Photoshop Masterclass for Graphic Designers

1. Class Trailer: [MUSIC] Hey, my name is Jeremy and I'm a designer and artist from Sydney, Australia. I've been using Photoshop for more than 10 [NOISE] years now. I want to share my top tips, tricks, and techniques that will take your digital art and graphic design work to the next level. In this class, some of the things that you will be learning will be how to manipulate images for ad campaigns or social media. I'll be showing you a technique to how you can edit your stock photography to make it pop a little bit more. I'll also be showing you ways to color grade your images for realism, which makes it look a lot more interesting. I'll be showing you how to create realistic effects on mock-ups to make your branding work stand out. I'll also be showing you how to add your logo design to any type of image you want, how you can use the neural filters in Photoshop to use it in a practical way. I'll also be showing you little tips and tricks on how to add more details to your artworks or your posted designs. Finally, I'll be sharing my useful resources and tools that I personally use. If that sounds like fun and you want to become a pro in photoshop, then enroll in my class today and let's start creating amazing artwork and designs. I'll catch you in there. [MUSIC] 2. Masking, clipping and tracing: [MUSIC] Most of you probably know how to do basic image tracing or cutting out a background from an image, but I just want to show you a few ways I like to do it, that's really fast, and give you a few tips on what type of images to actually get. I love going to stock sites. My top three would be Adobe Stock, Freepik, and Envato Elements. Now the reason why I like these sites is because the image quality is super great, and you can actually add filters. For example, I'm going to go to Envato Elements. Let's say I'm looking for a model, so I'll type model, sometimes I'll add a character or cyberpunk or something. For example, if I go, model cyberpunk, I'll get all these cool photos. I'm going to click on Photos. I've got all these photos. Now, what I want you to pay attention to is on the left-hand side, there are filters. Now, when you want to cut out an image or trace something, you want to make sure that the background is actually isolated. It either has one color, it can be white or it could be on a bottle, shot on nothing behind them. I'm going to go scroll down the filters and I'm going to click, Isolated. You can see all these pictures have a background, but we don't want that. We want to go and click on Isolated. It's going to reduce our search down to only 45 images, as you can see. We can see there's a few of these models that I just want a simple plain background. This one is a good one here. It's going to be very easy to cut it out because when you have photos with a lot of details, it doesn't work. For example, I've got this picture here in Photoshop. You can see there's a lot of artifacts, details, grain, and she's in the woods and it'll be very hard to cut out her hair. If I select this layer and go to Select and click Subject, let's see what Photoshop will do. You you can see here, it does a pretty good job. The AI is pretty good these days, and so obviously it couldn't really get the hair there, and we're going to have to refine that. It's best to try and find images with a simple background. What I'm going to show you how to do is cut out this image here. You can see it's a great image. Her hair is very clear. There's high contrast between the color of the background and the hair and the body. It's going to make it easier for Photoshop to recognize what's the model and what's the background. There are two ways you can actually do this. You can use selections, which I typically do and then select by sky or subject. Or you can use the Pen tool. Pen tool is really great, and the Lasso tool is great for making specific selections or if you are cutting out an image like a shoe or a bottle from an image or whatever. But because we're using a model, we're going to go with this. I'm going to go to Select, I'm going to click on Subject. Subject means it's going to select the key object or key person in the image. You can see, this selection is a lot better compared to the other images, actually selecting a lot of the key parts of the hair there as you can see. Obviously, you didn't really need to care about all the little frizzy pits. That doesn't really matter. You can always paint in your own hair. Looking pretty good. You can see here there's a mistake, so what I do is you press the L for the Lasso tool and you can hold Alt, if you're on a Mac, it's going to be Option. You see on my mouse little icon changes. If you press Shift, it's going to plus this selection. But what I'm going to do is I'm going to hold Alt and click and drag around that, and you can see how it's minused it. But what we want to do is add, so hold Shift, drag around it, and then now it's gone. Instead of minusing it, so minus will cut out that selection, but if we add holding Shift, it's going to add to the selection. We can also fix this bit. I'm going to minus, so I'm going to hold Alt or Option for this bit and you can see it cut that bit out. We can go through and fix any little bits. For example here, this is like an opening bit, so I'm going to hold Alt, left-click and drag, and so that's cut out as well. Once we're happy with that, what we're going to do is select on a layer, go down to the bottom and we're going to create a mask. Now, you know what a mask is? A mask basically hides or shows specific things in a layer. If it's white, it's going to reveal, if it's black, it's going to hide. Right now you can see in the layer, the vector mask is actually hiding the background and showing the subject here. We've got this girl, which is really cool. Now, you can see here, it didn't pick up some of this stuff here and some of the hair could use a bit of refinement. What I'm going to do is make sure you select the image. Now, I'm going to go to Select, and we want to go to Select and Mask. You can also hold Alt Control R to open that. Now we're in the selection mode. Now what I want to do is refine the edge. You can see on the left, I'm selecting the second icon there. What I want to do is actually start to fix the hair. Before I do that, I want to go to the right-hand side and click on Decontaminate Colors. Sometimes you'll get some color from the reflection of the background light or the color of the background paper or whatever it is. We want to click on that if there's an indifference in the color from the background and the mid ground, then it will actually just desaturate it basically. What I'm going to do is I don't want to make my edge really big. If you do it like this and do the hair, it's going to wreck the hair. You can see it will start to make it look very weird. What you want to do is you don't want to mess up selection. You want to make the brush very small so you can press the Square Bracket to make it small, and it's going to make the detail look better. You can play around with the settings on the right. Typically I like to use Color Aware. You can also use Object Aware, but in this case, we've got blue color here. I'm going to make it small, click Color Aware, and then I'm just going to paint like this. I'm holding left-click and drag. You can see it fixes that selection. Even if you use a background remover, it won't do the best selection. Sometimes there'll be little artifacts or it won't be the best quality. I prefer to do it all myself, like doing this way, especially if I'm working on a client project, I want to make sure that it's good. One time I was at a shopping center and it was for a shoe store and there was a massive sign inside the glass of the shop and the Photoshop work was so bad you could see the little cutouts on the edges and there was these white gray spaces around the hair and stuff and someone didn't do it properly. It actually looked very bad, so I was like, they must have paid really, really cheap for this and screwed it up. Cool, looking pretty, pretty good. I think that's good. You can play around with the global refinements. I typically don't touch it. You can add a bit of a feather if you want to add maybe 0.2 pixels or something, the smoothing, you can add one if you want to add extra smoothing, and you can also play around with the contrast as well. You can see, I can play around with this stuff and you won't notice anything unless you'd zoom in a lot. For example, the contrast if I bump it up, you can see if we bump it too high, it just messes everything up. I'll bring this back down. In reality, there's always a little bit of a blur. Hair is very thin. I typically just leave my settings on like that, pretty low. Before I press Okay as well, you can go to the top right. You can also click Reveal the Edge so we can see all the edges will be fixed. If you want to go back and change that, you can also click Show Original. You can press P on the keyboard. This is the original and then this is the one with all the cutout. You can see the hair is a lot better. We can always click High-quality Preview as well, if you've got a good PC. What I'm going to do is go down the bottom and you want to click on the Output, we can click New Layer or we can click New Layer with Layer Mask. Typically that's what I like to do. I'm going to click Okay, and so we've got our old layer here. We can use that in case as a backup. Now, we're on this layer. You can see here is the results in the before and after, as you can see that. Beautiful. Now what I'm going to do is I'm going to go into my photos. What if you wanted to drop an image? Let's say she's outdoors instead of indoors now. We've got this image of this nice Monstera plants, which is super cool. Now I'm going to show you how to use a clipping mask. What if we wanted to adjust the colors of this model? I'm just going to maybe move her a bit more to the center there. What if we want to scale her up a bit, move her right in the middle, press Enter. Now what I'm going to do is I'm going to go to my adjustment layers on the top right, and I'm going to go to Color Balance. I'm going to Color Balance. What I want to do is I want to go to the Midtones or even the Highlights and change the color to a bit more green. I'm going to bring this up. But as you can see, as I'm bringing up, it's actually affecting the background. In order for us to just apply this effect to the model, we need to make a clipping mask. All I have to do is go to my layers, hold Alt or Option on your keyboard, and I'm going to left-click. You want to put your mouse in-between the two layers. You can see there's a little arrow. I'm going to left-click once, and so now it's only applying this to the model. As you can see. I can adjust these colors or whatever and it's applying that. Now I'll just add a little bit of green to it, maybe because she's too warm, cool her up a bit, and then maybe I want to add another layer. Let's go with brightness contrast. I'm going to add another clipping mask to that. You can see my layers. Remember, it doesn't affect because if I start doing this, it's going to affect the background but if I add a clipping mask, it's only going to affect the model. We want to add a bit of brightness or contrast. Maybe I want to reduce the brightness. You can see it fits a lot better into this background image now as you can see. If I turn off these adjustments, you can see that just really small changes, and you can see it matches the light and the background of that. That's how you do some tracing and playing around with vector mask and clipping masks. 3. Colour grading and sharpening: [MUSIC] Now there are two other main areas that you need to improve in to make your images stand out and get better. Number one is the color grading. You need to always make sure that you match your object or your model to the environment to the scene. If you have a very cool scene and your object was shot with very warm lights or really orangey yellow type of tones, then when you drop that image into a cool scene, you need to match it to the blues and the coolness of that color. That's number one. I'm going to show you how to use some color balance in Photoshop to make it really stand out. You can also use sharpening as well. Sharpening is another thing that I typically do to sharpen images to make them stand out a little bit more. I'm in Photoshop. You can see I've created this scene. We have this explorer looking in a cave for some treasurer or something. We've got some vines there and we've got this lantern light source. what we want to do is we want to color grade, and match the colors based on the background. If I just get rid of all of this, you can see the background. We've got a few images here. I've got this basic rock type of background, and then I've got this desert shape that I put on top of it. It's like a desert rock. I just stack them on top of each other and I added a blending mode on color on there to get this nice effect. What we're going to do now is we're going to put those layers back on. I'm going to color match now because you can see it's not cohesive with the actual scene and the lighting. The first thing I'm going to do is I'm going to click on my adjustment at the top right corner and click on color balance. I'm going to bring this to the top. it's going to affect all these objects here. Now what I want to do is I want to focus on adjusting it to more of a warm color, so the reds and the yellows, I can see my mid-tones, my shadows, and my highlights. First of all, I'll start off with the shadows. Now with the shadows, I will bump up the red. As you can see that if I go all the way, it's going to be too much. We always want to make slight adjustments little by little. I want to bump the read up like this, maybe like 25. I don't want to go too yellow with that. It's not bad to have a bit of blue, but I'll get minus four blue and red, I'll go maybe like 22. I think that's cool. I'm going to go into the mid tones as well. I'm going to bump to the yellow, bump up the red a little bit. Like that thing, that's good and then the highlights go on the yellow bit, minus five, we don't want to go to red course. What the highlights, the mid-tones that we did, and then the shadows. Now you can see that effect. If I turn off the color balance, you can see how much more it all matches with the background. It looks a lot better. You can see the vines as well as you can see there. Now, that's a color adjustment on top of everything as you can see there. I can bring the opacity down of that color adjustment. If it's too harsh, I can just drop it a bit. I might drop it a little bit because it is looking a bit to red for me at the moment. I've put it to 70 percent capacity on that layer. Now, I'm going to group the IVY together by pressing Control G, The IVY, which is for the vines. I'm going to do a hue and saturation layer this time for this one. Now what I want to do is I want to drop the saturation down. You can see the two greens. What I want to do is I want to take out some of that green. I just want to make sure that my hue and saturation layer is a clipping mask, and it's clipped to the group of the IVY. It should affect all the IVY plants. I'm going to bring it down. We don't want to make it too gray because it should have some life in it. But I want it to be like this tone down green, maybe a little bit gray. I can play with the hue and saturation if I want to go more like brownie as you can see. We can get maybe a bit like brown or yellow because it's like in a cave, it's probably doesn't get much light and I'm going to drop the lightness. We can put the lightness a bit down just like that. I think that works a lot better there. The only thing is this IVY on the left-hand side, it has a bit too dark, so it's got some light. You can do levels, you can do curves, don't want to do curves for this one. I'll clip it to this. What I wanted to do is just bring the light down for the top corner and I can just bring that down as you can see. You can see the vines without any of the adjustments, that's what a lab before, and then you can see after, that's what it looks now. It looks a lot better. It looks like it's suited for the actual scene. Now we can add a bit more detail and we can actually add some light here that a new layer, I'm going to press brief on my brush tool and I'm going to try to make it big. I'm going to make it a soft brush, so make sure the hardness is down. I'm going to hold Alt, left-click on the flame like this to get that yellow tint, and then I can click on top of the lantern. What I want to do is go to the blending modes in my layers and I just scroll slowly down and see which one looks the best. Light and looks pretty good. Screen works well. Linear Dodge is okay. Overlay is decent as well and hard light. It's good to just test things out and then I'll add zooming out, see what works better. I think hard light or screen works pretty well. Hard light screen, lighten. I like the hard light, I think that's really cool. We've got that lantern. Obviously, this photo was shot in a studio so that the glass is a bit too white. I I probably tone it down a little bit. I'm going to go hue saturation. I'm going to clip it to the woman. I'm going to press Control I invert the mask. Then on the hue saturation layer, I'm going to bring the saturation and lightness down.Then what I'm going to do is I'm going to paint on the area where the glass is, as you can see. They're just a document a bit because it's too light. You can see it's just very light because they are in a cave. They shouldn't be that much like too much light. I'll turn back on the lantern like that. I think it looks a bit better, and what I can do is I can duplicate that layer, press Control J. For this one, I might do like overlay or screen or linear dodge as well. That's pretty good. I'll drop the opacity to like 40 percent. It just adds a bit more to the effect and I can press Control T, and let's maybe scale it up a bit like that. We've got this glow like this, as you can see. It's adding a bit more effect. Now what I'm going to do is I'm going to make a new layer, bring that above the woman. Then I'm going to make that a clipping mask on the actual adventure here. If I press B, and I'm just going to press hold Alt option to sample a color from the lantern and a little yellow tint. You can see if I stop painting now, it should be inside the woman because it's a clipping mask. Just before I do that is I'm going to go to the background and I'm going to reduce the brightness a bit because it's too light. What I'm going to do now is I'll go back to that layer and then we'll start painting. I'm going to call this highlights. I'm going to make it small. I'm going to stop painting on areas where I think the light will be reflected off. I'm just going to make the opacity around 30 percent. That's too light, I will bring it up to like 70. Cool, that looks good. On the edges here, thinking about how the light is reflected. You will notice the difference, sometimes on the finger, is a bit lighter because the skin, different materials have different reactions to light as well I think. [MUSIC] Her face is very well-lit because it's a studio shoot. What I'm going to do, I'm going to go and add exposure, clip it to the woman. I'm going to Shift I to invert the layer. Sorry, I'm going to double-click on the exposure, and then I'm going to bring the exposure down. Then I'm going to basically just reveal on this side of the page. I'm going to make the right side a bit darker because the light is coming from the left. Hopefully, you can see that the difference. You see I just darkened up that area a little bit. I'm going to want to make sure I'm going to press Shift X just to burn up that face a little bit. Then I can come in back here to the highlight layer. [MUSIC] We've got our highlights there, makes it pop a little bit more. We can always go back and add some more. But I'm just trying to keep everything very simple. Then I'm going to add another layer. I'm going to add, just like I did before, I make it shine a bit more like this and drop the opacity down so I can bring it down.I just want to make it like heat very subtle. I can leave it on normal or we can do like soft light or light in as well. Now what I want to do is also sharpen the eyes because when you have a character, that's the cold place you look to your right. I'm going to show you a cool trick, so you can see how her eyes are not directly white. I'm going to add a new layer and call these eyes. I'm going to get my brush out, just a normal soft brush. Make the brush really small. Now I want to use the white color, so pick like a white, and I'm going to make the opacity around we'll go like 50 percent. What I'm going to do is I'm going to paint in the outside of the actual retina, the outside eye part. I'm painting it to make it lighter and you'll notice the difference. I can turn that off though, as you can see there is a big difference. Then what I'm going to do is add another layer. There's a normal brush layer. I'm going to pick like, let's go like a greeny color. We'll see screen overlay, soft light, we'll go set it to color. There's a pending inside the eye. Now she's got green eyes as you can see there. Then one last thing, as I usually do, Control Shift E, then Control Shift A to open camera raw filter. Then what I'm going to do is just play around to the temperature, will bump up the warmth a bit more. The exposure, bring it down, bump the contrast up. Highlights and shadows pull down a little bit. I don't want to make it too black. Then we're going to pump the texture up, not too much. I'll keep the clarity. Clarity doesn't have to be too much. Vibrance, I put up a little bit. Then you've got the color mixer, you've also got color grading as well, so you can do final adjustments. If we're feeling like the shadows are lacking a little bit, maybe you want to push them all to the warmth again. I want to do that. Then we'll go to the before and after. Look at that pops a whole lot more. Press "Okay", and then boom, there you go. There's our adventurer [LAUGHTER] in the cave or whatever. Hope you guys enjoyed this one. 4. Brand mock up and manipulation: I want to show you how to make a photo manipulation for a mockup, or maybe you're working on an ad for a client or some signage. I want to show you how you can put some elements together to create your own ones. Now, I always recommend that you buy premium mockups, pre-made, because it's going to, number 1, save you time because you probably got a lot of client projects and you don't want to spend time making everything manually. Then other option is you could make it your own by combining elements, using sites like Envato elements and Freepik to combine photos and make it look interesting, and do it all in Photoshop. I'm going to show you how to do that. So 2,000 by 3,000 pixels, it could be like a post-op. What I'm going to do is bring in all my elements. I've got all these elements. I did find this image here, which I think you'll like. You can see how they've added like detail and like a snake and all this cool stuff, promoting all this bottle. By doing this, you create a scene and that scene makes it look more tasty and realistic, especially when it's on a digital sign, makes a lot more visual impact. What we're going to do, we're going to play around with the cider image today. Now, I'm going to drag and drop all my images in here. Now, I don't know if you like apple cider, but 5 Seeds is a nice apple cider if you're not into beer or anything. I think it's pretty, pretty cool. I want to basically use parts of different elements and start to create our own scene. I'm going to push this up. That's going to be like one of our main elements, and we've also got the can here at the top. We're going to use this can and we're going to use this wooden background. I'm going to do this. Now, you can see I've got this element here and I really like this apple on the edge there. I think that's really nice and the background is really cool, and there's this pre-made one here with the wood. What I'm going to do is I'm going to make a mask and cut the wood pot. I'm going to create a mask on this image so we've got that word, which is nice. I'm going to use the background from this image. I'm going to scale it up, I'm going to press Ctrl and the square brackets so you can bring it up and down the layers. I'm just going to move it, I think, even that just looks really cool. I'm not sure if I want that apple there in the corner, but I think it just looks a lot fresher, lot nicer. I can scale it back or I can make it really big, want to have a bit of a balance. What I'm going to do now, I'm going to drop in my can because this is the hero image, but I don't want to make it too big. You want to make it like the apple on the corner. We want to make it a little bit smaller so it looks like it's a bit further out. I'm starting to create my scene now. Now, I'm just going to add all the basic elements that I want. I've got these leaves here. I've got this apple as well. We can see, I'm going to just quickly cut these out, so you want to have this apple next to it, maybe we want it on the right side. We've got the leaves as well. Now, I'm going to rotate this and I think I'm going to have it in the foreground. This is going to add some depth. Maybe I might have on the left or right side or something. We'll just leave it there for now. We've also got some more leaves as well. Just downloaded some apple leaves. I don't know if I want to use that yet, but I'll just put it on pause for now. Cool. I've also got some droplets as well. What I want to do, I want to add these droplets onto the can to make it more about mouth-watering. I'm going to just scale this up. Now I've got a clipping mask, it's inside of this little side thing. Now, what we need to do, we need to get rid of the pink and all that. I'm going to add a black and white adjustment layer to the droplets, and so that should desaturate all that. As you can see, just like that. Now, what I want to do is I'm going to add a brightness and contrast. I want to put the contrast up as well, make clipping mask because we want to make sure that we can see these shadows here. I'm going to bump the contrast up. Then what I'm going to do is we're going to right-click, "Convert to Smart Object". Now we've got that image. I'm going to click "Select", and we're going to select on the color range. What I going to do is I can click on the actual image. We can increase the fuzziness or not, as you can see, but we basically want to select the key parts of the droplets. I'm just try to find a nice balance. I think that's really cool. I'm going to click "Okay". Now you can see it made a selection, so it's selecting all those shadows of the droplets. Then what I'm going to do is click on the "Vector mask" and you can see it should cut out all those elements there. Then what I'm want to do is I'm going to go down to screen. We can also think about overlay as well, that might work. See overlay, that's pretty good as well. I'm going to drop the opacity down. We don't want to have it too high, so we want to maybe go, maybe 80 percent. That's pretty good. But I'm going to right-click and I'm going to go to rasterize layer, so now, this layer should be, I'm going to convert this to a smart object. Right-click, "Convert to Smart Object" and I'm just going to now make a mask and paint over the bits that I want. I'm going to drop the hardness, so you want to pull the hardness, lets go 60 percent, use a like soft brush, bit softer maybe. I'm going to paint on that silver bit and then probably on the silver bit on the bottom like this. We're trying to make it look realistic, but not having too many bubbles, basically. I'm going to rasterize this and then I'm going to press S for the clone stamp tool and we want to stamp, we want to copy. It's going to sample some of these smaller bubbles here, as you can see there. It looks good. From a far, you can't really tell, as you can see there, boom. Looking a lot better there. Now, what I want to do is go in my bottle and we're going to add a shadow. I'm going to press Ctrl J, duplicate the can, I keep calling in a bottle. What I'm going to do is I'm going to warp it, so I'm going to go to edit. Make sure that you just select it. Go Edit and then we want to go down to Transform and we can go Perspective or we could go Warp. It's up to you. I'm just going to scale it from the side, bring it like this. Then what we want to do is we want to press "Enter" and now I'm just going to scale it down. I'm going to go to Edit, I'll go to Transform, and I'll go Warp on this. We can play around with the Warp there. Now, we've got this image like that. What I'm going to do is double-click on the "Layer". I'm going to go to Color overlay, I'm going to make it black and it can be on normal or multiply, that's fine. What I'm going to do is bring it behind the bottle just like this, as you can see. Then what I'm going to do is I'm going to go to Select. I'm going to go to Filter, go to Blur and click on Gaussian Blur. Gaussian Blur makes it blur the edges. It makes it look a lot nicer. Let's go to 30. I think that's good. I'm going to make a vector mask for that layer. Now, what I'm going to do is start to make sure that your brush is on black. I'm going to start to paint around it just to make it realistic. I'm painting on the edges, I'm using a big brush. I'm making sure that the hardness is a bit softer so you can go to 10 percent or something and you can also drop the opacity. I like to press my keys. As I'm brushing, I can click on six or four or five, up to 10, and I'll drop the opacity based on the number. Let's go like 20 percent. On the edges, I'm going to paint it a bit lighter because as a shadow goes further away from the object, the light diffuses the shadow, basically. I'm going to do that. Then, I'm going to drop the opacity of this whole layer. We don't want to go too low, but we don't want to go too harsh. Let's go 55 percent looks pretty good. I'm just going to brush away on the edges again like that. Now, what I'm going to do is I'm going to go to the leaf. Now, we can probably put it on this side or we can put it like this or something or the bottom. I don't want to cover the logo though, so I want to keep it, rasterize the layer. Make sure you convert it then rasterize it. See now, I've got this and then go again, try on Gaussian Blur, and it should be better. We don't want to go too much. Let's just move this up slowly. I think full pixels works really well and it just adds a bit more depth. Now, what I'm going to do is add some text and I've got the logo for what about Zona Pro? Zona Pro isn't not as it is important, it's a bit more rounded though. I'm going to change the text to white. Make it all caps. Adjust it a little bit. Make sure you scale it down. I'm going to group it, so hold "Shift", group the texts together. I'm going to left align it so you can press "Control", "A" to select it and hold "Control", "Shift", "L", and that aligns to the left. Maybe I want to add a drop shadow. I'll double-click on the "Layer", go Drop Shadow and I'm going to make sure that global light is on like this. We don't want to make it too far, but I'll bring the distance up, bring the size down, bring the opacity down as well and maybe I want to add a stroke so I can double-click back on that "Layer". We can always add layer styles. That's the cool thing. I'll go Stroke, click the "Color", and I can sample a color from this screen. I'm going to click this screen, press "OK". I'm going to change the position to outside so we have a bit of a stroke there. Let's see how that feels. It looks pretty good. It looks readable, pretty cool add. We can add some more little details. What I like to do is go to my brushes at the top-left. I'm going to get into my style brushes. I've imported these brushes. It's pretty easy to import brushes and I've used some of these before. What I'd like to do is click on one of them. I want to make a new layer. I'll call it star. You can see if I click somewhere, it's going to add a star. But what I want to do is I need to change the color so I want to press Shift X, make sure the color is like this wiper. I'll select the can, it's got like a yellowy tint. I'm going to bring it a bit light to the white side. What I can actually do is put it on the edges here, and I'm just trying to find corners or spots where maybe light might reflect. One there, one there, and I can maybe make it a bit smaller. Maybe you want to put it on the apple or something. It looks a lot better. Then I'm going to go to last little touch I'm going to do. I'm going to press "Control", Shift, Alt, E, that will basically consolidate all the layers and make one layer. Then because I don't want to destroy any other layers, I'm going to go to Filter, Camera Raw Filter. Then what I'm going to do is bump the saturation up. We don't want go too much because then it gets ugly. Bump that up maybe like 15-ish. We'll bump the texture up as well. You can see it just adds small details, it like sharpens it very high. The clarity as well. Just a tiny bit. The temperature, we don't want to go too cool, we want to go warm. I might pump it up a little bit in the magenta slightly. Then the contrast, I just want to pump that but bring the shadows a bit up if you bump the contrast. Cool. Now, if you want to see before and after, here's what it looks like. Look how much color and detail starts to come out of that. It looks a lot better. Boom, there you go. We have this cool add or down, and you can create the same thing. Then last final touch if you want to even go one step further, what you can actually do is add a field blur. I'm going to Filter, go to Blur Gallery and you can go Field Blur or Iris Blur, both are pretty good. What I like to do is you want to click on the focal point, which is this part. I'm going to decrease the blur. You move it lower. The sharpness and can be like that, bring a bit of blur in the corner there like that as well. Because I think this is too sharp, that apple in the corner, you can see you've got like little blurs on the sides. You get these cool effects. It just makes it stand out a bit more and focus on the can because that's the focal point. Hope you guys enjoyed this little segment. 5. Adding logo designs to mockups: In this lesson, I want to show you how you can add your logo to basically any image or photo that you find online. Sometimes we don't have nice premium mockups and if you can afford it, then you just need to add it onto images yourself, or even use free mockups if is just fine but this is just one technique you can use. If you can't find a specific look you're looking for and maybe you want to add your designs on an image, I'm going to show you how to do that. We've got this image here, I'm going to paste in a logo as a smart object that I've gotten from Illustrator. I've got this logo here. Now what I'm going to do is I'm going to place it somewhere on the bag like this. I'm going to go to Edit, I'm going to go to Transform and we can actually play around with the skew or we can actually go to Perspective Warp. I'm not going to Perspective Warp, I'm going to drag a square around the logo just like this. I want to press ''Enter'' and so what I can actually do is start to move these points that I've created. I'm changing the perspective to the direction of the actual bag. You just got to be careful that you don't mess up the logo too much. Obviously, it's just going to be a mockup for a client, so the much you're happy, press ''Enter''. Now you can see that is what we did. If I press "Control Z" you can see that's the difference. It makes it a little bit different, makes it stand out, and makes it look more realistic. How do we make this blend with the texture? What I want to do is double-click on the vector logo, Smart Object. What we want to do is we want to go down to the blending options, so we're already on Blending Options go down and we want to blend. It's saying if you blend, you can blend it with gray, or if you have a specific color on the bottom of the layer. If the underlying layer is darker or lighter, it should blend the top logo object with that bottom layer. What we want to do is, I typically hold Alt option and what we want to do is drag this out, so if I drag this side, you can see it's not really blending as well because the bag is a light object. Instead of doing it from this side, we want to go to the other side and hold "Alt" and we're going to drag one of these and you can see it's going to blend a lot better there. We don't want to go all the way because then you lose the color and the detail. We go about there typically and I can zoom in, you can see it's blending with the material of the bag and I can zoom out, it looks realistic, it looks good. You can always go in and add a bit of shadow to make it look embossed. Sometimes I might do a little bit of a drop shadow, make it very minimal size, very low. Do you want to make it pop off the bag? That's one way to do it as you can see there. Another option is to bevel and emboss, so I can click on Bevel here. Obviously, it's not a hard surface but it might be embroidered. Typically can play with some of these PillowEmboss, it's pretty cool. I'm going to put out on soft and you can do down dip and we want to play around with these settings. We don't want the size too much. We've got PillowEmboss, we've got NormalEmboss, and StrokeEmboss. You just play around with whatever one you want. I can change the angle as well, I want to use GlobalLight so you can play around with that and you can play around with the control, how you want it to reflect. You can just do straight or you can do it the bumpy, it's up to you really and then the highlight mode and we can play around with the opacity there. I typically drop it in the shadow, we don't want to make the shadow too much. Can even play around with these settings but typically leave it, that's okay. You can see it looks like it's a bit more embossed. You can see ads like a highlight and a shadow to it basically. Here's another image just to show an example. Once again, I'm going to paste it as a smart object, I'm going to scale it up. What I'm going to do before I warp it, I'm going to right-click on the layer and do rasterize. Make sure it's the size that you want. First, you don't scale it up and down to lose quality. I'm going to click on the "Layout", go to "Edit", go to "Transform", and then what we want to do is go to Warp. This will allow us to move the logo like this, you can play around with the points, I can hold "Alt" option to move the handles, or even actually don't even need to do that, just click on it. I'm just going to blend it to his back so you don't always have this perspective, you can use this as well. I'm going to double-click on that layer and then I'm going to just same thing as before. The underlying layer is known as light but it's a bit darker, so we'll try from the other side, as you can see there. It blends nice out when it hits these darker areas. We can try from the other side as well, so always just do a test. You can see because it's a dark gray, it's not really working. You want to do from the dark side, hold Alt option, click left then you can drag, and then you can see it's blending with the material. Let me zoom out, you can see it looks like the logo is blending there. You can also go and change the blending mode so we can play around overlay, or soft light, hard light. You can play around with those blending modes as well to see if it looks a bit better. Maybe I want to go overlay and drop the opacity a little bit of something. You can see I got that logo there. There are so many different things you can do. One other thing I like to do is always just do some simple masking, I'm going to paste a quick logo here as a smart object. Maybe this is for a design for a brand and image, whatever. I'm going to press ''Enter''. I'm going to create a mask layer on this object. Then what I'm going to do is get my brush tool out, make sure it's on black and I'm going to paint and I'm just going to put the hardness up for now. What I'm going to do is, I can select my object below this layer, I'm going to ''Select'' and click ''Subject''. It's just selecting the guy. Our first way to do this is, I'm going to click back on that mask for the letter. What I'm going to do is press ''Control D'', Just make sure your field, the black is on the background not the foreground. I press ''Control Delete'', it's added the specific selection of the person here, the guy with the hoodie into the layer of my logo, my letter. Now we can see that is behind the person but now what I can actually do is go in here and paint stuff. I want to reveal the logo on the bottom half here. I'm just going to do this because we already did that. Now, super easy and first way to make it wrap around a specific human or object or whatever it is and it just makes it stand out a lot more. If I wanted to go even further to make it stand out a bit more, what you can actually do is make a new layer. I'm going to get a black color, I can hold Alt to sample the color see. What we want to do is change the blend mode to multiply. Then what we can do is, going to make the brush soft and I'm going to paint a shadow but drop the opacity to around 30, 40 percent. I'm going to paint like this to create a shadow. As you can see there. It just adds that extra layout. For example, go back to my shadow layer, call it shadow and bring the opacity down, the hardness down. Just use a normal soft brush. I'm going to just slowly paint the shadows in like that. There we have the shadows. If I turn it off and on, you can see it just adds that little bit more of depth to the overall image and I can bring the opacity down if it's too much like 50 percent on that layer. There we have it, we've got a cool way on producing a nice logo mockup. 6. Adding details into a poster design: [MUSIC] In this lesson, I'm going to show you how you can actually add more details into your designs to make them more interesting, make the visuals stand out a lot more, and make it more distinct than other types of designs. I've got a poster design in here. You can see I've got this AI art that I created in Midjourney, which was super fun to make. I had to fix the top a little bit because the head was chopped off, so I had to fix that first. Then I've got some text here. This could be for a movie/game, but I'm going to probably make it like a movie poster for example. How do we make this more interesting? We've got some text, we've got our main character image in the back, but how do we make it stand out a lot more? I went onto sites like Freepik and Adobe Stock and I typed in Sci-Fi city skyline and you can see this. Here's the different images here that we can find and play around. Some of them are actually AI-generated. Then some of them, if you search, you can find some normal photos of normal city skylines depending on the keywords. If I just type city skyline in here, you can see, you can probably use some of these ones and they would work just fine. We just have to probably manipulate it and change the color grade. We can use that. I also went onto Adobe Stock and typed in Sci-Fi cyberpunk elements. This is how we get some UI elements so we can place it because it's going to make it a lot more interesting and make it futuristic because that's the idea and that's the type of vibe I'm going for. It always depends on the situation you're in. But adding texture, adding UI elements, adding little graphic shapes always make a big difference. I downloaded this one and I'm going to put it all together. I'm going to go to my photos here. I'm going to drop those city skylines in. I want to play around this one. I'm going to scale it up. I want to add that into the background there. I've already gone ahead and added a mask. I'm going to press Control, left-click on that mask I've already made on the layer with the robot, and then I'm going to make a mask on the city skyline and press Control I to invert it. What I'm going to do press Control T to transform and just move the stuff around a little bit. I need to make sure that it's unlinked to the layer and then I should be able to move up just like this. Cool. I think that's pretty cool. Now, I'm going to press Select and I'm going to select the subject because I don't want the sky. Let me just move this out of the way. I'm going to go to Select. Now you can see in that cityscape, it's select the sky. Then what I'm going to do is add that to the mask there. There we go. Now we've got that background. If I just turn this off, you can see we've got our mask. This is our mask in the background as you can see. What I'm going to do is play around with the blending modes so we can see what it looks like. A screen overlay might work. We're just playing around to see what we can call this. A pin light. You've got a lot of different stuff, even luminosity looks pretty cool as well. If I change that, let's go to luminosity because I don't want the colors, I just want the tonal values. What I'm going to do [NOISE] is I'm going to bring the opacity down a bit more. I'll bring the opacity down not too low. We'll go maybe 70 percent. Then what I'm going to do, I'm going to go to that mask with a soft brush, [inaudible] for my soft brush, bump that up, make sure that it's sort of like a soft brush. I'm just going to paint a little bit of the opacity. What I'm also going to do is go to filter and we want to go to Gaussian blur and add a slight little blur to that, maybe one pixel. There we have it. Instead of just having nothing in the background, we've got this cityscape. It looks pretty cool. What I want to do now is add some UI elements there. I'm just going to pick that up in Illustrator. I've got all these UI elements. You don't need to open Illustrator, you can download it as a JPEG depending on the stock image. What I want to do is use these shapes. Say, for example, I'm going to copy this border here, I'm going to paste it as a smart object, I'm going to move it like this and maybe we want to do this to it, have a border. I think that might be pretty cool, just on the edge. Press Enter. We've got this cool border here. I think that's really nice. We can maybe add some of these other little elements. We can add maybe this on the corner or something like that in the bottom here. I'm really just improvising and seeing how we can use some elements. If you find stuff you like, you can always just go ahead, copy and paste it right into Photoshop. Or if you're just in a JPEG, just make a mask. Cool. I think that's pretty cool. What else could we add here? You see these lines? It's like a grid, I'm going to copy-paste that. I'm going to post it in here. We can scale it up to the full size of the poster. Then I'm going to left-click on the mask again. I'm going to select this grid layer. I'm going to press the Vector Mask button and invert that mask, so it stops showing on the face. Because you can see it's on the face. We don't want that. We want it may be in the background, as you can see there. Maybe I want to a bit on the body a little bit. I can paint it maybe just a little bit on the shoulders there just like that. I'm going to decrease the opacity, maybe bring it down. You can see just a subtle little effect in the back there. I think that's pretty cool. Now, what else we can do is add little things like small texts or small logos. That really helps add some more detail because you're creating contrast and scale because you have big text or big image and then you have like little elements. That's why we want to do that. Drop in some logos here of cinemas. I've got like Paramount Pictures and then some cinemas that we have in Australia. Then I'm just going to group them together double-click on the group. What we're going to do is just use color overlay because we want them to be white. There we have it and then we can bring, and I think that's fine. Then so what I'm going to do is add some text as well. I've got just some Lorem Ipsum from one of these websites. You can get it from really any website unless you want to type the text out yourself. What I'm going to do, I'm using this nice font by the way, it's called tachyon. It's a very futuristic font, I really like it. I'm going to drag a text box. We've got that. I'm going to bring the text up a little bit. We've got some text here. I think that's super cool. Another cool thing is adding the date. I'm going to duplicate this layer, bring this down, and I'm going to say whatever the date is, November 18th. It just adds more elements to play around with, more text. Then we can group these three together, holding Shift, you left-click them and press Control G and then I can move it all in one go as you can see there. I'm pressing Shift and up and down to move that. Now once you've done all that, we've added some details, we can actually add some texture or a bit of grain, and we can add some glow. What I'm going to do is I'm going to press Control Shift Alt E and that's going to get all the layers and put it into one. What I want to do is go to Filter, Noise, and click Add Noise. What it's going to do is we want to keep it on uniform. You can also change the Gaussian if you want more of a grungy, you can see the effect there, what's going to happen. Uniform is a bit lighter and then Gaussian, it blurs it a bit. If I do Gaussian blur, bump the grain up, let's go maybe three. You can see if I zoom in, it's got that noise. It just adds a bit of texture to the overall text and everything. It looks really cool. Then what we can do, add another layer press B. I've got my brush, I'm going to hold the Option to get the eye dropper. I'm going to select the eye color so that red color. I'm going to change the layout to Linear Dodge. Then if I left-click, you can see it adds a bit of glow there as you can see. I'm going to left-click once on the eye like this. You can see as we go. I'm going to make the brush bigger and we'll do it again. We don't want to go too big. We'll drop the opacity 50 percent. The brush opacity, you can see the top-left 50 percent click and then left-click once. We can also do the same to the sides as well. If I want to click on the ears, it's like some sci-fi. Cool. You don't have to left click. You can paint if you want, but just make sure that it's on the object and it's not too far off because then it's going to be really weird. If I turn this on and off, you can see the difference. Looks really cool. I love that. Adding a bit of glow, adding a bit of texture, and adding some text, you can create something that looks like this and we can keep going, add more elements, add more textures, and stuff, but we don't want to overcrowd it and make it too weird. 7. Adding depth to brand mockups: In this lesson, I want to show you a couple of tricks to make your Mockup scenes to stand out. I've got a poster design on this document here in Photoshop. You can see, it's basically just a poster frame and I chucked in the poster design in there. Obviously, just showing a design like this is pretty bland, pretty plain, pretty boring. What I want to do is I've got a guy here, download this from free pick. I'm going to drag and drop this guy into the scene like this. Adding humans this can really make it stand out and it'll pop. Obviously, we want to make sure that the scale's right. I think we'll do something like this. Then what I'll do is go to Filter, then we can go to Blur, and we can go to Motion Blur or just Gaussian Blur. I'm not going to Motion blur and it's going to add a bit of motion to this guy. I want to make the direction angle going sideways. When I increase this. It looks like this guy is walking along the street. I can put it like that. Boom, just like this. I've got some plants here. I'm going to drag this plant, which I have in one of my packs. You can see in Adobe Bridge. This is a Mr. Mockup bundle. You can see there's plenty of stuff I can use. There's plants like this. So many different mockups, as you can see. It's just great to invest in Mockups that have pre-made scenes, so then you can just add to it, adjust it, and just play around and customize the way you want it. You can see, I've got some of these plants, which is super cool. I'm just going to bring it like this. It gives you this feeling of depth and dimension into the piece. I'm putting it in the foreground so it makes it feel like it's at the front right. For this one, I'm just going to go to Filter, Blur, Gaussian blur, to blur it a bit because we don't want the scene to be focused on the actual plant but the poster design in the back. Then I've got one more plant here. I've checked that Monstera plant. Let's make sure I pick the right layer. I could put it there. Then I would just go to Blur, Gaussian Blur again, just like that. Now to add some final touches, I'm going to add a background. I've got this concrete wall that I downloaded as well. I'm going to paste that in so you can see it's a nice concrete. I'm going to put that behind the poster as you can see there. It just adds a bit more depth. You can see with just a plain white, it wasn't working as well. What I can do is I can make a solid color layer. I can make it whatever color I want. Maybe I want to make it a bit green or whatever. I can change that layout to, maybe multiply, Color Burn. I think multiply works pretty well. I can just change the color a little bit. It gives it a bit of a tint or if I go to the yellow a bit, or the browns. You're just adding some bit of color there. I made that color fill a yellow, and now, it just adds a bit more depth there, as you can see. That's how you can add a bit more dimension into some of your pieces when you're doing some brand Mockups. 8. Dodge and burn technique: Now in this lesson, I want to show you how you can make your images pop and your models stand out a lot more. You do this through dodging and burning. This has been a technique around for photographers and image editors for a long time. I want to show you how you can do an effective way and how I would do it. Now, you can go to Google and type in face contouring to see how you would do it on a woman's face. You can see they usually do with makeup and stuff like that. You can find examples on there and with images to where you should highlight and where you should put shadows, especially with faces and stuff. You can go and Google and just search that up. I've got this fitness model. You can really use this if you have images from a client or you do a photo shoot and you have a key image or object, and you want them to really stand out more. You can see here, this is not edited, but to do the dodging and burning, what I want to do is I'm going to make a curves adjustment layer. I'm going to go to my top right corner, click on "Curves" and it's going to make that layer on the right. I'm going to call this dodge and then what I'm going to do is in the properties panel you can see over here. I want to grab the middle section and I'm going to bring this up about two squares. You can see the squares there, open that up. Around two or a bit less is fine, and then I'm going to go to the vector mask of that layer and I'm going to inverse it. Press ''Control I'' to hide that. Now, what we're going to do is I'm going to make another curves layer and we're going to call this burn and this is going to be for the shadows. We're going to do the same thing, but instead of dragging up on the curves, we're going to be dragging down one-and-a-half squares just like that. Cool. Then I'm going to inverse that mask as well. Now, we've got two layers, burn and dodge. Basically, what we're going to do, is we're going to go here and bring out the highlights more and then dial in the shadows more. It's just going to make the muscles and the face and everything just stand out a bit more. What I'm going to do, I'm going to get a normal Photoshop brush, soft brush. I'm going to bring it up on my keyboard, increase the size, not too big. I'm going to start off with dodging with the highlights. What we're going to do is, because we're painting on the mask, it's non-destructive. It's not going to destroy the image. You can see, if I just paint on top of that layer, it's going to show that highlight, basically. I can bring the opacity down to 80 or 90 percent. I just press eight or nine on my keyboard. If we want to make it a little bit less which is fine. What I'm going to do, is I'm going to start to go through here and start to just paint little bits, where I think it should be highlighted. We'll do the eyes there, that should make it stand out a bit. Now I'm just going along and you can always press ''Shift X'' and put your background on the fill there, so I can switch from the two colors on the left. If I want to quickly rub it out, if I did too much, I can just do that really easily. I just want to do that. I'm pressing ''Shift X'' and then now back to the white color so you can see my fill there. I'm just painting on that layer there. You can see the light source is actually hitting from the top. It's not directly from the top, but it's high and it's easy to see with the lighting and obviously it gets dark, so we don't really need too much on the bottom. I'm just like continue here, it's a bit of a process. Cool. Hopefully, you can see the difference if I turn it off and on. That's without the dodge and you can see it makes her pop a lot more. Now what we're going to do, we're going to click on the "Burn" vector mask and this time we're going to do the same thing. We just have a white fill and we're going to start to paint in the shadows in the bits that, for example, you can see if I just paint up everything, I got a 100 percent. You can see this is what the effect it's going to do. We're going to paint on the specific areas. Once again, you can refer back to the contouring if you want, where to put the shadows in certain areas. That's going to help you out, but you should just understand a little bit about lighting and that's going to help you out. I'll bring the opacity of my brush to about maybe 60, 70 percent. There you can see it, I'm going to turn off the burn now. You can see without the burn, with the burn or without. You can see it pops a lot better and without both of them you can see this is just a model by herself. Let me just have added those extra bits, she stands out a lot more. We can always bring the opacity down with the actual layer itself, so if you just want to drop it down a bit, we can also do that. Maybe it's too harsh. We can always drop the opacity on the layers and just drop that. Obviously, you can go and do the materials as well, we don't have to just do skin and whatever. You can do whatever is going to make your image the way you want it stylized and make it pop and stand out and make it more contrast and detailed. Do you know what I mean? It's just going to make it a lot better if you do that. 9. Field blur and gradients: I want to show you another way how you can make some details. You've probably seen online from a lot of e-sports projects. Show you some example. You can see how we've got the logo and you can see how they add like this nice glow effect, shine effect, and also like a blur as well. It makes it look more dynamic and interesting instead of just putting it on a simple plain black or white background, you can make the logo stand out a bit more. If we zoom in you can see it's got a bit of grain, a bit of blur, a bit of glow here using the colors from the logo as well. It just makes it look a lot, lot better there as you can see. I'm going to go back to Photoshop. I had this logo here. We've got the color blue, the same as the logo here in the intersection of the line. You want to have some color the same as the logo. The background, I can either go yellow like this or I can go dark. But I think the yellow on the navy looks a lot better. It is more contrasty. What I'm going to do is I'm going to duplicate this layer, press "Control T". I'm going to scale it up like really big. I'm going to go back to Transform and I'm going to go to Warp. I want to add a bit of a curve to my logo here. As you can see, I'm going to curve the top. I think that's pretty cool. I'm going to add a mask and just paint out. I don't want these letters here, so I'll just cut that out. Cool. Now what I'm going to do is bring this behind the other logo and I'm going to drop the opacity like that. What else we can do is go to Color Overlay and what we can do is add a bit of a gray if we want and just change the color. Instead of having that color in the background we can actually just add that gray color there, so that's one way of doing it. Drop the opacity. I'll go to the Layer Opacity, drop that. Maybe a bit more, maybe like, 20 percent-ish looks good. Cool, and that looks great. Now what I'm going to do, make a new layer and call this gradient. I'm going to press "G", go to the top left and click on the Gradient. As you can see, the little transparent boxes there, and so what we can do is play around with the colors here. I can double-click on this and I can sample a color from the back. I'm going to sample that dark color there but what I want to do is bring that color up as you can see. Or we can actually sample the yellow. We can use that yellow color. You want to make sure that the gradient is on the radial one. You can do different ones for different effects. You can just do a linear gradient if you want but we want that round one. I click zero percent, on the yellow side I'm going to click on here and click 100 percent. I'm just going to flip that around and so we've got a yellow and we've got that navy color. I'm going to press ''Okay'', I'm going to bring this up a little bit, the stopper. If I go to G now and click and drag, you can hold Shift if you like. It's going to create this glow effect at the top as you can see now. I want to have it on the edge at the top, so I'm going to drag down and just going to play around. What I'm going to do, I'm going to play around with the blend options. We've got Lighten, we've got Screen, Linear Dodge. We've got I think, maybe Overlay might work, Difference. You've got Divide as well, so that creates a cool effect. There's these different ways. Another way is that you can add another layer. For this one instead of using the gradient I can just sample i-color. Double-click on my fill in the back. I'll make it more blue. Make it really big and then I'm going to left-click at the bottom as you can see there. If I make it a bit more bigger. I think I just need to make it a little bit more lighter, so I'll bring the blue up and we'll go again. Boom, there we go. I've got that yellow and typically I can do that as well. Instead of the gradient, we can go like that as well. It just looks a lot better, I don't know why. Then we can play around with the blending modes. Once again, so Screen or Linear Dodge as well works pretty cool too, so we've got that. I think that's really good. Now, we're going to go to the Logo Layer, go to Filter, and then we've got Blur Gallery. We've got Tilt Shift and we've also got Field Blur. You can use any of these. I'm going to go to Tilt Shift. This allows us to add a column or a certain shape where we want it and the blur will affect outside that shape basically. You can see we've got this rectangle shape. If I bring this in tighter and if I rotate it you can see it adds go on the edges. What I can do here is if I put my mouse on the white dot as you can see, the arrow should change. I can rotate this, so maybe I want to put it on a little bit of an angle like this. Then I'm going to bring this out. I can bring the blur in if I want to make it a bit more harsher, make it a bit closer to the actual logo. You put your mouse on the line as well if you want to move that in, like that. Then we can change the amount of blur by bringing this up or down. If we bring it up it's going to make it way blurry but we don't want to go too crazy with it. Maybe we'll just go maybe like 13 or something like that. It looks pretty cool. Then once you're happy with that you can press "Okay" on the top bar. Press ''Okay'', and then it adds that nice blur. Super cool. Then because it's in the gallery we can just turn it off and on if you don't like it. Then once again Control Alt Shift E plus everything together. What we want to do is add a bit of noise. So I'm going to go Filter, Noise, Add Noise like usual, and then we can bump up the grain. We'll make it uniform this time. Press ''Okay''. Now if I zoom in you could see we've got this really cool, nice, noisy grain there. It makes it look way cooler. That's how you add some details in this specific example of doing an e-sports logo. 10. Using neural filters: [MUSIC] I want to show you how to use the Neural Filters in Adobe Photoshop. I'm pretty sure they've only released this within the last two years. AI keeps getting stronger, and more powerful because Adobe has Adobe Sensei and these filters are so fun to play around with, and they're obviously very experimental, but it can actually help your workflow. I'm going to show you how you can actually affect the model you have or the face in this case. Maybe you have a photoshoot, maybe the model was a bit sad and you wanted to make them happy, then you can actually change that. So I have this Roman God here. You can see he's got his face, very clean cut, got his sword here, buff guy. Let's select the layer first and got to filter. Then what I'm going to do is click on "Neural Filters". Now Neural Filters, we can keep it non-destructive. So it's actually not going to affect the original too much because we can actually save it to a another layout which I'll show you how to do. You can see here it's already picking up the face. Now, you've got your filters here on the right-hand side. You can see we've got Smart Portrait, Skin Smoothing, Super Zoom, Colorize, all these different ones that we can play around with. For this one, I'm going to play around with the Smart Portrait. I'm going to click the button to turn it on. It's already recognizing the face, which is great because this is a great photo. Now what I can do is I can play around with these different parameters. We've got happiness, facial age, hair thickness, and eye direction. You can also think about expressions. You've got global like the head direction, light direction. Then you've got some settings here. You got to be careful because you don't want to push it too much because it would be unrealistic. But if you're not doing a realistic photo or like design, then it's okay, you can play around. I want to make his face more happy, so I want to drag the happiness up. Let's go to like 35. It's going to start to process that. The AI is going to work on the face. Boom, there you go. [LAUGHTER] You can see now if we zoom out he's actually smiling. What it's done is actually added him some teeth, pushed the lips out. You can see we've got some degradation in the pixels here on the left a little bit, but like overall, it did a pretty good job. It's messed his head a bit and pushed to the end of it, I don't know why it did that. But we've got a smile. What I'm going to do is I'm going to pump the happiness down a bit. I want to also increase his facial age. So let's make him a bit older. Maybe he's like a warrior who's been in the field a bit longer. All right, so you can see that. Okay, cool. It made his face a little bit rough around the nose I think, and the smile is still there. What if I wanted to bump the hair thickness out? Let's see what that will do. You can see it added some more thickness there. Gave him a bit more hair on the beard, which is cool. We can actually alter the eye direction. So let's go minus on the eye direction. You can see his eyes will actually shift. It's looking more in at the camera, so looking more in a frontal position. Let 's see what happens if you drag it all the way, boom. That looks pretty interesting, it looks pretty good. Now what I want to do is actually play around with the global settings. You can go to head direction and you can see it chooses to the right. If you want to shift it to the left, you bring to the left as you can see there. You can see, I'm going to bring it a bit more to the left. It's like he's looking at the camera. Then the light direction, I'm going to bump that to like around 20. You can see it's shifted the shading of his face. If I Control Z, you can see the lighting became more open among this area as you can see. This looks pretty good. Once you're happy with that, what you want to do is you want to change the output to new layer and you want to select filter. You can also do it as a mask layer, but I think Smart Filter works better. Press, "Okay", so now we can always just turn the Smart Filter off. This is the better way to work because it's non-destructive. If I take that off, it should show us the original. That's the original and this is the new version. It looks like he's looking at the camera, it's smoothed out his face a bit looking really cool. Obviously his neck is a bit messy, but what we can actually do is actually fix that up. I can add a mask to this, or I could add a new layout, get the background and just paint like this to fix that. That's the thing with Neural Filters. You have to be a little bit careful. [NOISE] I'm going to use the Stamp Tool for this. I think that's it. It's actually looking pretty cool. Once again, you can see the difference. There's so much power in these Neural Filters, It's insane. That's just one of them that we use, but you can play around with heaps of different ones. 11. Student Project and Closing Thoughts: Thanks so much for taking the course. I'm sure you've learned a lot of new tips and techniques that are going to elevate your designs and artwork. Now for the student project, all you have to do is download the Photoshop files that I'll upload and you can use them as practice work files. I'll put the images in there. You can actually practice some of the techniques in the class and with the images that I've used. Or you can get your own images from online, free images or pay whatever you want and actually practice on techniques and upload your student project. You don't have to do every single technique, but do the ones that you want to focus on or improve. It might be the color grading one. It might be the dodge and burn technique, but practice and upload it as a student project and then I'll critique it and give some feedback. Now if you've loved this class, then you'll also love my Adobe masterclass here on Skillshare. Check it out because you're going to learn heaps of tips and tricks in there. Thanks so much. I'll see you in the next class.