more enlightening. Click OK, and there we go. Now we now have a colored cork, so it makes this photo look less like a black and white photo with blue water. But it looks like it's an actual photo, So one more final touch we could do. We're pretty much ready to go. It probably had more bubbles and do a whole bunch of stuff. But for this background layer, I wonder if I could go toe adjustments and apply a little bit of a photo filter to it. Add a little bit of that sepia kind of makes it less of a black and white photo, and it makes it a little bit more like a riel foot or just a little bit. Just a little. Just so it's not start black and white. We could do the same thing. Hero. Can you paint a very subtle color around here? Um, but so far I'm pretty happy with kind of how it looks. Weaken. Kind of adjust our water one last time. Good. A hue and saturation. What could do any color imaginable with you gotta Hugh. So I love about hue and saturation. It's one of my favorite adjustment options that gives it a little more awkward appearance. I don't know. This is where I really have a tough time being a photo manipulator. Is there so many great options? That looks great. But also when we had before, I don't know. I don't know what color to do. They always great. So, um, so there we have it. There's our little fish in a bottle. I'm gonna go and show the final that I came up with us to spend another couple minutes with it, came up with her final, just added a little bit more highlight to our bottle. Um, I got to go upto layer. I'm just gonna duplicate our highlight layer. I just really want to make sure that highlight pops out a little more and reduce it. Just kind of messing around with that. So just to really make sure that fish looks like it's inside the bottle and never just hanging out floating outside the bottle, let's not the point. I wanted to do one more quick thing, and I know I keep adding new things, but this is all showing you new techniques I wanted to add do the same thing we did. You know how we painted. We used the blending soft blending mode, um, soft light to be able to paint the water. Let's paint another layer to kind of add some highlights in some dynamic effects around the fish. So I'm gonna drag this thing. This layer is gonna be highlight what everyone call it. So this is above the fish, and I'm gonna add a really beautiful bright orange, something really vibrant. I'm gonna get the paint brush tool making a really big brush. Okay, so right now I have it on soft lights of soft light paintbrush, and it's a nice, soft round brush, so I'm just good click once, somewhere down on the tail, that kind of add a little bit of a highlight. So notice how it kind of get that's before, and that's after it's really small. It's a really small effect, but it kind of really brings out the fish quality a little bit more than that. Makes a little more rich, magical. So I'm just clicking and I'm doing command Z to kind of go back. If I don't like that, certain look doesn't always have to be orange. It could be, I think, had a little bit more to that pinkness. So whatever you want, I really just like doing the tail a little bit. That doesn't have to be super strong. You can reduce the A passage e this quick once kind of bring out some of that effect a little bit, you just go back to blue. This is all still the same layer on a dark of the fish, a little bit with that blue, and that adds things on top of the fish to once again. Bring that fish more inside and said, living outside. So I'm happy I'm finished. I'm done. This is what the final looks like. No, we're messing around with it, and I'm excited to move onto the next project 21. Student Project: Fish Bowl Project - Part 3: Now it's your turn. I want you to recreate this project using your own unique style. The photos used throughout the class are located in the project section of this class. Feel free to substitute for another item or another fish photo. If that's your desire. I want this to be a fun, unique project for you that can help you practice the powerful tools we just reviewed in this class. And remember, have fun and poster project of the project section so other students can see your amazing work. 22. Swap Head Project Part 1: so welcome to the next project. Today we're going to take sheep Head and put it on a businessman in a suit. We're gonna do kind of ahead. Swaps were gonna practice a couple of tools. We're going to play around with the liquefy tool. We're gonna do a couple things on practice. Some do tools that you need a couple of photos we have of these photos right here. We're gonna have to have a place to place our background. We're gonna have our sheep photo. Alberto, have the man with the suit photo. So this is gonna be a little bit more of a challenge this time because cutting out the sheep is not gonna be so simple. But we're gonna use some tricks to be able to cut it out, but it be able to add some better selections a little bit later. We're going to see if we can't go to our select option and be able to stew are select subject to see what it automatically selects for us. We might get a little bit lucky, and it might make a great selection to give us a great start. And it's not too bad. That's That's a pretty decent selection. We're gonna grab the magnetic lasso tool to see if we can't go ahead and find, too. In this election, I'm gonna do the subtraction option. I'm gonna go ahead and subtract the selection out. And don't worry about this little hairs that come out. We'll be ableto add that back in with the clone tool a little bit later. So you're not gonna be able to select all those little fine hairs That's okay if you don't include him in your selection. So now I'm just going around and doing the subtraction mode with the magnetic lasso tool and just last doing these final little areas better go ahead and select the year a little bit. And once again, those little hairs we're gonna add back in later. So just kind of do a little bit of a rough selection, make it as best as you can, but we'll go back in and not worry about this fine little hairs. So we're not gonna worry about anything below the neck because that's all we need is the neck portion and the head. So don't worry about that too much. I went ahead and went to select and mask, and I'm just gonna smooth out my selection a little bit. And I'm just gonna make sure, um, I add a little bit of feather, but you remember not to do too much feather. So we're just gonna back that off a little bit, and then I'm gonna shift the edge a little bit inward, so it kind of select skits rid of some of that background in our selection. We're just doing a negative shift edge and it just kind of making some minor adjustments. So before we bring in the photo, I wanted to take our image and make it 3000 pixels just so it doesn't get so big and are Photoshopped files and takes up too much space. Some of these things could get up to a gigabyte in size, so I just might, did my copied it. And then I did a command V to Paste are sheep. So now I'm gonna position it what I think would be the right size for this document. I gotta go ahead and take my eraser tool and just kind of a race around it a little bit X. We're gonna take our man and cut him out so we can get our suit ready to put on her sheep. Now we're gonna go to select and subject to see if we can't get a head start with his algorithm. So let's see how it selects it out. Just did select and subject and see what happens here. It's a pretty decent selection, so that saved us a lot of time. So now I'm just gonna go back and use the quick selection tool. Um, go ahead and press and hold and see if I can't grab some of that extra stuff that it did not select. What I love about the quick selection tools it you just press and hold That kind of grabs and gobbles up everything, so it kind of makes selecting a little bit easier. So this is the quick selection tool is kind of grabbing some things a little bit easier and less cumbersome than using the magnetic are the magic love by lasso tool moms who just gives you a little bit more precision in terms of selection. Doing a quick time lapse here kind of showing you finishing up my selections. Who's in the quick selection tool Now that we've got a pretty decent selection, we want a de select the head because that's where the sheep head's gonna go. So we're just gonna go ahead and I'm just taking the quick selection tool. I'm gonna go up and make sure I click on the subtraction mode for Michael it quick selection tool up there and I gotta go ahead. Just subtract that head out. So I'm just gonna click and hold and magically, it'll de select that section. You can change the size of the brush in terms of your quick selection tool. You can make it a little bit bigger to make it easier on you. So go ahead and make it a little bit bigger and make that selection a lot easier. Or, in my case, I'm skews the polygon lasso tool and just last So that thing out of their sometimes that's a little bit quicker, then the quick selection tool. So what I'm gonna do next, I'm going to do something a little bit different. So instead of just cutting and pasting into the new image, I'm gonna do what's called nondestructive editing. Nondestructive editing helps you not destroy an image, but be able to go back to the original image, so we're to do that by adding a layering mask. So instead of cutting it, we're gonna add a layering mask so you'll be able to access the leering mask down here in this area. C add layering, mask. Click it. It's got a mask, your selection over your photos. So now we just have the suit cut out, and this is a little bit different than just cutting it out, because now I can right click by masked and disable it, and I'll be able to get my original photo back. So it's a great, nondestructive way to cut out an item if you just want to ask him at a mask and get the same effect, is cutting it out? But you're not. Actually, it's not permanent. You'll be able tow to use that to modify that again. So I'm just dragging the suit back into our main photos of Go ahead and gather elements together. Now that we have all over elements together, I'm gonna resize everything. I'm gonna go ahead and take her sheep head and size it to the position I think would look the most realistic. So change the angle here and the size. We're gonna go ahead and do a little bit of an angle, kind of get a straight up angle and bring it down a little bit just to make sure I have enough room for a neck. I don't want to make the neck too long or too short. I'm just doing some just adjustments to get there. Right. Um, placement. So now we have a couple options here to try to get our nice, skinny neck going on. We can use the ah lasso tool. It's kind of cut those areas out and make a neck out of it where we can do use the liquefy tool and be able to bring those elements. And with the liquefy tool this is see how this works. It may not work out. We may end up just using the lasso tool and cutting it out manually. But let's just go ahead and experiment with a liquefy tool. So to get to the liquefy option, you're gonna go up to filter and you gotta go down till liquefy, and I'm gonna use one tool. That's the forward warp option. And I got to get a nice big brush. Sometimes the bigger the brush, the better the more realistic. So there's the forward warp tool. That's how you access that one. Um And so we're gonna do a nice, nice big brush to get the effects. We're gonna get that nice, thick neck. We don't want to have a really thin neck because the sheep would naturally have a thicker necks. So we're also gonna broaden the shoulders. We're gonna thicken the neckline a little bit, so get more of that sheep head on there. So I don't want to have this little skinny neck and skinny body in this big she pets. So we're just kind of using that tool and slowly bringing it out a little bit. I'm gonna need to do the shoulders along with it, too. So you'll notice when I reduce the size of the Ford Warp tool and try to do it, it looks a little unrealistic. Eso sometimes making in a nice big brush will give it a more realistic look. So, yeah, that small one doesn't work at all. But a nice big one will grab everything for you and be able to pull it all together nicely . It was kind of doing some fine tuning with the shoulders so you can get a nice match with their nice the neck. I think it'll look a little bit more realistic now that we've done this with the liquefy tool and said it is popping the head right in there. So that was a Ford work tool. Once again, that's only when I'm using here. Today we're gonna go ahead and click, OK, when I'm done and there we go. That's not so. You'll notice that when we did it, it didn't exactly applied to liquefy tool. And that's because this is a layer mask. So when you have a layer mask, it only applies if you click on the layer mass selection. So now what we're gonna do is we're gonna go up to filter, and we're gonna go down to liquefy and apply that same effect down onto our selection or selection part of our layer mask to go and click on that right section to be able to apply it there. Now that we've done the liquefy torm the suit, let's go and do the liquefy tool. Let's see how that works on the sheep. It may or may not work out where we're gonna give it a try elsewhere to select our sheep layer And just make sure that selected and go down to filter and liquefy were to do, um, not the liquefying the top liquefying the bottom. And we're gonna go in and the trick to this as being able to show the backdrop. So make sure show backdrop is included so you can see how it looks along with suit, because it's not gonna have that on by default. So click on just showed back up and increase the opacity so you can see how the suit and the sheep are gonna look after you modify it. We're gonna zoom in a little bit and we're gonna go ahead and see. We're gonna go ahead and use that same forward warp tool. We might need to reduce our brush just a little bit, kind of see if we can't tuck that into a neck like position, kind of dragging everything down and trying to create a little bit of a neck. And this may not work out. We're gonna go ahead and just give it a try. This would be the easiest way to do it if it's possible. But it may not make it look a little too warped after we click on. OK, but give it a try anyway. So let's click on, OK, And so that net doesn't look quite right. So we're actually gonna go back in our history and go back to where it was, and we're gonna try to cut it out just using our magnetic lasso tool. So with our magnetic lasso tool is gonna select what we think would be a great placement for a neck and just cutting around. Don't worry about cutting it out perfectly. We're gonna go back with the clone tool and get some nice cutouts for our face. So you notice how he cut it out. It doesn't look very good, but worker to go back later and kind of feather that out a little bit, So that looks like a good selection. So now we're starting to get our basic shape. We still have a lot of work to do with making our sheep head look realistic on this background, and we're gonna do that here in the next lesson, really fine tuner selection and make it look like it belongs on that background. So stay tuned, and we're also gonna add a shadow to the neck to make that look really realistic. 23. Swap Head Project Part 2: welcome back for part two. I'm just gonna grab my eraser tool and didn't do a really nice soft brush and just go in and kind of clean up. These really rough edges that I cut out was kind of smoothing them out with a nice, not too large, soft round eraser tool brush just going around and fine tuning some of these A little rough cut outs here. So sometimes you need the polygon lasso tool to kind of really do a nice sharp cut out. So I'm just gonna grab the polygon lasso tool. It's kind of trace over this war in a little bit to get a little bit of a smoother cut out . So that's what I'm doing right now. Go ahead and delete that. Cut that out nicely. Was using a combination of a couple different tools to get the right cut out that I need. I'm back in the eraser tool. I'm just gonna kind of erase a little bit of the ear a little bit to make sure there's no more traces of the background left over and we're getting ready to grab the clone tool next . So now what's next? After we kind of erased what we think looks okay. We're gonna have to do the clone tool next, kind of get a more natural finish. So I'm gonna grab the clone tool, and I could go ahead and get a nice small brush, so just kind of finding the right sized brush here. So this should show you a brief demonstration of the clone tool. I'm gonna go and hold down the option key, and they're gonna get this little symbol right here. I'm gonna go ahead and click anywhere and click on the nose here, and I can go anywhere else and start toe etch out that clone area and you could see the little addition sign over by the knows where it's taking the sample from. So the goal with the clone tools to be able to take a sample of nearby hair and then being able to paint it just over the edge there to give the edge a little bit more of a finished look. So I'm gonna go ahead and show you a little bit of a demonstration here as I start to take nearby samples of the wool hair and then just going right over the edge and kind of painting a little bit there. And I will switch between the eraser tool by Go over. I don't like the specific textural go, and it kind of clean it up with the eraser tool so you could see how I'm taking a little sample here. Right there. Took a sample, and then I was painting it right nearby, and I could continue to take samples and paint, and I'm even gonna go to the top of the sheep here and do it on the top. Section two. She could do all throughout the edges to kind of finish up anything that looks rough. And sometimes using nearby samples is better than, um, other things. So I'm gonna take the top. I'm just taking a sample. Anywhere up here is painting a little bit on the edges. Now that we're done with the clone tool, we're gonna get back into the eraser tool. We're gonna do much more minute little cutouts of details Now that we cloned in some nice texture there to fill out those rough edges, they're going to a very small brush. So I think I'm only gonna do like one or two or three pixels. So let's stick with one pixel and see if that's too small or not. So this is just the eraser to we're gonna make sure I have the right layer selected, and I'm gonna go, and I need to make a little racy. I'm gonna zoom in here so you can really see what I'm doing. I'm just kind of painting on kind of, uh, little edges of the hair, given it little details that you're not gonna otherwise have when you have a rough cut out like we had to dio. So I'm just adding in this little find minute details. I'm only I believe it's only a two pixel within the eraser tools. It's a very, very small brush. I'm just going around all the edges. And I could do that here for about a minute. Mom's gonna speed it up a little second kind of see my process. So now that I finished everything with the very small to pixel racer tool, I'm gonna enlarge it a little bit and kind of finish out this right side. It's a little rough, so I probably just need toe increase the brush size just ever so slightly just kind of clean that last section up. And we're almost done with cleaning out our edges and just going to do the neck here a little bit. Kind of do some fine tuning, and lastly, we're going to do the neck or gonna add a little bit more realistic shadows to the neck area. So there's one more thing we need to clean up, and that's the little rough edge here on the neckline. You'll see it a little bit of that background left over from when I originally added the clipping mask. So I'm gonna find the right layer here. That's the sheep. There's our clipping mask, daring the select the clipping mask portion. I'm gonna grab the eraser tool and is clean that little edge ups or cleaning up our selection. Not necessary the layer. But the layering mask, which is to the right on layer to it, was kind of cleaning up that selection before we add in the shadows on the neck line. So, as you can see, I'm adding a new layer, and I got a sandwich with that layer. Behind the sheep are the suit, but in front of the sheep. This is gonna be between those layers. It's gonna be a little bit of a shadow. We're gonna grab the brush tool. We're gonna paint on a little bit of a shadow effect that kind of give it a little bit more realism. So just grabbing once again the soft round brush, I'm doing it. Not too large, but not too small. This time I was gonna paint on a shadow where I think it would cast be cast on the neckline . So it's probably gonna be cast a little bit down on the bottom and then going a little bit up top because that's gonna have a little bit of a shadow where the collar is. So I'm just painting that on taking their race or tool, and it could just erase any excess shadows that you don't need, so just kind of erasing that a little bit cleaning that up. They gonna race a little bit on that top left portion probably don't need as much shadow of there, so I'm just gonna erase that real quickly. You ago. So now that we added the shadow, it really kind of brings the top portion of the bottom portion together makes them feel like they're integrated and their one object. So now that we completed this task, go ahead and zoom out and check out our work. And I believe there's a little hand we need to work on. So if you zoom out here, everything looks pretty good. Just kind of checking everything out. I'm gonna zoom into the hand area and go. You know what we need to add? Kind of some for texture on the hand toe. Add even more realism to this man so we don't have a human hand hanging out there. So I'm gonna grab the magic one. Actually, the quick selection tool. Let me see if I can select it really easily with the quick selection tool. Sometimes you have to experiment with which what's the best way to cut it out And the quick selection tools not working quite as well for me. So that's no problem. I think I'll just go ahead and grab the polygon lasso tool here and just hand draw. It's really not a complicated shape, so I'm just hand drawing the border here of the hand. What we're gonna do after we draw this selection is we're going to do the clone tool in order to sample some for from the head and pretty much color the selection in with it. Now that we have our selection, where you're going to create a new layer, that will be where our first gonna be drawn into. So I'm gonna go ahead and find out which ones that probably the name some of these. So I know which layers which. So let me go ahead, Name a couple of these so I could kind of do what I'm doing. But I'm gonna grab the clone tool. There it is. Couldn't find it there for a second time to grab the clone tool and zoom in and take a sample of what I think would be a really good first sample for a hand. And I'm thinking this nose area might be the best. The top of the little messy sums could have grabbed from the nose area that ah, hold down option and go ahead and sample that color. Bring it down and paint on my new layers. Have a brand new layer here that has nothing on it. And I still have our little selection made that we made with the polygon lasso tool. I'm gonna go and paint that on you get a nice big brush and just painted on and that should happen pretty easily here. Here we go. I just went ahead and painted that on with the brush going to a brush. We're gonna go in and we'll do the same thing that we did before. We're gonna add a new layer and this is gonna be our shadow layer for hand. We're gonna paint a little bit of shadow effects on the hand so it looks like a little shadows being cast from either the sleeve or the pocket where we want to cast your shadow. So I'm gonna go ahead, drop both and delete delete the excess shadow that I don't need. I'm just painting on just using the paint brush tool in doing a simple black And then I've taken the eraser tool and trimming up my selection, so I just have a little bit of shadow left over, so just adding a little bit of shadow. There really helps. I might just need it on the top portion. I may not need it on the bottom portion, as much so That was kind of her last step in the process. And I think her sheet man is done. There's still a few little things I need to cut out from the suit. I can kind of. There's a few little white spots I could cut out, so I'll spend a few minutes doing that and they'll come back and kind of show you the final results. So there's a little white part. I can go in. Go to my mask and just take the eraser tool to polygon lasso tool. Good. Cut that out. So I'm gonna go ahead and do that, but this pretty much the final result, and I'll show you how. I kind of added kind of an evening kind of shot in the background will do that in the final bonus video, but hopefully have enjoyed this quick little lesson. 24. Swap Head Project Part 3: So now we're gonna take our background photo, which is right here to go and toggle it on and off so you can see I'm gonna go to Filter. And I got to go down to the Blur Gallery and Goto Iris Blur. This is something I use often to kind of add realism. And the great thing about the iris blur is is it kind of adds professional photography focusing. So it helps kind of create what would happen when out of professional photo, our camera would focus on a specific subject. It kind of blurs everything outside of the circle and some kind of adjusting the circle. And I really wanna have the focal point B on the sheep and the man, so I'm just kind of adjusting that. So there's a little bit of a blur outside of that focal point, and I don't want it to be super blurry, So I'm just gonna reduce the blur a little bit and go ahead and click on OK, and you can get to kind of see the effect this has so cut notice how it kind of added blur on the left and right size. That kind of brings the focal point. Mawr on our subject matter was gonna toggle that often on. So you can kind of see the effect that had at this point would go ahead and crop off the left and right side. So it's gonna grab the crop tool and kind of reduce all this excess on the left and right, cause there's just too much background and such little subject matter, So I'm just kind of cropping Are subject matter a little bit on One thing I want to do is add a nice evening sky to all pieces. So what I want to do is join everything together as one J. Pegs. I'm just gonna save as and I'm exporting as it just a simple J peg. So all the layers will become one. So when I do some edits to the appearance, they all be edited together as one layer. So just bringing in that j peg back in, I'm gonna go to image and Adjustments and I'm gonna go down. Um, see if I can find it here. Photo filter. And so we're gonna add that c p a color again. You can play around with other warming filters to kind of add the evening sky. So all of them now that's a J peg. We don't have to do each individual layer. We could just do them all together and they all kind of have the same effect. It helps bring all these separate elements together and make them all have a similar look. So gonna go down and see if I could do see crumbs could play around with this orange warming filter and let me see how CP looks kind of increase that a little bit. Maybe the orange looked a little better, but don't want to do too much just a little bit. So click OK, and that's it. So I just add a little bit of an iris blur and did ah, little bit of an evening effect on all of it. Kind of have a more finished polished photo. I can play around with exposure a little bit, kind of increase the brightness if I want to and play around. But I'm pretty happy with it. Go ahead and export. I have my little J peg. I guess it what about 25 minutes. We were able to do this project together 25. Wicked Witch Project - Part 1: or get to turn the seemingly innocent girl into the Wicked Witch of the West by using some blending modes and some nondestructive editing that we've learned so far in this class. So first things first, you wanna paint like a dark, moody background picture, really get some deep dark lighting going on. So I'm gonna create a new layer, and we're doing nondestructive editing throughout this lessons. So we're not gonna be really editing the layer of it having layer on top of layer and painting on effects that way, as opposed to editing the core layer. So this could be our dark background. The title of this such were go and grab a nice big soft brush So soft round brushing to make it fairly large would be painting all the white away. And this is this gonna be your standard brush? We're not doing a blending mode. We're just gonna be painting a dark background to set the mood. And it's okay if a little bit of her gets taken away. We don't want any white remaining. We could always use the eraser tool to get some of her back. Okay, so just getting some dynamic lighting And now we're gonna get the eraser tool back out, and we're gonna soften this a little bit. Couldn't get her back. You have a crack kind of creating some dynamic lighting here and bigger brushes, the better. You're gonna get a little bit more of a soft effect. I'm just trying to find the right brush size. I probably be about 1000. Let's click wants and then let go. Just in case I kind of go too far from the edge. It's gonna bring out certain highlights and eventually we're gonna be bringing out her fingernails a little bit more. So let's go ahead and bring back. It's just the brush tools we can keep going back and forth until we get the right lighting . We don't want any of that white stuff to be there. We want to look nice and smooth. So there we have. We don't want any of her hair show we could eventually paid on her little hat on the top. So I think that's pretty good for just showing her through. So next we're gonna be able to paint her green so we're ready to paint. But first things first, we're gonna need to de saturate her and make her black and white supercool Remove, Remove all color from the equation. So it's gonna go up to image adjustments and d saturates or just removed all the color. And so now we're gonna be able to paint. So we're gonna add a new layer on the very top that's gonna be called green makeup, and this is what we're gonna paint on. This is, of course, gonna have our overlay blending mode, and worse could grab a big soft brush. And I wanna have it picked out a green. If you want to go ahead and pause and write down the RGB colors right down in this area, you could find a similar green, but I got I'm gonna be using a couple different greens to kind of give her a rich, complex color instead of just painting with one color of green. So I'm not doing it to yellow, and I'm also not doing it to green kind of an olive. I guess you'd call it. I'm just gonna pain. I can always use the eraser tool toe. Fine tune my selections later. So just kind of do abroad painting. I'm gonna do a little bit of a shade that's lighter. But I also don't want it to do too bright. So what you could do is reduce the opacity a little bit and I'm gonna bring out a darker shade. So, you see, I'm using three different shades to kind of get a more rich, complex green. So now that we have a green makeup applied and I'll go ahead and kind of show you what we did here, you could see how we just painted with three little slight variations of this green there. Once we have that done, we're gonna go ahead and take the eraser tool and go ahead and delete things that are not gonna have the makeup. So it's gonna eraser tool. And let's kind of delete the eyes. Make sure that's 100%. Those will not have makeup on him. What? We're gonna make those deep red. You're in a minute. Same thing with the lips. We don't need any green. Those will be read just a leaving anything that will not need make up. Maybe a little bit of her eyelashes, too. That won't have green in it. I guess we could even do that. But then that starts to look fake. So let's kind of leave that alone for now. So now we're gonna set up our dodging burns and can really bring out some more shadows on our face and tone down some of that really bright forehead I'm starting with. Same thing that we've done in the past were to create a new layer, go up to image. I'm sorry, Edit Phil. We're gonna do our 50% gray, and we're gonna pop that into overlay so you'll see that that has no effect on the photo. It's all overlay and you can't tell that layer even exists on. So now we're gonna get our Dodge and burn tool and kind of bring out. I usually like to start out with shadows first, but that's depending on what you want to do. So it's gonna go in and kind of bring out some shadows, certain areas. Now let's bring out some highlights by doing the Dodge tool. It was kind of just doing very little. Hence of highlights. Probably bring exposure down a little bit. That's probably a little too much just painting it on. Bring out our chin a little bit. So the bottom of her face doesn't disappear too much. And let me switch it back to the burn tool. Make sure there's not any anywhere else. I can bring out some dark tones. Great. So I'm gonna go ahead and highlight my green makeup layer, which is right here. I can't. I'm going to see if I can't make any tweaks or adjustments to the color. So I'm just gonna go up to image adjustments and do a couple of these to see if I can't kind of tweak the color a little bit. So just increasing the vibrance in the saturation just a tad. I could probably go, Teoh, brightness and contrast. See if I can't tweak anything here. Okay, so now we're gonna start painting on some of the other elements or to do her eyes. Next, we're gonna do a different layer for her eyes. This will be titled Eyes, or you do the same thing as we have been doing with the other layers, and we're going to the paint brush tool, and we're gonna do kind of some red, scary looking eyes. We do a much smaller brush. We're gonna make sure we have the overlay blending mode and they paint them on. Just go and paint them all the way to get the eraser tool. I think I kind of went over just a tad into the white space. What I'm gonna do is the same thing I did with the green skin. I'm gonna make this more than one color, so I did a red. So let me do, like, a little punch of orange just right here in one area. Well, I got the eraser tool by accident. Get the brush tool. I got oranges. Click once will be increasing capacity there. Just a little red on the other side. And the most do like a really bright read. Just adding kind of some dynamic effects with the eyes. Okay. And organist could erase anything that doesn't need to be there on the excess. We're gonna go back to our Dodge and burn layer, which is right here. Let's dio title that dodging burn. And I could do the same thing. I'm gonna get the Dodge Tool and I'm gonna bring out the eyes a little bit. So let's do highlights. Let's do pretty decent exposure is gonna click ones right here where the highlight will be the strongest, just really bringing out her eyes a little bit. So it may need to zoom out to kind of see how it looks from a distance. There we go. I like that. So let's go ahead and do the lips. So we're gonna do a new layer, and we're gonna title this one lips same thing and grab her brush tool. But this time we're to do red. Would you like a deep red kind of some red lipstick? We're gonna paint that on, and we need to make sure we do our overlay, um, blending mode and same thing. We're gonna do a little bit of a lighter shade kind of ad some dynamic papa color and take that eraser tool and trim off any excess that we went over to the green makeup. We're gonna go to our dodging toe dodge and burn tool and bring out some some highlights. So could do the Dodge Tool. We're gonna bring out some of the shining this ever lips, and I think it's got enough shadow, so I'm not gonna go there with that. It looks like there's a little bit here That's still black and white. So you go to our lip layer and paint that arm and then just kind of switching back and forth between the paint brush tool in the eraser tool. You see, we did the lips nicely. The eyes look nice of skin. Looks nice. We're getting pretty close. We're gonna add a few final touches and we'll be there. 26. Wicked Witch Project - Part 2: So the next thing we want to do is we want to use the liquefy tool because we want to kind of add a little bit more expression and an evil look on her face is really the liquefy tool to do just that. We're gonna go ahead and select our base layer, which is our woman, and we're gonna go up and liquefy her. We're gonna tweak the nose a little bit, and that's afterwards. What? Go ahead and show you how I got there. I'm gonna go down till liquefy. It's gonna pop open and let's go ahead and zoom in. We're gonna tweak the nose a little bit. I want to bring her nose down so she has more of its long, pointy kind of a witch knows stopping do anything unrealistic. So I'm gonna grab right here the forward warp tool that I got to get a pretty decent sized brush, so maybe call it 1 66 I'm just kind of pushing her nose to make it a little bit more pointy , kind of bringing her nose. And so it's more skinny. This little small changes. Nothing too dramatic. Okay, And another thing we want to do is maybe add a little curved to her eyebrow. Maybe it looks like she is. And raising one eyebrow kind of an evil, sinister way. So I'm just still using this tool right here. The forward work tool. Just kind of pushing it up a little bit. Nothing too dramatic. Just just a little raised eyebrow. Okay, I'm gonna go and click. OK, so they kind of gave her a little bit of, ah, kind of a smirk on her face. And one thing I want to do is I want to bring out thes fingernails a little bit more and the fingers So this dark background is what's kind of covering your entire image right here . So this is what we painted on. It's just kind of a brush with this. A brush doesn't have any kind of got a normal blending. Modus is to brush painted on, going to simply take the eraser tool and maybe kind of do 30% opacity and kind of just kind of brush away a little bit where the fingers are might even back it off a little bit and make it bigger. No, just clicking and having it slowly fade. I want to bring out his fingernails a lot more. And so this fingernails look washed out. And one thing we could do is paint, um, pain a little bit on there. So we're gonna take increasing capacity here and make our race or to a little bit smaller, and I'm erasing all of the black off there so we can add fingernails for these will be nails. Add that on top of the green makeup and we're gonna do some nice, dark red nails. We're gonna paint it on, and we're gonna make this, of course overlay. Make that a small brush. We're gonna paint on some nail polish. I could see how fun this could be. Definitely need a smaller brush for this more detailed work. This painting it on, it's really fun. And sometimes I just go over just for the sake of having it be easier to erase that it is. Sometimes toe stay in the borders seems to go in and make sure I'm at 100 100% to race. Go ahead, clean up any nail polish off of the skin and there we go. We have her for little fingers pumping out there. So there's a few more things we could do this. One more thing we could do in particular that's at her hat. Shadow the shadow that's gonna be cast by her black hat. So we go down the dark background or we could just add a new layer. We're gonna do black. We're just gonna be painting it on. We don't need to do a blending mode here was painting on black to do a pretty nice big soft round brush, and we're gonna have to practice kind of our swoop here. We're gonna do kind of a hat kind of been here and kind of get rid of a forehead so she'll be wearing a hat so you might want to practice a few times. We're gonna kind of go down and swoosh up, and we could maybe do it a little bit bigger. Margus slipped. That might be a pretty good brush, just a little bit second kind of see where she would be wearing hat. And you can always use Command Z and go back and try again. If you don't like exactly how it swooping because a sweet more down at an angle that might be what works out. The best comes swooping down. And what's great is if you don't like that layer, this is nondestructive. So I could just remove that layer and try again so I could do just that. I can delete it and that a new layer and keep trying so that could work. Or maybe a little more dramatic oven angle just like that. So there we go. We're getting really close and do a couple of fine tuning, maybe bring out her fingers a little bit more and do some or play around with a dodge and burn layers just a little bit. But I think we're getting pretty close to finishing up our wicked witch. So a couple things we could do to kind of add a little bit more of a grainy texture to the peace. I'm gonna go ahead and grab our bottom layer right here kind of her base layer. I'm gonna go up, and I'm not gonna add just a little bit of noise. So I'm gonna go to Filter. We're gonna go up to noise and then go to add noise and you just have to add a little bit. You can kind of see the effect here. This is kind of a dramatic effect, but we just want to have maybe just 5% just add a little bit of a grainy texture to it. So that's kind of before we got history. That's before after. So it kind of adds a little bit more texture to her face. It doesn't seem to smooth. Kind of seems war raw, a little bit more emotional. So it kind of adds a little bit to that dramatic pop and flair. I'm also gonna bring out, um, a Dodge and burn. I think I need to kind of work on that a little bit. So I'm gonna go and grab my burn tool. I'm just gonna kind of accentuate spring my exposure level down, just kind of accentuate certain dark areas a little bit more, especially right here in the corner of her eyes and down here on her nose. Make that a little bit more dramatic. I don't like we need to mess with highlights as much. We already have a whole lot of highlights here on her nose. Who switched that toe highlights. So I think we're pretty much could be done there also kind of what? I clean this up a little bit. See going. Which highlighting our dark background here. I'm gonna just kind of erase this just a little bit more were not quite as much. Just a little bit more. Bring that out of it. Could also do the dodge and burn layer and grab our dodge and burn tools and add some highlights that way. Yeah, we just kind of brought her finger out a little bit. Perfect. So we can also tweak the color of her face. So right now we just have the green on. This is what it looks like without the green makeup. And I'm gonna add a new layer on top of the green makeup that I'm gonna also make sure that has an overlay. And instead of just painting on different colors of green, I'm gonna see if I can't get a green, but a little bit more on the orange side just to kind of see if we can't bring out a little bit of a worm tone. Here. You do a little bit of a big brush. It kind of see what I'm talking about. Once I to the effect. Go ahead and bring. Make that a little bit more deep, a little bit more orange, just kind of adding some warm tones. Certain areas kinda makes the face a little bit more complex, so that's before this is after adding a little bit of that orange. I can always go up to adjustments and go to color balance, and I'll change the color balance. Make it warmer cooler, depending on when I think the color should be. Gotta adds a little bit of blush to her cheeks. Makes you look a little bit more alive. Sometimes it's not just a simple is doing one color and you're done. It's always layers upon layers of colors and highlights and shadows. We can toggle that on and off. We could maybe even back off the capacity just a little bit to have it be, but more so. So I think we're done. I think it's good. Zoom out. Um, we could Maybe her head shape is a little funky, so you just get a dark background, and that was just a simple black that we painted on. I'm gonna continue to kind of shave that off. We do a 50% capacity. See if I can't round this off a little bit. Kind of, Ah, get her shape a little bit better. We'll be back in just a few short minutes. 27. Student Project - Wicked Witch Project - Part 3: So this is the final. I came up with a to spend another five minutes tweaking the Dodge and burn layer. If I go down here to dodge and burn, I was ableto add much higher contrast with shadows and highlights, and I was able to trim off down here with this just kind of regular black brush tool. I was able to kind of contour her face and her cheeks a little bit and kind of made room for some simple typography. This is just as, oh Sands black. It's a really nice bowl. Typography is kind of doing something clever, putting it on her cheeks so that the focal point will be right there on the eyes and on the face. Um, and also made her hat go down kind of overhear I a little bit, so it kind of looked even more dramatic. So I guess the key here was more dramatic, the better able to bring out the eyes more the lips more. Um, and I sharpened her image. Maura's well, so I went down to the base image and sharpened, and also I sharpened and added a little bit of grain texture to this green mask that we have on her. So this overlay mask, I went up and I just added a little bit of noise, which just adds a little bit more of that grittiness, a little bit more texture and greeting this to her face so it doesn't look quite a smooth and polished. It looks more high resolution and gritty s. Oh, there we go. There's kind of our quick. This is what she looked like before. And this is what she looks like after I have a lot of fun doing this quick manipulation project that kind of helped bring some of those nondestructive editing tools together into a practical manipulation project. And since we use nondestructive editing, I was able to kind of change these colors super quickly by selecting a layer de saturating them, going up to images and going to color balance and play around with the color. So instead of red, I d saturated it and then brought out some of the greens. Same thing with the lips, and I deleted. Ah, the green paint layer and I just painted I kind of see how I painted a gold. I just used the shade of gold to kind of paint on golden set of green so you could see how easy it was. Toe swap between colors. And we still have this original photo down here pretty much untouched. We converted this one to black and white a long time ago, but it hasn't really been changed that much, so we could swap out things. What about colors? Arm Super easy. So, for example, if I have, um, we'll see the eyes right here. I could just go up to adjustments and go to color balance and just change anything. I want some just kind of making things different colors, and it's a lot of fun. So half on play around with colors. You don't have to do the wicked witch. You could do a superhero. Anybody that has this dramatic lighting that you really want to do go for it. I want you to do a student project and be able to create your own either superhero or the wicked witch, or some character that has either dramatic makeup or some kind of effect that that's very distinct to them and have fun and work with the nondestructive editing defined really fun, cool ways to manipulate photos 28. BONUS - Painting Makeup of all kinds: So I'm just going to show you what is possible when creating your superhero or your witch or whoever get to create. I went ahead and I still have this kind of gold paint on here, and it's have a new layer just doing overlay. And this time I have a hard round brush to showing you just kind of experimenting and chase and wide possibilities of what you can do. Anson's is the hard brush when I draw will be a nice straight edge. Look a little bit more like paints. We do kind of a cross. We could do kind of horizontal lines here. We can do straight lines, that kind of straight lines here and then go ahead and add a brush effect. Give it even more precise. Just like that, we can go to the liquefy tool, and we can liquefy it a little bit to make it look like it's going around the corners and edges of her nose so I can go ahead and take kind of just have it bend in a little bit. In certain points, we could look like it's not just the straight edge, click OK and you can take the eraser tool. We don't need it over the lips is kind of erase that so have fun and play around with this . That's one option. Even do something really dramatic. Like taking a black line and doing an overlay with the same type of brush. Having a really interesting perfect switch it with white, uh, do different colors like blue purple. You name it, you can do it. You could do half her face in a color paid half the base do do do do click off, take their race or tool ended up opening up our eyes a little bit cleaned her lips. Do the other half another color barrel. Superhero woman. What's good? What's a good counter? Purple, Probably yellow. Make sure you overlay Click off. Do your country's colors. You could draw the flag So many different things that can dio. If you don't like a particular color, you can just go up and go to color balance. You can tweak it a little bit, so that happened to repaint. Tweak the color. You can even do different eyes so I can have us be deleted. Probably cut that out and then we're gonna paste special place pasted over there, but it's not gonna retain the blending mode. Switch it to overlay. And now we have the eyes of separate layers now to color balance and have two different colors. Same thing with lips. 29. The Magic Door Project - Part 1: we're gonna challenge ourselves a little bit with this latest photo manipulation, we're gonna use over 5 to 6 different photos to create this kind of culmination of this little atmosphere with a little girl walking into a mysterious door to another world. This is the first photo we're gonna be cutting out. We're gonna cut out the door and they were gonna place it onto a background, and we're gonna have our girl walk into the door. So I wanted to pick a photo that was not a nisi cut out just to kind of show you some of my problem solving avenues. I go down if I have a photo that's not perfect. So you could see kind of the leaves coming and here, But we're gonna be able to use thes spot, healing brush tool and the clone tool to be able to replicate that would texture and get that to go away. So just gonna do a rough cut out of the door was using the polygon lasso tool. And the reason I chose this tool is that has a very low contrast door, Especially up here. I'll go ahead and show you appear appear in the series really low contrast to some of our tools that automatically select pixels Probably not do a very great job at selecting it. So I'm just doing a manual selection. It's got nice right angles. I could go up to selected mask if I wanted to. And smooth that out If I felt like it needed to be smooth or just add a slight feather, but nothing too dramatic. Go ahead and click, OK, And I have my door selection. I'm going to copy our door. We could even bring in this other piece of the door. Cem's gonna hold down shift so I could go ahead and select this portion of the door. We could always ah Photoshopped that portion if we feel like that door is not fitting with our theme. So I got that in, could go ahead and copy that we're gonna paste it into our environment here. We're gonna go ahead and size this down. This is already very high. Resolution photo. I'm putting it in. We want to find the nice size and balance for this photo. Don't don't want the door to look like it's oversized or the girl will look like it's oversized, but we want to be able to have it big enough so they can really see all the details. So I'm just gonna kind of find placement. I gotta put it kind of closer to the foreground, because if I have too much in the background, I'm forced to make the door smaller toe have the right perspective. So if I bring the door a little bit more forward, I'm able to make it bigger. So maybe right about there were gonna end up cropping the sides off a little bit here, eso next to grab our girl and then we're gonna start to kind of find tune our selections, zooming in on the door. Let's go ahead and get rid of all these leaves first. So this is gonna be a little bit of a detailed job, which is no problem for us. We're just cleaning up our selection and we get all of rid of all those leaves. So a couple things we could do we could try the healings, the spot healing brush tool first to see how that works, we're gonna take fairly small samples as it works really good with small samples. You click wants to kind of see how it does. It's doing a pretty good job. We're gonna continue. If it does a great job, I will continue to use it until it doesn't. I'm just gonna brush it. These areas trying to get that wood texture adapted. There's a couple other tricks we could do with the clone tool to be able to adapt texture over here and overlay it here. So it looks a little bit more natural. Just clicking on the spot healing brush tool, getting rid of some of the obvious ones. Um And so I'm gonna also trim up my selection here on my door. So the door was in a perfect 90 degree cuts. I'm just gonna go down and trim off any selection, but I think it's excess. I was trimming that off with the polygon lasso tool. Now I'm gonna take the clone tool. Here's what I can do. I want to take a sample of this that's gonna be hard to use a spot healing brush tool, because it looks to be you have this part of the board and they have that part of the board or the wood that's gonna be hard to to do with the spot healing brush tool. So let's go ahead and select just the area that we need to work with, which is gonna be kind of this dark would piece right up here. I'm gonna grab the clone tool, and I'm gonna try to get the right size brush. I'm gonna hold down, option. Gonna take a sample of where I think the door would look really good. So I want to take a sample right about here. Wherever I start. Could see kind of the preview of where the clone tool is going to start stamping. So I could even just click once, click twice, maybe to get a little bit more. Make sure I'm not 100% opacity. Okay. See how I'm doing That starts the texture over again, and we're just recreated this would piece covering up any of that extra stuff that we don't want. All right, so that looks pretty good. So another thing I'm gonna want to do is this texture. I did the spot healing brush tool, but as you can see, it's not perfect. It's kind of strange looking wood texture there, so I'm just gonna take the clone tool, do the same thing when you take a sample of where I think that would would look nice to probably probably up here. I'm gonna do a new layer for this one. And I was gonna paint that texture on trying to line it up first. The pain is just right there. Don't worry about the excess. We're gonna be able to delete that with the eraser tool. And I have the race of storms. Could get rid of all the excess. We don't need a smaller brush, Just kind of using. We're clone tool to kind of get the right texture. Okay, so that's gonna be okay, because this is gonna be zoomed out quite a bit. You're not gonna see the details as much as you would if we were really focusing in on the door. So it probably spend a little bit more time buffering out the texture and the great thing about having a new layer for the clone tool. And I probably should have done in on the the board to I'm gonna go ahead toggle that are on and off so I could move this out. I could try again. It's non destructive Are my can also reduce the A. Pass it If I wanted to blend in with the background a little bit, you just have more control when you create new layers as opposed to editing the core image of the door so you could see there's still some little imperfections. I'm just gonna take the polygon lasso tool, cut some of these little parts out that don't seem to really go or that was left over from the background. I'm gonna do that throughout this piece for just a few minutes so I could go ahead and get these little things trimmed off. It's nothing too exciting and I'll be right back. So now that I trimmed off in the excess background, I want to make sure the door looks like it belongs into the environment. We're gonna do a couple of things to make sure the grass covers certain parts of the bottom to make that. So we're gonna worry about editing the brightness and contrast the door. After we get all of the elements cut out. So have her door layer highlighted, actually gonna go ahead and get my background layer unlocked. I'm gonna be able to get the clone tool. I'm gonna be sampling some of this grass nearby. So perhaps right here next door, I'm gonna be painting on grass over both of these little pegs and the bottoms of the door. So I'm just going to take a very close by sample to make it look seamless as possible. I'm gonna do a new layer on the very top. This is gonna be grass and I'm just gonna paint on. And I could use the hard round tool and see how that looks. That might look a little too. This is why I like using the soft rounds. It's much more softer we're gonna do is a little bit of a smaller brush, so it doesn't look too feathered. We don't want to have it. Looked to feathered just enough to kind of cover up our door a little bit. We don't need quite as much. It's clicking around some corners so you don't see any sharp corners. You could you see a little grass there Looks like it kind of belongs into the environment. So we're gonna add shadows were to do a new layer title. This shadow were just gonna paint on our shadows. I'm gonna make sure this is the top most layer because we don't want the grass to be one with the grass to cast shadows. So we have the shadow at the very top for right now is gonna grab the paint brush tool. We have it a soft around and work. So do black. It's gonna paint on where we think the shadows might be cast a little bit from these objects. Course we'll figure out lighting with this shadow may end up changing ATT's some point. We're gonna reduce the capacity of that just a little bit. And grab eraser tool could erase any of the shadow on the door since the shadow will not be cast on the door itself just on the grass. I was cleaning up our little selection here and what's great about having this a separate layer is I can have control over the contrast and not affect any of the other layers. I think it's OK for now we're gonna definitely kind of adjust that later. Feather that out. Let me go ahead and get the eraser tool. Maybe a 40 or 50% opacity, just kind of smooth out the edges a little bit, so they just have a smooth transition. They feather out a little bit. Okay, so there's our door, definitely to work out shadows a little bit more, but let's go ahead and bring in the photo of the world that girl was going to be walking into grab that next. 30. The Magic Door Project - Part 2: This is our city skate photo that we're gonna need to go and unlock that and bring that over and to our photo here. I'm just gonna bring him over more, is going to use a small sample for this photo. So we're going to make it a lot smaller. Let's go ahead and place him behind the door so I could see how he is going to be cut out of the door. So you want to kind of focus on the really cool item of this photo? Just gonna be the tower. So we really want to make sure that is front center. We want to get a lot of these clouds to show because what I'm gonna do is have some of this mist and clouds come into the environment out of the door and around the girl. So we want to make sure that we have not too much sky, which would be right here. That wouldn't be very interesting photo, but this would be a little bit more of a compelling cropping of the photo because they have a lot more interesting subject matter going on. So now we're just gonna do a simple cut what we're gonna do it for nondestructive editing as well to create in layer mask. So we're gonna go right down here and say add a layer mask so we have the layer mask on right here. And so we have our layer mask on right here. And so to get rid of our to kind of mask certain images that have a layer mask, we want a paint with her paint brush tool with black so black is going to eliminate it all . And this is nondestructive editing, so we can always recall our original photo whenever we need to this erasing certain elements we don't need. We want to keep a little bit of that smoke there. Okay? And what's great about a layering mascots? I can always delete the layering mask, and I have my original photo back. Okay, So what we're gonna do is we need to remove the sky because we want to bring in the beautiful galaxy star background behind it. So we need to remove these clouds. So we have this layer right here. We could do a couple things. We could just add a layering mask and use, uh, black to kind of pain away. Maybe keep some of the clouds s so we could do that. We have blacks get a nice big brush, go ahead and kind of eliminate the great thing about a clipping mask. If we don't like our cut out later on, we can always change it. Let's go ahead. You are clipping mass first with add our clipping mask down here. So it's clear clipping mask. And now the black will eliminate all of our issues. Who did you do to? So that is eliminated. Whom to keep the clouds in there, Keep them nice and fluffy. So now we're gonna grab our space. We'll see if we can't find our space. That's our animals. Here it is. I found it and drag him or right underneath He's gonna be the very back a layer, and we're gonna want crop him and you noticed. I use the cropping tool to kind of trim the sides off. A little bit of our photo causes will really horizontal Well, too wide. So I just grabbed a cropping tool and trimmed off the left and right side so our textures aren't don't have to be stretched as much. Okay, So now I just need to position this kind. Want to bring some of that cool nebula texture behind it. And I don't like the clouds back there. I could probably use blending modes to get that tow blend and better. Let's go ahead and eliminate the clouds. All together will be a cloudless sky because we do have stars and you know you're not gonna have clouds. And then this beautiful night sky. So here's what we're gonna do. We have our clipping mask here. I'm gonna take Thea quick selection tool could go ahead and select clouds. So now that I have are clipping mass selected and we have our selection that we want to remove, I'm gonna go ahead and go to select and selected mask, and I want to smooth out the selection. So the bottom here is cut out really nicely, so I'm just smoothing it out. Could add a little bit of a feather click. OK, And so now I'm gonna do when I have my layer lap mask selected. If I want to delete something. We went a paint on black, so I just have black and painted on. Go ahead and get rid of that. Okay? And then I'm gonna grab, uh, continue to paint with black on. Just get that last little bit. Did you cut out? Super smooth sums could go in and kind of clean up this selection just a little bit right here. Riots are gonna choose a smaller brush. And I have black and this painting on the layer mask and just get a kind of erase the selection a little bit Here, make it a little bit more smooth all the way across. But that's gonna be okay for right now. We're gonna do some other things to make that blend in. A lot better were to be adding a much darker tone here. Buttons. They're not going to see the cut out as much. It's not gonna be such a stark contrast there. We're starting to get our environment set up a little bit. Let me see if I can't arrange this door more in the center. I'm just taking my arrow keys, nudging him over to the center. A little bit more kind of a range are was great about nondestructive editing. As I have the power to do anything. I don't have to go back and grab the original photo because I already have it if I'm able to kind of shift this around without having to cut constantly cut things out and not be able to ever go back in time to modify it. So now Nexus or girls was gonna grab our girl. It's our door. Here she is. So this one might be easy if we go up to select when selector layer, select and subject. Let's see if the algorithm does a good job at selecting our girl. We could always use selected mask and smooth at our selection. Taking its time. How did a wonderful job that makes her job a lot easier, doesn't it? Just a few things I need to add to the selection. So I'm just gonna grab Let me see if I can't do the magnetic lasso tool is gonna hold down ships if I can't bring in that little bit and then probably needed subtract more than anything. And sometimes I grabbed the polygon lasso tool. If I just want to have a nice straight cut out, sometimes it is. Cut it out that way, okay. And let's go ahead and do subtraction or I can hold down shift if I wanted to. Switching to subtraction mode quicker so I can go to select and mask. And I can really, uh, include a little bit more hair there and up here. Might be a little rough. All right, So I could go to selected mascot, smooth out the selection. It's a pretty decent selection, so let's smooth it. What's at the tiniest bit of feather and click? Ok, Oops, that I had a lot of feather. Let's go back. Just a little feather and then click. OK? And now what we're gonna do is we're gonna do we're gonna add a clipping mask. Um, so are at a layer mask. So when we add a layer mask, it's gonna go ahead and clip it for us. Cut it for us. And now, if we ever wanted to go back and edit our selection, we could disable the Larry Mass. We have original photo, So let's get her into our final photo. So it's really starting to come together. Do I grand go and get the right size for her maker A lot smaller. So this is the key. We don't want her to be a giant one to really size her up so that she's an appropriate size . So that would probably be too big, too tall, because that would be a really tiny door. She probably be about half the width of the door if she's maybe five years old, so that might still be a little bit too big. So just just a little hair smaller, maybe right about there wanted to be kind of this gigantic, mysterious door to her press enter. We're gonna continue to position her. Maybe she's kind of hiding a little bit on the other side, a little bit scared. Maybe she's grabbing onto that Handel by a little scared to walk in, so kind of shifting her over. Plus, we wanna leave room for some some of the smoke material that can come out. So I like her position. So now we need to kind of integrate her into this foreground a little bit. Just need to do a little bit of work on her feet, casting some shadows and kind of eliminating a little bit of this that I see 31. The Magic Door Project - Part 3: So now we have a layering mask for our girl selection. So I'm gonna select by layer mask right here, and I'm gonna go ahead and grab. I could do the eraser tool or confined any tool to kind of select and eliminate that. So we're gonna use black and let me paint it on to a very small brush. I'm just eliminating that selection a little bit cleaning that up. And another thing we want to do is we want to paint grass over the girl's feet to make them look like the feet are actually in the grass or on top of the grass. So we're gonna take a sample of this craft would grab the clone tool, take a sample here nearby. So maybe right here and then we're gonna do a new layers. Could be on the very top. This is gonna be titled grass. Call it grass overlay girls feet. And we're gonna make this really small. Worst get a pain. A little grass over her feet Just a little bit to still look like she's actually in the environment. Okay, great. So now one of our biggest issues is we have lots of different lighting going on and lots of different color profiles. So when the zoom out overall, it looks good. But there's it looks like there's five different photos put together, and so we want to make sure we harmonize all that, and they all look like they're part of the same photo on. So next we're gonna study how the lighting is hitting each photo and how we can change it to make it look more cohesive. So one more photo. I wanted to add some birds to the top of the environment. She's going into in the sky to kind of Adam or mystical environment. So it's not just a plain sky. So just opened this photo on, I wouldn't be able to punch out that white background. I'm just going to do something called the Magic Wand Tool. Since this is a nice, simple color, I should be able to select it, and it's delete all of that. So just left with the birds. I'm not gonna drag the birds into this environment. They're gonna be pretty small. You make a pretty small dragon, man. Negative B in the sky here. All right, so I'm gonna move this layer behind everything behind the door. But on top of our background photo there. And just like that, we have our birds. We can add a layering mask here. We're gonna go down the layering mask as that. Of course, we won't eliminate something with the layering Maskey paint with black, just doing the paint brush tool and eliminating that selection. So if ever wanted to get other birds in there, I can always edit my mask and get that back without having to grab the original photo. I'm seeing a little bit of a glow here, see from our photo here. So I just need to go ahead and select the layering mask here on our little background photo and just kind of paint with black tool and eliminate some of that Go. I guess I didn't crop it perfectly, Did I? It was kind of doing some cleanup work. Make sure there's no issue over there, So I kind of had the basis of our drawing here. I'm gonna go ahead and add the smoke, and then we're gonna talk about the lighting. I'm gonna kind of wait until have everything set up. It will do the lighting last So this is kind of a fun part. We get to paint on the clone tool some of the smoke coming out into her environment and really drawing her in the environment and trying to make all this work together nicely. So we're gonna go ahead and toggle are layer so you could find it. There's our layer. I want to go ahead and grab the core, not the layering mask, but the core photo. And I am going to get the clone tool, not get a sample somewhere. And here in the middle of the smoke, you create a new layer that's gonna be called smoke. Our guests will be fog wouldn't it was called fog. It's not really smoke so far. It's gonna be our top layer to be painting coming out through here. And I'm actually gonna put her put this fog layer going to different log layers. We have a layer that's gonna be behind her, have a layer that's gonna be in front of her. So let's go and drag this underneath. Our girl sleep weaken Title this I was a girl and that she has a layering mass. There she is. Is going title her girl so it can keep track. So here's our fog layer. It's gonna be behind her. So it's quite and painted on with the clone tool to do a nice big brush, make it nice and fluffy. All right. So could have some smoke kind of coming out on around her. Okay. And I want to do one on top of her. We're gonna drive this on the very top. This will be far top. We do the same thing, maybe make it even smaller. We're gonna have a little flaw going over her shoe to kind of bring it in a little bit more . And we can go in with the Dodge and burn tool to bring out, um, somewhere dimension with this fog. So we're gonna do that. Next. Let's go ahead and grab. Um, we can grab our dodge and burn tool here, so let's do a burn. We're gonna add a little bit of shadows. Let's do a nice small brush, and this is going to be the fog that's going to be on the bottoms. What's called this fog? Um, say it in front of the girl. That will be front. And this will be fog behind because so we could keep track of all these different layers. It's gonna start to really add up. Okay, so now I'm on the fog front. So this is the fog. It's front of the girl is gonna add a little bit of shadow to it. It looks like it's bellowing out as a little more dimension to the fog. Makes it look like it's coming to life. Can you get the eraser tool? Try to clean up this selection a little bit. And then now the fog front. Let's add a little bit of shadow describing the burn tool. Having some shadow here, adding a little bit of dimension to these clouds. You notice how that kind of makes it look a little bit more realistic? I was taking the race or two. We could clean up your fog a little bit. You could make it more misty, and so have, like, a 17% of past. He could make it more misty right there where she is, so it just doesn't harshly end. I was able to play with a smoke a little bit. I'm gonna show you kind of have a smoke. Looks so This is the smoke I ended up having for the front kind of see the shadows that I paid it there and I had this little tiny bit in the front of her just to bring her into the piece a little bit. I can add one more layer and already have my clone tool. Still, with that same sample, I'm gonna paint a little bit behind the door and I got a dragon all the way down, so it's behind the door. And just so that looks like the smoke is coming out and it's kind of coming kind of behind the door just a little bit, okay? So it can delete our old smoke. So now we need to cast some more realistic shadows. So as we know, the fog is gonna be casting a shadow. So let's add a shadow fog. This will be a shadow fog. Gonna drag this below pretty far down in the layering system works gonna paint on a little shadow for others. It's not gonna be the closer, the shadow, the more distant fog will be. We're just kind of painting a little bit. I have a soft feathered brush. Not gonna reduce the capacity on this. We don't want a super strong, just a little shadow jobs like that. So I just want to show a little problem I ran into. This is why I included this in the lessons. So you can kind of figure out ah, kind of solutions to problems that you have. So remember when we painted on this grass using the clone tool right here, I kind of had it overlay the problem. When they add shadows to the girl gonna go and add a new layer paint on. Those were getting in the way. So one thing we could do is do a different way off, since we're having kind of a complex layer profile here going to need to do something different, let's go ahead and eliminate that grass. Let's go and take our girl selection and go ahead and get her layering mask. And what we're gonna do is we're just painting on with black to remove or trim away from this layer, and we're gonna trim away from her selection the grass that way. So we're just taking the the eraser tool or could have a pretty small gonna go up and kind of bring some grass her way and so were deleted from her selection. So we're still gonna be able to cast shadows a little bit nicer than what we had before. I guess we're just erasing from her to get the same effect as what we hadn't repainted grass on top. That's because just you don't have to do that every time, But it all depends on where you're gonna end up doing. I'm gonna go ahead. I had the fog away since. Could bring the fog back in now and create a new layer dragon blower girl and create our shadow student paint brush tool. And this is gonna be the hardest photos, photo shop manipulation project. So far. So I don't feel like your loss is a pretty tough one. Lots of different steps lots of different tools were using. So there's kind of a quick little shadow for her. It's probably just gonna be cast on one side, just adding a little bit right here a little bit in front of her. Nothing dramatic. And that could take our eraser tool and dio pretty low capacity and to start trimming and feathering our our little shadow selection. It depends on where you're shad is gonna be cast right now. The lighting sources ambiguous. There's not a direct lighting source at all. We have the night sky, but you don't. You don't see a moon and you don't see a son. So right now we have the choice to make our lighting source. So if we want to have our lighting source looks like on the door comes here and on her, it kind of comes down as well. So we kind of commit to that type of lighting source were just kind of a top down leading source, which means shadows will be smaller. If we had the sun over here, it would cast a long shadow off the door. So, for example, if the sun was here, it was the shadow would be behind the door, like such kind of showing you an example would be cast like that so we can kind of create whatever lighting source or direction we want. It looks like the lighting sources coming this way. So maybe we have a little bit of a shadow there, drag that underneath everything and reduce the opacity, so just kind of playing around with Shadow. Also think the shadow of the fog is a little too strong. So I'm just gonna go do some tweaks. Not gonna bore you too much with all the little tweak. Second spent hours showing you this project. That's when things start to look fake when you overdo shadows. So try to avoid that if you can. Okay, so lighting. So everything looks like it's from a different environment. And if lining different contrast So we're gonna try edit all of these layers to make him look fuse them together. So they all look like they belong together because we got all the core pieces together, but they still do not feel like they're a part of the same piece. 32. The Magic Door Project - Part 4: Yes, there's a couple things we can do to kind of bring these all together. So the first things first, I think this is too much of a contrast between the sky. So what we could do is we could take this selection and we can kind of do a dodge and burn type situation. We could do like a burn tool. You kind of burned this out a little bit to make it less contrast between the dark sky and the bright grass. So it's gonna take our main. So I just couldn't directly edit the layer this time. I don't want this to be a permanent change. Sometimes he's just nondestructive editing. Sometimes you don't worry about it. See how shadows can kind of helped to could bring that in a little bit more. Do highlights do a nice big brush to kind of slowly integrate that in good. Just painting on some burn tool man could do dodge bring out certain areas here, but that might be a little bit too much. Just gonna not do any highlights there To see how that all already looks a little bit better. We're gonna take our selection here. I'm gonna just get the race. Or actually, this is a layering mask. So I want a paint black to go ahead and trim that selection. Just got a feather, That background a little bit Looks a little bit more like a smooth transition. Okay, let's continue toe Adam directly editing the layer, I'm gonna continually add burn tool trying out mid tones and highlights and shadows to really make sure that blends in nicer with this star background. So I decided to remove all of the shadows here and the door, and I wanted to go ahead and paint the long cash shadow because I think that might look a little bit better. So I'm gonna go ahead and create a new layer and it's gonna be door shadow. And where is going to do one long casted shadow down here? When we get a bigger brush painting with the paint brush tool, it's one long casted a shadow. Okay, I'm just gonna go and reduce the capacity quite a bit. You see a little bit of the shadow cast from the door and I could even draw home a little bit. Here, do a new layer. Just kind of do a little bit of a darker one right at the foot of the door and Blair that a little bit. So it's a little stronger at the door but slowly gets a little lighter as it fades out. And one thing I noticed with this door is it's gonna have a state has its translucent window. And I thought I'd be need if we showed a little bit of that background through that window , but just a little bit because since it's kind of got this frosted glass effect to it, So what I thought I'd do is go ahead and select this window, go back to our door layer and right now I have a layer mask on. So when I hadn't added a layer mask because I don't want to actually delete anything from the door just in case I decide the ad the window back at another time. And so I want to be able to erase it s so I could go ahead and grab. Black will be talking about our race from a layer mask, one of you's black, and I want to do a very little capacity. I don't want this to I don't want the window to go completely away. So I'm just doing a 9% opacity. Now I'm gonna paint in and maybe paying a little bit up tops. You could see the birds cut a showing through just like that So you can come and see the translucent part of the door. You see the birds, but you don't see anything else coming through That looks to be kind of a solid piece of wood, so that probably wouldn't be a window. Although we could make it a window, We're finally done fiddling around with it. Let's get down to business. Let's make all of this cohesive. So going to start with the door and slowly work through all of our objects to bring them to a more realistic lighting with each other. So I have the door selected. I'm gonna go ahead and select the door, and I am going to do some dodging and burning. So I'm just gonna kind of make the door over all a little bit darker. Had a lot of highlights from its previous place where it was when we cut it out. It was kind of in a dark area with trees And so we're just gonna kind of bring down some of those highlights and then switch back forth to in the Dodge Tool, okay? And I'm gonna take the burn tool, do a pretty small brush. I'm just gonna brush along the outside just to kind of make sure that trim doesn't have too much highlights going on. I was eyeballing this. Seeing what? Looks good. Okay, now we're gonna do our girl. So a girl kind of has some strange effects. She seems to have a little contrast to her, and the door has a really high contrast so we could select our girl and see what we could do with contrast. So brightness and contrast in my adjustments panel. We'll see if we can increase the contrast notice. This is kind of low contrast you kind of Seymour of the greys kind of more neutral tones and increasing the contrast ads way Mawr highlights and shadows to the girl. Kind of makes her feel like her. The door now go better together. So if I do a command Z, this was before, and this is after, so it helps out just a little bit. Let's add a little bit more saturation to her because everything we have is so saturated with color. So let's make sure she has a similar saturation. We could also paint saturation on her by doing the sponge tool and going up to saturates of on the sponge tool, which could be right, your Dodge burn and you to saturate her dress. I don't want to saturate maybe her legs too much. I'm just doing some minute editing. And I could even de saturate her legs so they don't look too peachy or red. Bring out certain areas. So I kind of have a shadow cast here. So maybe the light is coming in this way, so it's gonna be more bright right here. Then it would be over here and with our burn tool casting shadows over here. That's kind of where more of the the light is big blocked. Okay. And so we have our night sky. So our nights guy, when you have a, um, we're taking a photograph. You want to be able Teoh have Right now, there's nothing in focus. Everything's in focus. And so what you want to do is emulate what a camera would do, which would be focusing on the foreground or a particular subject and blurring the background. So we're gonna do an IRA splurge on this background graphic to God to give the effect that this was taken with the camera. And it will take the focus off all of the sharp, um, imagery up here and really focused the eye on this subject matter. So I'm gonna go up to filter Blur Gallery and I'm gonna do the iris blur. So you're doing Iris player here. It's got to get our circle here. We want the focus to be on the door just like that. Let's back off a blur a little bit. We don't want everybody to see exactly where it starts to blur. I'm gonna go ahead and click, OK, see how that looks. So that's before, and that's after so just adds a little bit more. Focus into the center area, and I also want to dole down the color a little bit cause it's it's almost thes two or not driving together as well. We could also take the Dodge tool, or we could even add a layer. Read a paint on just black, set the paint brush tool painting on black right here. Who would make sure that layer is above the good in mind? There's my star layer is going on, so I'm just kind of having a little bit more nights guy here. And then I'm gonna go down and decrease the opacity just a tad. So this is kind of I don't know what I want to call this are darkening layer sky, darkening skies. I'm gonna talk a let off. Nana just paid it on some black just to kind of do that. I can also do a blending mode. I wantedto have a certain effect. So let's do the grass to Maybe there's a little bit of blurring in the background, but not in the foreground. So I'm gonna dio and I respond again. You can also do a field blur to because I will be a horizontal blur when they see how this looks on to do just a very little bit of blurring on the very edges. The left of the right sides, not a whole lot. Okay, so let's see how that looks so before and after kind of blurs a little bit the foreground to bring a real sharpness almost like the camera was focusing on. This part of the foreground is like the brightness and the contrast are all about the same . But now color is totally off. The colors are all so different. So we're gonna try it. A couple things we could do to bring all the colors together, and we're gonna do that next. 33. The Magic Door Project - Part 5 - Final: The one thing I want to do is I don't like the to toe door. I'd love it if it was all kind of the same would color. It would kind of simplify the door a little bit. So I'm gonna select our door. I'm gonna go up and de saturate. We kind of have our door here. Let me go ahead, de saturate this element. Since we're done with the cloning layers and all of that, I'm going Teoh, Go ahead, merge these layers together. So I have this little cloning tool we did earlier. I'm gonna select that and our door and merge them together. I'm gonna press command E, and I can emerge him. Or you can right click and merge your layers that way. But I would go ahead, Do command e. It's gonna combine the layers together. And now I have one layer. Okay, so now I'm gonna go ahead and make some color adjustments. I'm just gonna go to color balance and see if I can't bring out a nice would color by playing around with some of these options. Switching to highlight psycho kind of down ago. Shadows, midterms and highlights and make sure kind of work with all of them. It's kind of getting a would dark mahogany color. So now that I kind of have a color, I like it could mess around with vibrance or human saturation and play around a little bit more. With that do photo filter, I can add a little bit of a specific color that has a little bit of Warren's, which is really lovely. So just adding a little hint of orange just messing off my adjustments. There's no science to this. Just cut a going through all these to see if I can't find something that helps push this in the right direction. Exposure is always a great one for more dramatic effects. Just a little dabble, do you? With exposure. Okay, so we're gonna do the same thing with the grass. The grass kind of the door has this nice soft look to it, so we want to kind of soften the grass, too. So here's our grass layer. Let's go ahead and do the same things with adjustments. Um, let's go to hue and saturation. We could even change the grass color. It could be kind of a have been Ah, fall time or could be any kind of color Could make an alien world if we wanted to and make it blue. I'm just in the human saturation right now, so it kind of depends on what kind of look we want to go for it. Go for surreal. That's kind of really cool looking, isn't it? I think I want to stay with green, but maybe add a little bit more of, ah, autumn season to it anyway, to cut a soften that green, that green was a little too bright. I'm just gonna reduce the lightness attack. You can kind of see what we did. Uh, let me kind of do command z go back. So that's what we had before. It was almost ah, golf course screen and, um, redo hue and saturation and out kind of brings it down more to your backyard grass greens a little bit more realistic. I didn't notice. Over in the crafts, we have this kind of sprinkler system or something over here. I'm just gonna grab do the healing brush tool where I can do the clone tool. Well, let's see if the spot healing brush tool we'll do good here just kind of painting over it. I don't want it to look like there's a sprinkler systems and this magical world this girl is in we're getting ready to go into. And so now let's do our sky. We're gonna do our sky right now so we could go to vibrancy and saturation and kind of mess with what we want Right now it's purple. That's what the it was originally we could make it even more purple that the support we could make a black and white look it really vibrant. So I'm gonna reduce the lightness. I don't want it to be so bright that it overpowers the door. So, Hugh, this is where I'm kind of wondering what would look best that's gonna be up to you. You may want to do a totally different color that I'm gonna do. I'm gonna add a little bit more purple to it, a little bit more red to it. Let's see what else we can do. And remember, if you have a newer version of, um, photo shop, you could just go to the adjustment panels instead of having to go up here and call out the stop and do shortcuts. You could just do everything from this pale. You have an older version of Photoshopped. This is not gonna be option for you. Okay, let me try one more thing. And I'm just doing this because I'm stubborn. Ah, vibrance color balance. We could do a photo filter and add a little bit more of a warm tone to it like we did the door. We're gonna add a new layer that this is gonna be like a darkening effect just on the edges . So I'm gonna grab the simple black paint brush tool on, have a pretty large brush. So almost 2000 pixels, and I'm just gonna just barely scraped the sides. Just add a little bit of dark lighting. I guess in this case, shadows just a little bit just like that. So you could see what that did either. Have This is a separate layer. If I ever wanted to just remove it. So that's before, and that's after I could just back it off a little notch, adds a little bit more dynamic lighting. Good. Take our grass photo and spring out a little bit of brightness in that. Okay, If there's one little cool thing we could do our document necessary. Leave it this way. But let's see how it looks on the add a layer right below the darkening effects was gonna be almost on the top and this is gonna be lighting and we're gonna add a colorful lighting in the sky. So if we want to make the sky kind of change from one color to another we can make a more dynamic sky this way. So I'm just gonna paint and this is a new layer and I'm gonna do overlay was gonna do a overlay painting and we're gonna grab, grab any color Let me just try a red click once. Maybe we could reduce the capacity a little bit. It's quick ones and then we can go. When we grab a blue, it's sky blue Over here. I could see how the sky could be Different colors collide. Whatever you desire, you can create some pretty cool sky effects That way, all sorts of things you can do when you do an overlay brush. So if I don't like it, I can talk a little off at any time or reduce the opacity and not have it be a strong So I think I got to keep that. And so there's only one more thing left to do. We can say, Hey, we're done. I think we're done. This is great. Or we could do one more thing and that's messed around with Dua tones to get equal lighting and color throughout. So this is one option. We could say we're finished. We're good to go. And this is if you want to add further still some connection with all the different photography. So we're gonna mess with duo tens. So the first thing we need to do is we can set this to gray scale. So we definitely want to make a copy of our color version if we like it, cause once we make changes, we can't go back. When we do this, do a tone setting. So when it hadn't saved copy of this and I'm gonna go to mode and I gotta say gray scale and we could do merging or not merge, But I'm gonna go ahead and merge cause I'm ready. I'm done. I'm finished. This is a final editing touch. Go ahead, merge and then discard. It's gonna go, go ahead and convert everything to black and white. So now will be able to add duo tones or monitors as well during the selector layer. And once we converted to grayscale, you'll have some new options available, and that's gonna be one here called Duo Tone, which is normally great out. But now that we have a grayscale image, it will allow us to add do tone colors so, as you can see do terms duo meaning to It allows you to have two different color channels on and only show those two colors throughout the picture. So it's not gonna have any wider black necessarily. But it will achieve the white and black look by having these two colors or honestly, any colors that you desire. So the darker the color, the more shadows will come out. The lighter the color, the more bright and high contrast the do a tone will be, and this is what's tricky is finding what combinations of the to do duo tone colors work well together. So that's kind of like a navy and a kind of a strawberry light color, so we have to kind of really seriously consider what kind of shade. We want to go forward. We want to do blue purple. The lighter you go, the more those highlights are gonna pop out. In the darker you go, the more the rich tones you will come out. I'm gonna play around with this for just a little bit to see if I can't find the kind of color I want. And then we will be ready to show off our piece of artwork, but okay.