Show Off Your Patterns: From Free Mockups To Building Your Own In Photoshop

1. 1 Introduction: Welcome. I'm so delighted that you are here. My name is Erica and I am the artist behind sides may even designs by day. I'm a curious science teacher who loves inspiring our next-generation. By night. Or as soon as I get home, I spend time exploring my other passion, all things creative. I grew up with a graphic designer as a father. It was immersed in the world of color, logos, design, marketing, and all the things that Adobe since before I could speak throughout this class, I will be guiding you through how to use free online mock-up generators, finding the best free mockup files for Photoshop, navigating pre-made mockup files, finding stock photography images that can be used to create your own mockups, and building your own high-quality mockup templates in Adobe Photoshop. By the end of this course, you will have a robust library of mock-up images and templates and an in-depth understanding of the steps required to create your own mockups from stock photography, this class has been created for illustrators who wish to build their own high-quality mock-ups. Hobbyists who want to learn how to use free resources to create mocked up images of their illustrations or patterns. And even side hustlers looking how to make digital assets they can sell. By the end of this class, you will be able to apply your knowledge and skills to create a variety of mockups that you can sell on website specializing in digital assets. Or to level up your illustrations and patterns by adding them to mockup files and posting the completed images on Instagram or Pinterest mockups can even be used to advertise patterns that you wish to sell on print, on demand websites. To complete this class, you will need a computer access to the Internet and Adobe Photoshop. You can always download a free trial of this program at Adobe.com. Your class project is to create your own mockup from stock photography and add to it a pattern of your choice. Alternatively, you can use an online mockup generator or free mockup file to show off your beautiful patterns or illustrations. At the this class, you will have 15 mockup files that you can use to display your repeat patterns. You will have five made from online mock-up generators, five using free Photoshop mockup files, and five created from free stock photography. I can't wait to see what you create. Happy designing. 2. 2 Tools: The main tools for this class are Photoshop and a web browser. I will be using Google Chrome. You may wish to follow along in this program as it may look slightly different if you were to use a different web browser. The first important thing you need is Adobe Photoshop. If you don't have Photoshop, you can go to the web and type in Adobe.com. Then on their main screen there is a button that says Start free trial. If you click on that, you'll be taken to this page and you can start a 14 day trial. I will also provide a resource that has all of the links to the websites that will be visiting throughout this class. Now that we have all the tools and websites that we will need, we will next build some very simple patterns that we can use to practice creating mockups. 3. 3 Patterns: In this video, we will walk through creating some basic patterns in Photoshop. We can then use while practicing how to create mock-ups. Before we begin in Photoshop, it's important to have a couple of panels open. If you go to Window, make sure that layer is selected. You've got your layers panel open and make sure you've got patterns open as well as properties. So our first one is we're going to make a simple dot pattern. I will then click on Create New. And I'm going to make my width 4 thousand. Make sure that you have selected pixels. So it's 4 thousand for my width, 4 thousand for my height. Resolution of 300 is fine. Rgb color mode is fine. And click on Create. I'm going to first of all, click on the fill layer with a solid color. I'm going to make this white. Okay? I'm then going to click on the plus to add a new layer. I'm going to head down to my rectangle tool and come on down to the ellipse tool. I'm going to click and drag holding Shift to constrain proportions and make the circle fairly big. It should take up most of your art board. I'm going to click on V for my Move tool and move this until I see that it is centered. I am going to add double-click on my ellipse here in my layers panel. And I would like to change this color. I'm going to make it this nice green color. Select OK. I can now click Command a to select everything. I'm going to go to Edit, Define Pattern, call this dot. I'm now going to select both of these layers by holding Shift, clicking both of them, and clicking on New Group. And I'm just going to call this double-click to rename it. I'm just going to call this dot. I will now hide that by toggling off the layer visibility by clicking on the eyeball, clicking the plus for a new layer, I'm going to grab my rectangle tool. So click and hold. What was my ellipse tool to bring up the rectangle tool, I'm going to click once in the middle and then I'm going to type in 4 thousand by 4 thousand, okay? And I can align this by selecting V for move tool and make sure that this is centered. And I will see the pink smart guides come up. I can click Command D to de-select and make sure I'm on V for move tool. What I can then do is make sure that this layer is selected in the layers panel. And I can go to new fill layer and fill with a pattern. And then what you can do is just select the dot that you had created. And then in some of the skill being a 100%, I'm going to make this 10% and click. Okay. Now I have a nice polka dot pattern. I'll go to Edit, Define Pattern and call this polka dots. I can then go to File Save to make sure this is saved, rename this polka dot save. And then what I'd like to do is to save this as a PNG so I can go to File Save As make sure in the format I have selected PNG save that we will be using this later on. I can then click on Command N to create a new file. You should have your 4 thousand by 4 thousand as a recent item. So we can double-check 4 thousand by 4 thousand. I'm on pixels and my resolution is 300, and that will create that. Now what I'm going to do is go to a new Fill Layer, Solid Color. I am going to stay with white. Okay, new layer. I'm going to go back to my rectangle tool. And if you want to change your fill up here, I'm going to make my rectangle. This nice green color. I can then click once on my canvas and make this 2 thousand by 4 thousand pixels. Say, Okay, I'm going to select V for my move tool and make sure that this is centered. I'm going to grab this layer in the layers panel, drag it to the plus. So what is duplicated? And I can now if I hover over the corner, I can see the curved arrows. I'm going to grab it, hold shift, and it's going to bring it nicely to 90 degrees. I can now confirmed that transformation by clicking on the check mark. And then what I'd like to do is Command a to select everything. Go to edit, define pattern, and I'm going to call this cross pattern. Then that will be saved in my patterns. The last pattern we're going to set up is using the custom shape tool. I click on Command N to create a new document. And I can see my custom 4 thousand by 4 thousand at 300 ppi. I will keep that and just click on Create. I will then go to what was my rectangle tool and then drag down to Custom Shape Tool. And up here in my toolbar, I can click that. And I've got leaf trees, I've got wild animals. So you can select whatever you want. I think I'm going to select this rhinoceros. I can then choose my fill color up here. And if you want to bring up the color picker, you can do so here. I think I will select a nice magenta here. That looks good. Okay, and then I can click and drag holding down shift to constrain your proportions. Again, make your custom shape as big as you can. I will select V for the move tool. Let me move my Rhino to the center and then going to go to my Layers panel. And I'm going to click on the circle for New Fill Layer, Solid Color. And I'm gonna put my rhino on a nice teal, pale teal background. There we go. Okay. And then I can just drag that layer beneath. And there I've got my final pattern. I will go to the Edit menu, Define Pattern, and call this rhino. Then you will see this as a pattern swatch. Now that we have built some basic patterns, it's time to create our first mockup. 4. 4 Mockup Generators: In this video, we'll be using five online mock-up generators to create mock-ups. The first one we're going to use is Artboard Studio. So you've got Chrome open. You're going to go to search in Google and type in art board dot Studio. You can click on get started for free and sign up. I already have an account, so I'm going to login. We will then go to start with templates in the top left-hand corner. Down in the search bar, search public templates. I'm going to search there for apron. And there I go, apron mockup with model. I can click on that. I'm then going to go to the right-hand side and it says apron design. So I'm going to double-click that and it will open up what was already there in a new window. I can click on the first layer in the top right-hand corner, holding down shift, click on the last layer and click on the trash can that says Delete layer and it will delete everything. And I will need to do that again. So click the top layer holding shift, click the bottom layer and delete. I now have a blank in Canvas. Over on the left-hand side there is a little picture of a computer. When I hover over that it says your private asset. So I'm gonna click on that. And then what I can do is click on Upload assets. I can upload any design that I have already made. I'm just going to use one that have already done called leaves. So I will click on that and click Open. It will take a minute to upload. Once uploaded, you will see it in your assets here. So I'm going to just click and drag that over to the Canvas. And it should say drop here. I will drop there. Then I can click on it to activate it, and then just grab my corner node and resize this so it covers the whole canvas. It is saving automatically. Now, when I am done with my design, I will just click on the X here and then I see my design. If you want, you can double-click the t-shirt color and click on Background. And if I make that, let's see here, let's make it a little bit of a gray. We'll see how that looks. Once I'm done, I can then close that window and you can see that my t-shirt has turned gray. When you're ready to export your work. The bottom right-hand corner, just click export your project and then you can do it as a JPEG or a PNG. So once I've clicked on it and this dialog box comes up, I can just click Save, and there I go. I have a lovely a PNG or JPEG of a mockup using my design. The next mockup generator we're going to use is print full. So here I am in Chrome, in Google, I'm going to go to my Search bar and type, print full dot-com. I am going to click on mockup generator and get started. I'm going to close the men's clothing tab. Open the women's clothing tab on the left-hand side, scroll down to where it says dresses. Click on dresses. And I want to use the all over print dress. So if I click on it, it might say adjust your default catalog and delivery preferences to select this product. If I just click on Default catalog, all I need to do is say I want some more products. Then I can click on Apply Changes. I can then click on my Oliver print dress again, and it will open up. I'm going to move to the design tab on the left-hand side, I'm going to select Choose File. I will then click on Upload and I'm going to find the pattern that I would like to use. So I've got one that I have created for this. I'm going to select it, click Open. It will take a minute to upload. I will then hover over that file, click on Place. Now, because this is a perfectly repeating pattern, what I can do is close this and then scroll down to the bottom where it says make a pattern. If I select that, I've got a block repeating patterns. So if I click on block and then go over to where my design is, scroll down. And if I click Scale to Fit, I find that it just opens everything up properly. I can then move the slider to make my pattern as big as I would like, I can then head back to product. I need to select my stitch color. I'm going to choose white for this. I can then go to the top menu where it says mock-up view. Click on that. It will generate my mockup. And then all I can do is hover over the one that I like, right-click and select, Save Image As and save. And there I go. I have my mock-up done for me. The next mockup generator that we're going to use is place it. I've got Google open. I'm going to go into my search bar and type in place it dotnet. Now you will need to go to the top right-hand corner, click on free account and sign up. I already have an account. I'm going to switch over to login. All right. Once you have your free account or are logged in, you're going to go to the top left-hand corner, click on mockups, and you're going to go over to home decor. The next thing that you can do is in the center where it says browse all products. Click on that and I want to select pillows. I'm going to then click on the first one here where it says stamping pillow mock-up against a white background. Once that is loaded, I will go to the left-hand side, click on Insert image, upload from device, and you will navigate to the pattern that you wish to use. I'm going to go to my houses pattern here, open that up and I can just click Crop. Now if I'm not sure about this, I think the pattern might be too small. I can go over to the left-hand side, click on resize, and all I can do is use this slider to increase the size of my pattern and then click crop again. And I think that this looks a lot better. Now this is a paid site, so we can't download this perfectly as a mock-up, but what I can do is go to Share, give us a minute. Well, it generates the URL, copy my URL, go to a new tab, paste the URL it gave me. And then what I can do is right-click on this image and click Save Image As. And this will save my mock-up. It will have a watermark on it. If you would like to purchase this, you can go to Download and then it gives you options. You can just download this for $7.95 or you can subscribe monthly or annually and download and create as many mock-ups as you would like. Our next mockup generator is Smartmockups.com. I'm going to go into my search bar and type in smart mockups.com. Now, you can click on get started for free and create your free account. And you can also get a free trial. I already have an account, so I'm going to log in. Now there are tons of mock-ups. If I click on All mockups, you can see that there are tons of different categories here along this bar, there are premium mockups and free mockups. We're going to click on face masks here, and I'm going to click on free, scroll down. I am going to choose this one right here. So if I just click on that, now, I'm going to click on Upload from to upload my pattern, upload image and navigate to my file here, open. Now I can customize this scene. So if I click on Customize, see I can change the face mask color so I can click Choose. And it has preloaded some colors that fit with my pattern already. So I'm gonna click on the teal blue. But what you can also do is go to custom. And you can type in a hex code from Photoshop. You can move this slider around until you're happy. I'm gonna go back to preset and select this teal color. Click off of that. I can now click Download and choose the quality that you want. I'm just going to choose medium for this. Then you can save your mockup. And we are done with this mockup generator. The final mockup generator that we will be using is media modifier. I will go into my search bar and type in media modifier.com. Once again, you can sign up for a free account. I already have an account, so I'm going to log in once this page has opened, you can It says get started right away. I'm going to search for box in this search bar here. And I'm just going to go to the first one here, 3D box mockup generator template. I can then add my image for the front of the box. So click on Add Image, Upload your image. I'm just going to navigate to my file that I want to use. Beach bottles, open that up, select Crop, and then I need to cover my side image. So besides side image, I'm going to add my image once again, I'm going to upload the same image, upload your image, navigate to my file and open. I can crop, resize until I'm happy, and then I have my mockup. Now, this site isn't fully free. You can download this with a watermark. Or again, you can subscribe and pay for these mock-ups. I'm going to go to download, just say download image, and I'm just going to download it for free. It will be watermarked, but you can see for a $9 a month fee, you can subscribe and get unlimited downloads of your mock-ups. I'm just going to click download the free watermarked image right now, download and then save it. And then if I open this, I can see that I do have a nice mockup, but it is watermark. Now that we have gone through some online backup generators, let's have a look at downloading free Photoshop mockup files. 5. 5 Free Mockup Files: In this video, we both looking at how to find free Photoshop mockup files. We can then alter them as we wish. So make sure that you've got a web browser open as well as Photoshop. I'm going to head to my web browser, and I'm going to type in free pic.com under the all resources, I am going to select F3 and I'm going to select PSD. That means that it is a Photoshop file. I am going to search for blank fabric mock-up. I'm going to use this first one. I'm going to click on it. And attribution is required. So we will come back to that in a moment. First of all, I'm going to download this file. I'm just going to click Free Download. And I can download my file. If I double-click, I can unzip it. I will head back to Photoshop and open and navigate to wherever you saved your file. I saved mine on my desktop and it'll say blank fabric mockup. And then you've got a JPEG to textFile. So we just want the PSD, that's a Photoshop file. I'm going to double-click on that. The first thing I'm going to do is in my layers panel it says hide this layer. I'm just going to take it and drag it right to the trash and then I can see my blanket mock-up. I'm going to toggle open the smart objects folder. Double-click the smart object. It is this icon with the two pieces of paper down the bottom. Double-click that and it will open up into where you put your pattern. If I go to New Fill Layer and select pattern, I can choose one of the patterns I've made. If I go back to my rhino, it looks really big. And if I just click there and take the scale down to about 10%, I've got a nice pattern of my rhinos I will select, okay, these two layers we don't need, so you can just grab each one and drag it down to the trash. This will keep the size of your files small, makes sure that you are on the move tool or V for move tool. And you can just grab your pattern and center it the way you would like. Once you're satisfied with that, you will Command S to save it. And then you can close this tab. Then you will see you have your rhino pattern on the blank fabric. Now there are a couple of changes that I want to make to this file. I'm going to head to shadow, toggle this folder open, make sure I've selected it says layer one and I'm going to go up to Edit, transform and warp. It just looks like I need to move this a little bit. So I'm going to grab these notes and just move the shadow a little bit. It looks a little bit more realistic. You can play around with this until you are happy and you believe it looks realistic. Once you're happy with that, you can press the check mark at the top to confirm that transformation. I'm just going to click off my canvas there and now I need the attribution. So to start off with, I am going to add a new layer and I'm going to go back to the Internet. It says copy and attribute. So I'm just going to click that blue button. It says copied successfully. Go back to my Photoshop file, select my Text tool or T for text tool, click once and then Command V to paste, press the Escape button V for move tool. And then I can actually, I'm going to Command Plus just to zoom in here, move this until I can see the entire attribution here. There we go. Now that is the bottom of my file command 0 to zoom out to full screen. And now I've got my mockup with my attribution so I can File Save As blanket mock-up. Firstly, save it as a Photoshop file Save. Then I can go to back to File Save As, and this time under Format, select JPEG Save, and then choose how large you would like your file. I have my quality set to ten, and I can see that it is about a megabyte. I'm going to press, Okay, now I have downloaded a JPEG of my blanket mock-up. The next site that we're going to visit to find free PSD or Photoshop mockup files. Is pixie done. I've got my Chrome web browser open. I've got Google. I'm going to type into the search bar, picks Eden.com. If you don't have an account, you will need to click on Join now. And all I did was I subscribed to the free membership plan. I'm already a member, so I am going to log in. Once you have your account and are logged in, go to graphics and click on mockups in the search bar type pillow. Then we're going to scroll down to the PSD throw pillow mock-up set. It is free. I'm going to click on that, then download with my free account. I can save it and it is a zipped file because it's really large. So you will see down at the bottom of your Chrome web browser is a zipped file. I will double-click on that. My archives utility is expanding it and I see that it is here. So I am going to double-click on the square and rectangular pillow mock-up dot PSD file. That means it is a Photoshop file and it will open up in Photoshop. The first thing I'm going to do is to figure out what each of my layers does. I'm going to open this folder. If I just toggle the layer visibility on and off, I can see what each does. So this is something I don't want to play with. And then the rectangular pillow, Alright, so that's that one. And then I've got the square pillow. And then my background, That's great. I can change my background as well. Alright, so the first one I'm going to go to is the rectangular pillow. I'm going to open my group and then I can see very clearly more smart object and it says Put your design here. So I will double-click that. And then I'm going to go to New Fill Layer, select Pattern. And then I'm going to choose a pattern that I have saved in here. So you will see your polka dots and your Rhino or the other patterns that you have saved. So I'm going to select this one and you can change your scale if you want. You can make it smaller if you would like. You can make it larger if you would like. For this one, I'm going to stick to 100%, then, okay, now I need to get rid of these other layers. So if I just select each one and drag it to the trash can, this will save on memory space and clean up my file again, you've got the move tool and you can move your pattern however you would like as well. Once you are satisfied Command S to save this, and then you can close this window. You can see that the pattern is on the pillow. Now it doesn't look quite like my pattern. So what else do I have? I've got the pillow color to change, the border color to change as well. I'm going to double-click this color layer. I'm gonna change my pillow to white just so my pattern shines through as I had created it. Now the border, I'm going to double-click that icon. Then you can see that the eyedropper tool comes up. So I'm going to actually select a color that is in my pattern for the border. And I can just click around until I am happy with what I have found here. All right, I like that, Okay, Just so I don't get confused, I am going to collapse this group. I'm just going to close the rectangular pillow and open up the square pillow. Once again, I see a layer that says Put your design here. I will double-click on that. And again, new fill layer pattern. You can find any of the patterns that you've already created. I'm going to use something that I had designed previously. Double-click. And I think that I'm happy with my scale at a 100% with this one as well. I'm going to click Okay, I'm going to clean up my file and drag to the trash any of these layers that I don't need, I'm going to Command S to save this. Once it has saved, I will close this window. And then you can see I've got my second pattern on the other pillow, but I need to change the pillow color. So once again, I can double-click on the color layer. I'm gonna drag this to the top left-hand corner to make my pillow white. Okay. For the border, I will double-click this. It brings up my eye dropper tool. And I'm going to select around, oh, I think I got it the first time. But you can see I can select around and pick any color that I'd like. I'm going to go back to that darker color and select, Okay, I can collapse that group again. And I want to change my background color because the purple is not going with my pink pillows. I will open up my background group and just double-click the color layer, the icon there. I think what I would like is again, it brings up my eyedropper tool. I'm going to drop around until I see something from my pillow that I like. I liked that, but I'm just going to make it a little bit paler, I think. And then okay. I can collapse my background group and I have my pillow mock-up, makes sure that you say File Save. So this is saving it as a Photoshop file or a PSD file. You can also go to File, Save As, and save this as a JPEG. So under format, just select JPEG, Save. Then again, you can use the slider to move it depending on how large you would like your file. This is pretty large. I don't recommend going to the largest file. I think 2.5 megs is okay. And there I've got my beautiful pillow mock-up. The next site we're going to visit is Graphic Burger.com. I am back in Chrome, back in Google, and I'm going to type into my search bar, graphic Burger.com. In the search, I am going to search for leggings, mockup. There we go, leggings mock-up, PSD. So I can click on that. And I'm going to scroll down. And those are grouped big green Download button, click on Download. And I can see that my download is starting, and that finally gives me somewhere to save it. So I will save that as my leggings mock-up PSD save. And once again, it has downloaded as a zip file. So I need to double-click to unzip that file. I can then come back to Photoshop. And I am going to open, navigate to my file. Leggings mock-up, PSD, and I see a leggings mock-up, PSD dot PSD file. I'm going to open that. If I just have a look here, if I toggle leggings closed, okay, I've got the body. I'm not gonna do anything with that background. I can see that I can add some more information, some different colors here for backgrounds, I will toggle that closed and open up leggings again. So overlay layers don't edit. That means I'm not gonna touch that. I see I can change the same color. The design of the right leg, the design of the left leg. Then I've got a top band as well. Then the color for the top part, and then a color basic. Let's start with design right leg. And you can see it's the tall skinny piece. That is my smart objects. I'm gonna double-click that. And then I am going to go to my new fill layer pattern and select whatever pattern you would like to add to these leggings. If I choose one here, I made a Turing pattern. Now that is definitely too big. So I'm going to take the scale down and see what 20% looks like. I think a little bit bigger. Let's try twenty-five percent. And I can just drag this placeholder layer to the trash Command S to save. And I will close this window and you can see that my pattern has been applied to the leg. Alright, let's move on to the left leg. So double-click your Smart Layer icon here, double-click New Fill Layer pattern. And I'm going to navigate back to May same Turing pattern. And I do remember that I had my scale at twenty-five percent. Okay, click drag to trash to get rid of that extra layer Command S to save, I will close this window. And before I go any further, I'm going to make sure that I'm saving this file. I can save it somewhere else, or simply Command S to make sure that I'm saving it. It is in already a PSD file. I don't think I need to change the same color, but if you did, you would need to do is double-click. You could either change it here, the color picker, or it does bring up your Eyedropper tools. So I could technically I drop on the purple and it does change my color to be purple. So I actually may just leave that as it is now for the design of the top part. Let me just eyeball this on and off. Okay, so this is just the name, and I actually would prefer that just to be a plain color. I'm gonna grab this layer design top part and I'm actually going to drag that layer to the trash. But then I can see where it says Color top part, I will double-click on the color icon. There. And I'm going to grab the eyedropper and just click on my tights until I am happy with that. And I think I'm happy there and I will press. Okay, now this color basic is not doing anything. Let me do the base on and off. Okay, so that is the color of the base of the tights. But because I already have a full colored pattern, I don't actually need to do anything with that, so I can actually take that and put it into the trash. That is where you could change the underlying color of the tights. If you had a pattern with a transparent background that does it for the leggings. So I'm going to toggle this group closed so I don't get mixed up. I'm not doing anything to the body. But if I open up the background's folder, I can see that I can change the color. So if I just toggle off the visibility of this neutral folder, I can see that I can change the background color of this file. All I'd have to do is double-click on the color icon there. If I wanted to make it similar to this purple, I could take my eyedropper tool, click on my purple band, and then I could either make it darker purple. It doesn't look very realistic that way. I could make it white, I could make it gray or black. I think what I'm gonna do is probably make it gray with a hint, hint, hint of this purple in it. There we go, and I'm happy with that. Okay, So if you want, you can grab this neutral layer and take it to the trash and this white layer and take it to the trash. Close up your backgrounds group. Don't forget to Command S to save. And now you have your leggings pattern done. The second in the last site that I'm going to visit is mockup world. Here I am in crow in Google, and I'm going to type in mock up world dot CEO in the search, I'm going to search for wrinkled fabric. Here is my file here, fabric wrinkles. So if I view details for this and then I am going to click on Free Download. Redirecting me to the mock-up. I just need to wait a moment and I'm going to click download for free. I'm going to submit my e-mail. And I don't actually need to click on this because I don't want to receive any marketing e-mails. I can just say complete. And then I do need to let them know that I'm in Canada and let them know my zip code and I can complete my checkout. I will then need to go to my email and I will see an e-mail from paddle and it will say your free fabric wrinkles, mock-up, padlet.com order. I shall click on this email. And then I can see there's just a download button to the right in blue, I will click that. Then I'm going to label this fabric wrinkles. And then it will download a zip file. I will double-click that zip file, and I now have the file open. I can see here it is 001 dot PSD. I'm just going to label this fabric wrinkles so I don't lose sight of where this file is. What I could actually do now that I have this open is just grab this file, click and grab and hold, and drag it down to my Photoshop icon, and it will open up in Photoshop. Now, as I can see, I might think this doesn't look right to me by go to my Layers panel here. There is a layer that says disable it. So I'm going to grab this layer and just put it right into the trash. I need to look for my smart object or I need to look for a change this or click here. So I'm just opening this up, having a look around at all of my layers and I see up change this. So I will double-click the change this. And some of these files are built a little bit differently. And now I can see that I've got something that I'm used to sing. I'm going to unlock this layer. And even if I look at what this tab is called, it says change this. That does give me the information that I'm in the right place. I would like to continue as per usual. So I'm going to go to New Fill Layer Pattern, and I'm going to navigate to some of my patterns that I have saved in here. I've got one called Garden bugs. I'm going to do. I'm actually happy with that scale. I'm just going to click Okay to tidy everything up. I can grab what is now they're 0 and drag that to the trash. I need to Command S or save this. I can now close this window and I will see that my pattern is here. Now this doesn't really look like what I'm used to seeing. I need to change the view. If I look up here in the top toolbar, it does say 3D mode. So if I go to View, come down to show, and I'm actually going to say None. And now it looks like what I'm used to sing. That way I can come and have a look at this. I see this bottom layer. If I toggle the layer visibility on and off, I can see that that is my background color. And I can see again that it does say change color. What I'm gonna do is select that layer, double-click on that color icon, the black icon. And I will see my eyedropper tool. So I can just click around my image until I find a color that I would like to use as the background. If I want to use this teal color, I could click on that and then drag this up to something that is a little paler, if I'd like, but in the same color family. Or I can click around on my file until I find a color that I think makes this fabric stand out. I think I like this cream color. So I will click, Okay, and I will Command S. And now I have my pattern on some wrinkled fabric and makes it really look like I have gone and had this pattern made into fabric. The final place that we're going to find some mockups to use some free mockups is Behance.net. I'm going to go ahead and type in Behance.net in the search Behance toolbar, I am going to type in free elegant dress mock-up. Here it is right here. So I can click on that. And to support this artist, I'm going to make sure that I click on appreciate if I am a member, I can then scroll down. And it says female dress mock-up free download from Google Drive. I can click on that. It will take me into Google Drive. I can click on Download and my top right-hand corner. And then it says the Google Drive can't scan the spot or viruses. That's okay. I'm gonna say download anyway, we'll ask me where I would like to save it. I can save it. And again, I can see that it does a zipped file. I will double-click that and I have my free elegant dress and it is called five dot PSD. What I may do is just click on that and say free elegant dress, just so I don't lose track of this file. I'm going to grab the dot PSD file and drag it to my Photoshop icon down in my toolbar. And it has opened. Now I can toggle this texture group close because if I toggle this on and off, I can see that it's adding some detail and that's not something that I'm going to change. What I do see here now is a paste your design here, that's very helpful and that is indeed where I'm going to paste my design. And I can see as well that this icon is that of a smart object, and that's always what I want to look for when I go to apply my design. So I will double-click my smart object icon and simply go to New Fill Layer pattern. I will find the pattern I would like to apply. I'm going to decrease the scale a bit and it might be a little too small, maybe 20%. These other two layers, I can grab them and take them to the trash. I don't need them anymore. And I'm going to Command S to save, and then command W to close that window. And I can see that my design has been applied to the dress. So I can just click to get out of that. And again, verify that my design has been applied to the address, and that is everything that we are able to change in here, the background I can see is just an image and it's locked. So even if I toggle that on and off, I can see that that is actually the photograph that was taken up, the woman. Now that we have found five free Photoshop mockup files. And within these applied our own designs, it is time to create these mockup files from stock photography images. That's what we will be doing next. 6. 6a Pexels: Now that we have successfully used free mockups, we will be moving on to building our own. I will be sharing with you free stock photos from five of my favorite sites. In this lesson, we'll be using an image of a baby in a onesie from Pexels.com to create our own mockups in Photoshop. So first of all, let's go to Pexels.com and we're going to search for baby on bed smiling. And if we just scroll down here, here is the file that we want to use. So I will click on Free Download. I want to make sure that I put this somewhere where I can find it. So actually what I'm going to do is navigate to my folder where I want to save it. And I'm going to create a new folder. And this is going to be my Pexels baby onesie folder. It will create that. And inside of it, I will save this JPEG image and thank you to handle a design studio. Now what I can do is go ahead and open Photoshop. And I'm going to click on open, navigate to that folder where I just put my JPEG image, double-click my image and it will open. I want to make sure that I've got a couple of windows open. So if I go to Window, want to make sure that I've got patterns open. And also I want to make sure that I've got paths open. And you can see paths here and patterns here. And we'll navigate back to my layers. And I'm going to save this, save as a Photoshop file. So I'm just going to call this Pexels baby onesie. I'm going to save it as a Photoshop file. And I can click on Save. I'm going to go down to the bottom here, and I'm going to add a new layer. I'm going to head on over and grab the Marquee tool and just create a square that's larger than the baby's onesie. Then I am going to shift delete, which brings up this dialogue box, the Fill dialog box. And I'm going to fill with 50% gray. I can Command D to de-select. I'm going to grab the Move tool. The shortcut for this is v, and this is a tool that you go back to a lot. So I tend to think of v for very important tool. I'm going to rename this layer one by double-clicking on it and I'm going to call it Pattern. And I am going to right-click or control-click for Mac users and convert to smart object. I can now double-click this and I can come down to New Fill Layer Pattern and choose the pattern I would like to fill it with. Now I can also change the scales. If I'd like to be larger. I can scale it up, press Okay. And I don't actually need this gray fill layer anymore so I can grab it and drag it down to the trash. I'm now going to Command S to save and command W to close that window. And there now we have our pattern in this file. The next step is to make a selection. But in order to make a selection, we need to know how to use the Curvature Pen tool. The first thing I'm going to do is to click on the eyeball or the visibility and turn it off for the pattern layer, the Curvature Pen tool is under P for pen. And if I press and hold this, I can then select the Curvature Pen tool. This tool is now active and let's see what it can do before we begin using the Curvature Pen tool, Let's go up to the wrench icon and let's select rubber band for the path options. I leave it on the default blue color and thickness at two pixels. Now, I can click off of fat. You will see that there is a star icon. This means that I can click to add a point. And then as I move along, you will see a line extending. And this means that a new path is being created. If I click again, you can see that I can create a path. If I come right around here, you will see if I hover over my initial point, an open circle. That means I'm going to close this path while I am drawing. If I just lay down a few points and I hover over one of the points, I can move this point. You will see right now if I were to lay down another point, I would have a nice smooth curve. However, if I double-click on that point and I now go to lay down another point or add another point. You can see that I've added a sharp corner. If I hold down option, I can do the same thing. You'll see that little arrow come up. And this is the Convert Point tool. Then I can click once and I've converted it from a smooth curve to a sharp corner. Now why this tool is active and I'm putting down a path. If I hold down command, you can see that my tool has changed to the direct selection tool. And this means that I can move any of the points that I've already laid down. If you're adding a path and you're not quite happy with how it's going, you can hold down Option and click on paths or points to alter them. If I finish this again, you'll see the open circle and I'm going to close that. I have completed my path, but I still have the Curvature Pen tool active. And that means that I can add a new point. So all I do is hover over the path and you'll see a plus come up. I can click and I added a new point to that path. If I hover over a point, you'll see a circle with a dot in it. This means that I can adjust that point that I have already laid down. And you can see that I'm just working on 1. And it is a solid blue square as opposed to a white square at the moment. This is a sharp corner. I'd like to change it to a smooth curve. I can hover over that point, double-click and you'll see I've changed it to a smooth curve. If there was a point I would like to delete. I simply click it is blue and highlighted, and then I just hit Delete on my keyboard, and that point has been removed to enlarge an area so that you can better see it when using the Curvature Pen tool, you can hold down the command key and press Plus. And you can zoom in. And again, if I hold command and minus, I can zoom out. Let me zoom in a little bit. The other key that's important to use is the hand tool. If I press and hold the space bar, you can see I've got the hand tool, which means I can move the image around Command 0. My view becomes fit to screen. I'm now going to spend some time making a selection. So remember Command Plus, we'll zoom in. Spacebar is your hand tool and it will allow you to move around your image Command Minus to zoom out. Command 0 is fit to screen. I am going to zoom in for this. And I'm going to press P on the keyboard for my pen tool. And if I wish to click and hold, I can make sure that I'm on the Curvature Pen tool. The idea here is that I am going to click around. And if this is going to be a corner, I can double-click and then I'm just going to click around. And because we have the rubber band on, I can actually see where my curve is going to go, where my path is going to go. So all I'm focusing on now is a rough selection. Again, hand tool to move around. A rough selection of the baby onesie. We can always refine it later. And that's what's so powerful with the Curvature Pen tool. It also makes it extremely easy to get a nice curve, nice path with a pen tool. Rather than really understanding how the pen tool works, I'm going to continue making a path by laying down points around the baby onesie. Alright, now that I have my path, I'm going to make any changes that I would like. Again, I'm still on the Curvature Pen tool and I can press option and change this to a corner. I'm going to hold down the command key and just move this point. And I think go move this point as well. If you've got a solid blue colored square, you are only working on that 1. So I'm just going to go around and double-check my selection. Again. I'm just hovering over and then clicking and holding to drag my points, pressing the space bar to move around my canvas and just making any fine tune adjustments to my path here. And if I click and hold, I can drag the point and that will affect the curve. And I can click on the path anywhere to add a new point and click on any point to move it. Just running along and making any adjustments to my path so that it it fits around this baby's onesie. You can see here that I left the inside of the sleeve. I think it will look better with that white as opposed to any pattern that I add to it. If you've got too many points again, just click and it's highlighted in blue. On select that one. I wanted that one selected. I can just click Delete, pressing the space bar to activate the hand tool so I can move around. I can always click on the path to add a new point and then drag it to where I want it to be. Just refining this path might try deleting that one. Oh, that didn't work. So I'll add a new point and then drag it to where I want it to be. Once you are happy with your selection, come over to your paths panel. And it will say Work Path, double-click on that and just type in baby onesie. And by typing in a new name, by renaming this, it will save your path. And there you've got your selection. I'm going to press V for the move tool and click off my path there so it goes away. I can return back to my layers panel and command 0 to fit to screen. The next thing I'm going to do is make sure that I am using my move tool. The move tool is up here, and I can also press V on my keyboard. I'm going to toggle on the layer visibility for my pattern layer. And I'm going to reduce the opacity to 50%. I'm next going to make sure that my pattern layer is still selected. I'm gonna come up to my menu, Edit, transform, and warp. And I'm just going to grab the corners, grabbing these notes. And I'm just trying to visualize what this would look like if it were 3D and wrapped around the baby's. I'm grabbing these edges, grabbing the corner nodes. And I can also play with these handles. And really trying to visualize what this pattern would look like if it were 3D and wrapped around the baby. We know that the edges are going to have to come in. We're going to be doing another adjustment. So this is just going to get the bulk of the wrapping around the baby. We note the edges do have to come in to make it look like this is wrapped around the baby. So I can just grab different points here, grabbed the nodes, or simply grab in the actual layer itself. And I can also use the handles and using your eye really to just have a look and think. Does this sort of wrap as a cylinder around the baby and then click the check mark for confirm that transformation. The next thing that I'm going to do is unlock my background layer. So if I double-click that or make sure I click on the lock. And now I've got a background that is unlocked and doesn't have the lock icon there. I'm gonna come down to my Adjustments layer and add a levels adjustment layer. What this is going to do is to help me see wrinkles and folds and the baby's onesie so that I can use the liquefy tool to make it look as though the pattern is going down in the folds and up on top of the folds. Crap the black slider, and just move it along. And actually if you want, you can hide the visibility of your pattern layer just so that I can really see the folds of the baby's onesie. And that makes it, compared to this, that makes it a lot easier to see where the fabric folds, because this is an adjustment layer. I will be able to delete this and this is not affecting my main layer. In order to use the Liquify tool, what I want to do is to have these two layers as one. I'm going to create a stamp layer with the visibility turned on if only my levels adjustment layer and my background layer, I'm going to hit Command Option Shift E. And you'll now see if I turn the visibility off of these two layers. I've got the levels and the background captured in one layer. I'm gonna double-click that and call this liquify. I can turn my pattern layer back on. And again, if I select the pattern layer, confirmed, my opacity is down at 50% and I'm ready to use the Liquify Filter. So I'm gonna come up to Filter Liquify. Before we begin, there are some settings that we need to make sure we have checked. So first of all, in the Brush Tool Options size, we can use the left square bracket and the right square bracket to affect the size of our brush. So if I just put my cursor over here and I'm choosing left bracket, smaller, right square bracket, it gets bigger. That's the easiest way to change the size of the brush tool that we're going to be using for this next pressure, we're going to make sure that this is set at 20. This affects or controls how much the brush affects the pattern. I'm also going to make sure the density is also set to 20. This determines how much of your brush affects the filter. We're not gonna touch face aware, liquefy or load mesh options or mask options for view options, we just want to make sure that show image is selected, shall mask is selected. We can even change the color. I prefer to use the standard mass color that is red. This might be unchecked. So that makes it very difficult to use the Liquify Filter. I'm going to click show backdrop. Use. Now we bring in the Liquify layer that we made. For mode. We are going to click behind. In terms of the opacity. I can just play with this slider and you can see that it changes the opacity of my pattern layer. And this will make it easier for me to see where the folds are. Easier for me to see what is happening to the pattern. Let's start around 50% here. The first tool that we're going to play with is the Forward Warp tool, and that is this button right here. And again, we can use our left square bracket and right square bracket to affect the size. I'm going to choose a nice large one. I can see that I'm up at 600. And what I'm going to do is just grab the edges of this pattern and I'm going to push it in so that it looks like this pattern is wrapping around the baby. Makes sure that your pattern is not coming past the baby's onesie. You've got to make sure that there's still an edge of the pattern above and around the onesie. I'm just going to go around and nudge this down. Because if you imagine this, these animals really look tiny and flat as they bend around the baby. I'm watching my pattern here. As I just nudge this pattern really around the baby. I'm just going around the outside. Now around its leg, it would be kind of pulled out. So I might only nudge that in just a little bit. Here. We can nudge it in a little bit. And then again down here, it will look like these animals on this print. Quite flat as this wraps around the baby, sort of squashed animals. I'm just going to continue doing this around the outside here. Always keeping an eye on the distortion of the pattern because that's going to allow me to see what this filter is doing. Gonna come in here because we really wouldn't be able to see what goes around the edge. So I wanted to look like these animals are going around the edge of this one z and then maybe tuck it in a little bit here and here. Alright, and that is the first step to using our liquefy filter. We've started with the edges and we're thinking about how the pattern would look in 3D. And we've pushed in the edges to make it look like this fabric is wrapping around the baby. The next thing we're going to do is to look at the large folds. So I'm gonna decrease my opacity even more so that I can see the folds. I can command plus to zoom in here, maybe Command minus to zoom out a little bit, hand tool to move around. And I'm going to grab this brush. This is my Freeze Mask Tool. What I'm going to do is I'm going to draw on the top edge of large folds. So you can see right here, I'm going to trace around this large fold. I can always zoom in and make sure this goes along the outside of the fold. Now what I can do is switch back to my Forward Warp Tool. Increase my opacity a little bit. What I'm going to do is use the left square bracket and make this much smaller. And all I'm gonna do is tuck the fabric in. And what I've done is I, where the red line is, where that mask is? Is it's frozen. So it's as if I'm pushing the pattern underneath that fold, which is in essence what it would really look like if this pattern where part of the baby's onesie. Alright, I'm going to decrease my opacity again and look for my next fold. I think what I might do is actually add to this. So come to the freeze mask tool again. And I think what I'm going to do actually run along here. Then increase my opacity so I can see the pattern come to my Forward Warp tool and just nudge that pattern underneath that fold. Really just worrying about the large folds right now. So just work around and find where you've got some large folds toggling back and forth between the freeze mask tool and the Forward Warp tool, and then tucking the pattern underneath these folds. The last step is to deal with the medium sized folds. What I can do is zoom in a little bit. I'm going to stay on my Forward Warp tool, but I'm not take the pressure down to 10%. I'm going to decrease my brush size here. Then I'm gonna come down one side of the fold. Up the other side of the fold for all of these medium folds or creases. And this is going to have the illusion that the pattern is wrapping around these folds up one side, down the other. Alright, I can even pull the opacity back to 100%. And I can see that lots of subtle movement in our pattern and it's not a flat sheet being added to this baby. Make sure my opacity is back to 100. Click, Okay, and our liquefy filter is done. And because it's a smart filter, it was a filter added to a smart object. I can turn that on and off if there's something that I don't like about it. 7. 6b Pexels: The next thing we need to do is to fit our pattern to the actual onesie that we drew out with the Curvature Pen tool. I'm going to turn on my background layer and I don't need my Liquify layer, I can just drag it to the trash. I don't need my levels layer. I can drag that to the trash. I want to select my pattern layer type in 100 beside opacity. I'm then going to come to the paths panel. Click on baby onesie, come back to my layers panel, come up to Layer Vector Mask, Current Path. And just like that, our pattern is fit to our baby onesie. I'm also going to come to my Properties panel. Now, your properties panel will probably be in here. If you don't see it, you can always come up to Windows and make sure there was a check-mark beside properties. I want to make sure that I have selected my vector mask. So I tend to click it once it disappears, click it again. And we see that we can change the density and the feather. For the feather, I'm going to double-click and type 0.5. And this is just going to soften the edge of the pattern right along the edge here. So it's not a harsh line. Close my properties panel. Now we're going to add some filters to our pattern layer or rather some more filters. So I am going to right-click or control-click on my background layer, select Duplicate Layer. I'm going to call this displace folds. And beside document, I'm going to select new document and I can name this displace folds, and this opens up my file, my new file. I'm going to come up to Image Adjustments. And down to the bottom desaturate, you'll now see a black and white image. I'm going to come up to Filter Blur, Gaussian Blur. And I wish this to be about three pixels. I'm going to say, Okay, I'm going to Command S to save this. This is fine. Save and command W to close that window. I'm going to do the same thing again. So right-click the background layer, select Duplicate Layer. I'm going to call this displace texture. I'm going to move it to a new document called Displace texture. Okay, here is my file. I'm going to come up to Filter Other high-pass. This is going to get some of the edges and textures from the actual photograph. I have to make sure that I don't see any color. And I do a bit here. For the radius, I'm gonna try two pixels and you can see the color has mostly gone out of the baby, but I'm still seeing some texture here. Command S to save this, that's fine. Save, close this window, and now make sure that I'm on my pattern layer. This layer is highlighted, it is selected. And I'm going to come up to Filter, Distort, and Displace. What I'm doing now is using the black and white photograph that I created. And it is going to read the folds and the highlights and the shadows of the original file that shows how the onesie fabric is moving and folding. Then it's going to apply those same folds to our pattern layer that we brought in. I'm going to leave my horizontal scale to ten, vertical scale to ten, stretch to fit and wrap around and bed file data in Smart Object and select. Okay, I need to navigate to my file which was displaced folds open and you can see that the pattern moved around some of the natural folds there were already in the original photograph. I now want to bring in the texture. So again, my pattern layer is selected. I'm going to come up to Filter, Distort, Displace. Okay? This time I'm going to grab my displace texture file. And it's just going to very subtly bring in some of the very clear sharp edges. The final filter I'm going to add is a Gaussian blur. Filter. Blur. Gaussian blur. And you can see now the pattern has become fuzzy. This is because it is on fabric, so you're not going to get a really crisp design. But I think this is a little blurry, so let me try two pixels, and that seems about the right amount of blur for if this were a real patterned fabric. Okay, and Command S to save this file. Our next step is to create highlights and shadows. So right now if I look up my pattern, it looks very flat, just like I've taken a piece of wrapping paper and slapped it upon this baby. I want to bring out the highlights, the bright parts, the shadows, the dark spots to make this look more realistic, if I toggle off my pattern layer, I can see that I've got, if I zoom in here, lots of bright spots and lots of dark spots, I want to bring out those. I will talk on my pattern layer back on and I can just click this arrow to close all of the effects I've created on my pattern layer. I'm going to grab my background layer, drag it down to the plus. I'm going to do that once and a second time. I'm going to grab the first one and call this shadows. And the second one, I'm going to drag to the very top double-click Background copy and call this highlights. I'm going to toggle off my highlights for the moment. Let's make sure we've got our shadows layer selected. I'm going to command minus to zoom out a bit here. Now, I want to bring across only the shadow information that dark spots. So I don't want this to have any color information. I'm going to come up to Image adjustments and down to desaturate and make sure that I'm on my shadows layer here. I'm going to also change the blend mode to multiply. Again, this is bringing across only the shadow information. I'm going to come down and add a curves adjustment layer because I want to bring out those shadows even more. I'm going to grab a spot here and just drag it down. Now you can see the shadows get darker and darker. Now, if this is too dark, not to worry, we can always change this later using the opacity. Now, I also want to come down here and click this, and this creates a clipping mask. This means that the curves adjustment layer is only being applied to my shadows layer and not the entire image. I'm going to close my properties panel, come up to highlights, toggle this on. And again, I don't want any color information coming through. I can come up to Image Adjustments and down to D saturate. Again. I am going to change the blend mode this time to screen. This is bringing across only the highlight information, the bright spots in the photograph. I'm going to create a curves adjustment layer. Once again. This time I'm going to place a spot here so that my highlight information, these tall spikes, we keep that information. And then I can grab a second and just pull this down and once again click the clipping mask icon, close my properties panel. I also wish to add a levels adjustment layer. So come down here to levels. And I'm going to grab the black slider here and pull it across. Now I can really see my highlight information coming through and don't forget to clip this to my highlights layer as well. And I will close my properties panel again. I want to make sure that I have my levels one layer selected. I'm going to press Shift and then click all the way down to my shadows layer. I'm going to come down to the bottom right click the New Group icon, double-click group one, and call this shadows and highlights. Now, all of this information is being applied to the whole photograph. I only wanted applied to my baby onesie. I can come to my paths panel, click baby onesie. I like to come back to my layers panel so I can see what's happening. And then up to the Layer menu, vector mask, current path. Now you can see the shadows and highlights are only being applied to the onesie pattern. This is most likely to intense of an effect. I can hover over the opacity word click and drag to the left. And then you can see I can fine tune this, going back and forth until I see the shadows and highlights come out. Just as I would like. Let's try 60% here. And now I can see some nice highlights here, along with some nice shadows here. If I Command Plus to zoom in, I can see that I've got kind of a, a harsh edge. And if I toggle my shadows and highlights layer off, I can see that this effect has been created with my shadows and highlights root. So what I'd like to do is to create a mass. I'm going to come to my brush tool. I can come up to my menu and make sure that my hardness is set to 0. And again, the size we can change later makes sure that I've got black as my foreground color. Press X to toggle back and forth. The top one should be your color, so the top one should be black. If you have different colors here, click on D for default, then x again, and that'll bring the black color back here. I'm going to press the space-bar for the hand tool and I want to do is to make sure my flow is set to 10% and then just come along the edge here and soften out the effect of the shadows and highlights. You can see that harsh line is disappearing. Because my flow is set to 10%. I can go back and forth until my baby onesie looks like I want it to look. I command 0 to zoom out. I can see that that is starting to look much more natural. Our last step is to create ambient shadows. If I look here around the baby onesie, the onesie is very dark here, but then the background is very light. This is because the baby onesie was white, but applying a colored pattern here, there should be a shadow created by the baby's new onesie, that new pattern that we added. I am going to hold down the command key and click on the Mask of my pattern. This turns it into a selection, but I actually want the background selected. I'm going to press Command, Shift I to invert that selection. And now you can see the marching ants around the outside. So the background and not the baby onesie has been selected. I am going to create a curves adjustment layer. I'm just going to grab a point here, a little bit down into the left of the middle and pull it down and you will see the background becomes darker. I'm going to create a new group, double-click this and call this ambient shadows. Then drag my curves three adjustment layer and put it into that shadow's group. I can close this group. I'm now going to press and hold Option and click on Mask. And this masks out all of the shadows that we created. It has created an inverted mask gets black, so none of the shadows that we just created are showing through. But now what I want to do is click X on my keyboard to make white my foreground color B for brush tool, I make sure that my brushes Hardness down to 0. Make sure my flow is set to 10%. What I can now do is paint on my mask so I can zoom in a little bit here. If you notice. You can start to see a shadow appear around the back of the baby. Now, we can always turn down the opacity. So it's best just to create some shadows here. And then we will play with the opacity. So I'm just going around the outside of the baby's onesie painting with white on this mask. And it is allowing some of the shadows that we've just created through our curves adjustment layer to show through. Now what I can do with this ambient shadows layer selected, click and hold opacity and drag to the left. And you can see that some of those shadows just disappear a little bit. If you take the opacity down a lot, you can see the shadows are, have all but disappeared and pushing them up a bit. You can start to see especially along the back of the baby, some shadows show through command 0 to fit to screen. And I can see how this is looking. I might decrease the opacity a little bit more. Now I can see a slight shadow, especially here, that makes this look much more realistic. And it turns out that the opacity I wanted was 60% 8. 7a Unsplash: In this lesson, we will be using the same process be used when making a mock-up of the baby and the onesie, we will be using an image from unsplash of a white to bay with a book can coffee in Google, I'm gonna type in on Splash.com in the search bar. I'm going to search for white bed coffee book. And I'm going to scroll down. And here it is, here. I can click on that. Click download for free. And I need to create a new folder. So I am going to click on New Folder and type in Unsplash, do vey, Create. And I'm going to leave that named as it is and press Save. I can thank sincerely media for their photo. I'm going to come back into Photoshop. I'm going to click on Open. I'm going to navigate to my folder that I just create it, double-click my image to bring it in and open it up. Once again, make sure that you've got your paths panel open as well as your pattern's panel open. And if you don't, you can always head on over to Window and make sure paths and patterns both have a check-mark beside them. I'm gonna come back to my layers panel here, and I'm going to first of all go to file save as call this Unsplash do VAE and make sure that I'm saving this as a Photoshop document. Save, I'm going to come down here and click Plus for a new layer. I'm going to come over to the left, grab the Marquee Tool, and drag a marquee around this pillow. Now starting at the top and I can come just a little below and a little to the right of this pillow. I can then click Shift Delete, which brings up the fill dialogue box. Make sure your contents are 50% gray and click on, Okay, I can then Command D to deselect this. I am going to right-click or control-click on a Mac and select Convert to Smart Object. I can double-click on layer one, and I'm just going to call this pattern. I can double-click my smart object icon and then add a new fill layer and add a pattern. I can select the pattern that I would like. Again, you can change the size. So if I would like to scale this, so the butterflies are a little bit bigger. Press Okay. And I don't need this gray fill layer anymore so I can just grab it and drag it down to the trash. I'm going to Command S to save this command W to close that window. And I now have a pattern layer. Makes sure you command save so that this file is saved. And I'm going to turn off the visibility by clicking on the eyeball. And this gets me all set up to make my selection. I want to take a moment to review the Curvature Pen tool. If I come over here, click and hold, you can see that these are all parts of the pen tool. And I want to make sure that I've selected the Curvature Pen tool. If I select V to go back to the move tool, to get back again to the Curvature Pen tool because I had previously selected it, all I need to do is press P on my keyboard. Now a bit of navigation while I'm using this tool. Remember Command Plus, I can zoom in Command Minus, zooms out command 0 to fit to screen. And if you're on a Windows computer, instead of command, you will use control in terms of our settings for the Curvature Pen tool, make sure up here in the toolbar, you have selected path. And as well under the gear icon, we have selected or checked the rubber band. I've set mine to a thickness of two pixels, and I've used the default color, although you can change it when I'm using this tool. If I'm going to start to lay down a new path, you can see that the star icon is beside the Curvature Pen tool. That means that I am ready to lay out a path. And as you can see, the rubber band allows me to see exactly where my curve is going to go when I lay down the next point. As I lay down a point. So I've got a smooth curve or double-click a sharp corner. When I'm ready to close this path, you will see the icon changed to an open circle. And now I have closed that path again. The star means I'm ready to lay down a new path. Double-clicking changes between a smooth curve. And a sharp corner. If I wish to alter a point and move it, you can see I've got a circle with a dot in the middle. That means I can click and drag around that point as well. If I press and hold Command, you can see I now have the white arrow of the direct selection tool, and I can actually work on any number of points. Whichever point is highlighted, blue in our case, or a solid square, it means I'm working on that point. I can also grab the curve and move it as well. If I press and hold Option, you can see a little arrow. This is the Convert Point tool. This is another way to change between a smooth curve or a sharp corner. Again, if I come back and I see the open circle, I'm going to close my path. Once I have laid down my path, there are a couple of more things that I can do if I hover over the path, you can see I now have a plus as my little icon. That means I can add a new point. If I don't like this point, I can press Delete on my keyboard. And I can do that again by clicking. And it's a solid square. It means that square is selected. Press Delete on my keyboard. I have once again deleted that point. I can also double-click to change my corners. Smooth curve or sharp corner. Here I am in my Unsplash do vey file. I'm going to Command Plus to zoom in here and press the spacebar to move around. And I'm going to use my Curvature Pen tool P for pen tool. I am going to draw my path around this top pillow here. I will play some lovely music while I do so now I have begun creating my path and I've actually come around the top of the pillow. And to make it look more realistic, there would really be two pieces of fabric covering this pillow, one on the top and one on the bottom. I'm actually going to just come across the top here. And I am going to create what will be my top piece of fabric. Complete this. And then what I will do is go to my paths panel, double-click work path, and name this pillow top. Okay, Now this has been saved. I can still within my Paths panel, just click off of that path. Now what I'd like to do is create a path around the bottom My pillow. What I'm going to do actually is give myself lots of room at the top here. I'm going to come around. Now, start working on the bottom of this pillow. What I'm actually going to do in a moment is subtract the top layer from the bottom layer to give myself a seamless division between the two pieces of fabric that would make up this pillow. Whoops, I'm actually going to go back command Z to undo. And I'm gonna double-click that to make it a sharp corner. Ok, close my path and I'm going to call this double-click within my Paths panel, the Work Path, and call this pillow bottom. But I'm going to call this draft because it's not actually going to be my final path with my pillow bottom draft path selected. I'm going to come down to the bottom and click on Make selection. But as we know, this has incorporated too much on the top and I need to subtract away what I created as a path for the top of the pillow. I'm going to right-click or control-click on a Mac, the pillow top. And I'm going to say Make selection, but now I'm going to say subtract from selection. So it's going to get rid of this extra piece in here, I'm going to say, okay, and now I actually have the correct bottom of my path. What I can do is say new path. And actually what I think I am going to do is just zoom in here spacebar to move around. And I just want to clean this up. So as you can see, I don't want this here. So all I can do then is select this, delete. Select, Delete, select Delete, command 0 to fit to screen. And now I've got a perfect selection of the bottom my pillow. When the paths panel, I'm going to double-click work path and call this pillow bottom. Now I know that and I can just grab it and move it there. I know that I've got the draft on the bottom and then I've got my pillow top and pillow bottom, and they will seamlessly meet in the middle. I'm going to now click within the paths panel just in this empty space here to release the paths that I've created. But they of course are all saved here. Now press V on my keyboard for the very important Move tool, I am going to unlock the background layer. I'm going to double-click it and just title this background. What I'm going to do is I'm going to add a levels adjustment layer. This is going to enable me to see the folds in the pillow in order to move onto the next step which is transforming my pattern layer, I'm going to make sure I'm on my background layer. Add a new adjustment layer, click levels. I'm going to grab the black slider, the top black slider, and move it to the right until I can see all these folds in the pillow. Just a reminder that this is an adjustment layer. We're not affecting the original image, so we will be able just to delete this layer now with the visibility toggled on for both my levels adjustment layer and my background layer, I'm going to press Shift Option Command E, and that's going to create a stamp layer. I'm going to toggle off the visibility for both my adjustment layer and the background and then double-click layer one and call this liquefy. I'm now going to toggle on my pattern layer. Click to select this layer, double-click the opacity and type in 50. And this is going to allow me to see through my pattern. I'm going to Command Plus to zoom in spacebar for my hand tool so I can move around. And what I'm going to do is go up to Edit, Transform, Warp. All I want to do is make it look light. This is wrapping around my pillow. I want to concentrate on this top layer. Because remember for my pillow, we had space for two patterns. This is going to be for the top of my pillow. Just imagine that I am wrapping the surround 3D. So how would this look if this were a 3D and not flat? Again, I'm going to squish in the top and make it look like it is a cylinder wrapping around. Being sure to not go past the edge of the pillow here. It's going to come in and the edges. I realize I've pulled out a little bit too far. So really it's bulging in the middle there and then it's tighter along the edges. I am going to press the check mark to confirm this transformation. Now with a pillow, we actually have two separate pattern layers. If I go to my paths panel, I've got a pillow top and a pillow bottom. What I need to do is I realized though when I click pillow top, this is awfully close to my selection. Make sure that you've gone to your paths panel and clicked in this empty spot. So I don't see that blue path any longer. Come up to Edit, Transform, Warp. And I'm just going to bring this out a little bit. I've come a little too close to my edge. Click the check mark to confirm this transformation. What I'm going to do is turn the visibility off for this pattern layer. And I'm going to call this top, and I'm going to add a new layer. I can drag this underneath, and I'm going to call this Pattern bottom. I'm going to grab my rectangular marquee tool, Come around where the bottom of this would be. Shift Delete to bring up my Fill dialog box, come down to 50% gray. And I'm going to Command D to de-select, control-click or right-click Convert to Smart Object. And I'm going to double-click and add a new fill layer pattern. Navigate to the pattern I would like. Press OK, drag my gray fill layer to the trash Command S to save, command W to close that window. And I'm going to decrease the opacity to 50%. So again, I can see through it and repeat the same step, Edit, Transform, Warp. Now I am just concentrating on the bottom of this pillow. What the bottom of this pillow would look like? It's going to be squished near the edges here. And then perhaps pulled out a bit at the corners where it's pulling. Make sure that I'm not going over my edges. And I can click the check mark to save this transformation, Let's toggle the visibility off for the bottom and on for the top. And make sure that I select this. I am now going to go to Filter Liquify. I want to make sure that my pressure is set to 20, my density is set to 20 up here on Brush Tool Options. Remember for size, if I come over here, I can left square bracket to make it smaller, right square bracket to make my brush bigger. That's the easiest way to change your breasts. Brush. That's the easiest way to change your brush size. I'm not touching Face Aware Liquify, leaving load mesh options, leaving mask options. But I do want to make sure that I show image and show mask. Both of these are checked. Mask color, I can leave it red, show backdrop. But instead of using all layers, I'm going to use liquefy and I want to make sure that my mode is behind and reduce the opacity. As you can see, I can just play with this and I will be playing with this constantly as I transform my pillow. I am on my Forward Warp tool. I'm going to Command Plus to zoom in, spacebar to move around. And then I've got a nice big brush and I'm just going to tuck in the edge of this. All of these images would be flattened because this is going up and over the top of the pillow. I'm just going to work my way around here. Just focused on the edge of this pillow. My next step is to deal with the very large folds. Let me decrease the opacity. Now, I don't really see any large faults. But what I do have is this seam. I think what I'm gonna do is just bring up my opacity a little bit. Come to my Freeze Mask Tool. I'm going to make this brush a little bit bigger. Zoom in. What I want to do is just come along the edge of this pillow. The same where these are sewn together. Come back to my Forward Warp tool. And I'm just going to tuck this into the seem a little bit all the way along this scene. Now, I think if I decrease this opacity again, I really don't have any really large folds. I think that is it. For the third thing I'm going to do is look at the medium-sized folds or the smaller folds. And what I'm gonna do is decrease my brush size by using the left square bracket. And what I'm going to do is come down one side and up the other. And this is going to make the illusion that the fabric is being folded. It come down one side and up the other. This I might just come right down the center because it's not very big. And then perhaps just follow this. I can bring my opacity up to see what that has done. And just having a final look. And I think what I might do is come back here, make my brush a little bit bigger. Feel like I need to fold this in a little bit more along this edge here. Now if I look at the butterflies, it really looks like they are being flattened at the edge of this pillow. Whoops, I think I went past the edge of the pillow there. Not worried about what's happening up here because I won't see that part. Just trying to squish and make these smaller. Maybe a little bit on this end. Alright, I can now click, Okay, I'm going to repeat the same thing with this bottom layer so I can toggle the visibility off for my top layer on from my bottom layer. Make sure this is selected, then filter and liquefy. Again, I'm going to zoom in and double-check my settings size. I can adjust as I go. Density 20, pressure 20. And then show Image, Show mask, show backdrop, use Liquify mode behind. And again, I can play with my opacity. First step is to start with the edges, right square bracket to use a big brush. And I'm just going to tuck in the edge here so it looks like the fabric is folding around the edge of the pillow. I'm looking at my butterflies and they should look much smaller and squashed. Alright, that's step one. I'm now going to look at the large folds, so decrease my opacity to 0. And again, I don't feel like I've got really large folds. I think I'm just going to move on to the smaller or medium-sized folds. I'm going to decrease my brush size and just come, I might just actually trace some of these folds will give the illusion, maybe this one I'll go up the other side and it will give us the illusion that the fabric is being changed by these folds. Alright, that's it. And click, Okay. Alright, I can turn on both of my patterns. And there we go. 9. 7b Unsplash: If I double-click the top pattern smart object, and if I go to double-click as well this, if I double-click the pattern icon, I can see that my scale is a 150%. And what I realized I should be doing is making sure that my bottom layer is also a 150%. I'm going to double-click the smart object icon, double-click the pattern fill, and just in the scale type 150, okay, Command S to save and command W to close my window. And that is much better. I'm going to change the opacity to 100%. So I've got pattern top selected, double-click beside opacity, typing a 100, come down to pattern bottom, do the same thing. Double-click in the B-side, opacity 100. Now, I don't need the liquify or levels layers anymore, so I can just grab those and drag them to the trash and then turn on the visibility of my background layer. I'm going to select Pattern top, come over two paths. Select pillow top Layer, vector Mask, Current Path. Now I've got the top of my pillow nicely cut out. I'll come back to my layers panel and then my Properties panel click off and on our Vector Mask, then the feather, we can double-click beside feather and type in 0.5. I'm going to do the same thing to the pattern bottom. Click on pattern bottom, come to paths, select Pattern bottom, layer, vector Mask, Current Path, come back to layers. Click off. And on my vector mask here, feather, double-click and type in 0.5. Once again, I'm going to add some filters to my pattern layers to make them seem more realistic. Let's first deal with creating those files. I'm going to right-click my background layer, select Duplicate Layer. I'm going to call this displace folds. And this will make it seem as though my pattern layer is wrapping around the folds of the pillow fabric that exist in the original photograph document. I'm going to toggle down to New, and I'm going to call this displace folds. Here is my file. I'm going to come up to Image Adjustments and down to D saturate and then Filter Blur, Gaussian Blur. And I'm going to keep this at about two. I just want these blurred a little bit. The creases. I'm going to Command S to save this, save and close this file. Once again, I'm going to right-click my background layer, duplicate layer, call this displace texture. And this is going to bring across any texture in that actual pillow fabric document. I'm going to toggle to New, and I'm going to name this displace texture. I'm going to come up to Filter other and high-pass. This will bring out only, you can see here only any of the really sharp lines. But I think what I'm gonna do is decrease the radius. Let's increase it to four. Okay, now I'm starting to see some of the lines in my pillow. Let's try five. Think I'm going to leave it at five. And that's just going to bring some of the edges to my pattern. Come up to Image Adjustments and desaturate. I don't want to bring across any color Command S to save this. That is fine. And then close this window. Now I'm going to have to do the next few steps twice because I've got two pattern layers here. Pattern top is selected, Filter menu, Distort, Displace. All of this is fine. And I'm going to select my displace folds to begin with. And there you just saw the, the pattern layer move with the natural folds that are in the original photograph. I'm then going to come to Filter, Distort, Displace, okay, and grab my texture file. I'm then going to filter blur, gaussian blur, because again, the fabric wouldn't be that glean. And you can play around with this. So if I go up to five, you can see the patterns really fuzzy. But I think. Unlike it around to, you can try one if you'd like it a little bit crisper, but I think I like it at two. Okay? Now I need to repeat the same steps with my other pattern. This is for the bottom pattern bottom. So Filter Distort, Displace, okay? Double-click my displays folds file, Filter. Distort, Displace. Okay, grab my displaced texture folder or texture file, and then finally Filter Blur, gaussian blur. And I'll keep this at two pixels to match the top layer. And make sure you Command S to save your file. We're now going to move on to our highlights and shadows. But as you can see here, there are many, many different layers. What I can do is just click on this carrot and close both of these. And now this is much cleaner. I'm going to grab my background layer and drag it to the plus two times. I'm going to drag the first one up to the top, double-click this and call this shadows. Grab the second one, drag it all the way to the top, double-click this and call it highlights. I'm going to toggle off my highlights and make sure that I'm on my shadows layer. I only want the shadow information to come through. So I'm going to come up to Image Adjustments and down to D saturate as well to bring only across the shadow information, I'm going to come to my Blend Modes menu and choose multiply already. This is starting to look a lot better. I'm going to come down and add an adjustment layer. This time a Curves Adjustment Layer. And I want to grab a point here and just drag it down and to the right a bit. So you can see, I am getting a lot of shadow information. Don't worry if this is too intense because we can change it with the opacity slider later. I want to make sure that this is clipped to my shadows layer. I can close my properties panel. Now I want to come up to highlights. Turn on my highlights layer. Again, I only want the highlight information to come through, not color. Come up to my Image menu, adjustments and desaturate. Again to bring across only the highlight information, I come to my Blend Modes menu and choose screen. I'm going to add another curves adjustment layer. I'm going to add a point here and just click and leave it. And this is going to maintain my highlight information. I can then grab another point on my curve, just drag it down and to the right here. So you can see again, I'm getting lots of highlighted information. Make sure to make this a clipping mask and close my properties panel. I'm going to add another adjustment layer. This time a levels adjustment layer. I'm going to grab the black slider and bring it to the right. And as you can see that starting to look a lot better, I'm going to clip this to my highlights layer. These highlight and shadow layers are affecting the entire photograph. I only want these to affect the pillow or my pattern is make sure that my levels one layer selected, holding down shift, click all the way onto my shadows layer, come down, add a new group, double-click group one, and call this shadows and highlights. Now, I need shadows and highlights for both my pattern top and pattern bottom. So I can grab this whole group, drag it down to the plus, and it will create a duplicate. I'm going to double-click this copy and call this top and just make sure it's sitting above my pattern top. I'm going to double-click my patterns and highlights and just write bottom next to it, drag this down on top of my bottom. Obviously these shadow and highlight layers are affecting the entire image at this point. Make sure my shadows and highlights top is selected. Can't My path's panel, click pillow top. I like to come back to my layers. Go to Layer. Vector Mask, Current Path. All right, that is looking better and I'm going to do the same thing to my shadows and highlights bottom. Make sure shadows and highlights bottom is selected. Come to Paths, click on pillow bottom, back to my layers, layer menu, vector Mask, Current Path. Now that is starting to look a lot better. Now if I Command Plus to zoom in a bit here, some of these edges look not quite right. So first of all, let's decrease the opacity a little bit. Let's double-click in here and try 60%. That looks a lot better. So I'm going to do that to my shadows and highlights bottom as well. Come to the opacity slider, double-click and type in 60. Now that is looking a lot better, but still my edge doesn't look as realistic as it can. Click on shadows and highlights top. Click on Layer Mask. Make sure black is your foreground color. B for your brush tool. And all I'm going to do is Command Plus to zoom in here. Use my right bracket arrow to make my brush bigger. And just paint along the edge here until it starts looking a little bit more realistic. This doesn't need very much. Just a little bit is making a big difference. And now our pillow mock-up is looking a lot more realistic. Once again, let's create some ambient shadows. So if I zoom in here just a little bit, there are no shadows cast on the wall from this pillow. That's because it was a white pillow. However, now what's not White? So in reality, the color of this pillowcase and this pattern that I just applied to it would be casting a shadow on this wall. Let's come to our paths panel. We're going to click on pillow top, come down here, click selection. Now we're going to control-click or right-click on pillow bottom, select, Make Selection, and say Add to Selection. Okay, now I have selected both the top and the bottom of this pillow. If I would like to clean this up, I can say make path from selection. And I'm going to double-click this and call this entire pillow. I am on my black arrow here, and I'm going to select each part of the path that I don't want. And then right-click or control-click and just say delete anchor point until I have gotten rid of all of these extra points. Alright, that is a lot better. Make sure I command best to save this file. I now have a path of my entire pillow, so I will make a selection of my entire pillow. Now, what I would like to do is Command Shift I and I'm going to invert that selection. I can add a curves adjustment layer and just bring it down. So I am creating some shadows. You can see the wall is becoming a lot darker. I am going to put this into a new group, grab it and slide it into new group. I can close it, Double-click group one and call this ambient shadows. I'm now going to hold down Option and click on new mask. And that inverts the mask. So now essentially I've gotten rid of all of the ambient shadows that I just made. I can now press B for my brush tool. Make sure I'm painting with white. So this square here should be white so I can click x and it changes my foreground color to white mixture. My flow is set to 10% and then gently paint around the outside of the pillow so you can see the wall becoming darker there. I can always refine this afterwards. All right, now what I can do is grab my opacity slider and just decrease this a little bit. So now I've got a nice shadow on my wall. If you don't like some of the shadows, make sure that your Layer Mask is selected. Press X. Now my foreground color is black and I can just paint out some of the shadows that I created where there are a lot of shadows. Now that should look a lot more realistic. I'm going to bring this down to 75% 10. 8 Reshot: In this lesson, we will be once again using the same process to create a mockup of a girl and a white dress in Google. I'm going to head to re-shot dot com. And I'm going to search for girl in white dress. And here we are right here. I can click on that and then download image. I'm going to create a new folder. Create. And I can save it as is. I can close this and think Jessica dot safely for this photograph. I can then move back over to Photoshop. I am going to open, navigate to that folder. I just create it. Double-click to open my image. I'm going to go to File, Save As, and make sure that I'm saving this file as a Photoshop file so I can call this re-shot girl dress, save as Photoshop. I'm going to come down to the right-hand corner, add a new layer, come up, make sure I'm on the marquee tool. Drag a marquee around the bottom of the girl's dress, and again, Shift Delete to bring up your fill dialog box. Make sure you have 50% gray selected. Okay, I can Command D to de-select. I'm going to right-click or control-click on a Mac, convert to smart object, double-click layer one, call this pattern, and then I can double-click my smart object icon and come down to New Fill Layer Pattern. Bring in the pattern that I would like to change the scale if I would like. And I think I might reduce this a little bit too. Let's try 75%. That's better. Okay, I can drag my gray fill layer to the trash Command S to save my smart object command W to close that window and come back to my file. And I'm going to turn the visibility off by just clicking on the eyeball. I'm now going to work on my selection, and I'm just going to choose the bottom of her dress. This section right here. I'm pressing the space bar to use my hand tool. I think I can actually get the whole dress, the bottom of the dress in there so I can see it. And I've pressed P and I'm on my Curvature Pen tool. I am just going to go around and make a selection. And remember that I can always refine the selection if I don't like it. So double-click to make a sharp corner there. And obviously this is not easy to see. It also means that there is not a really clear path here, so I'm just doing my best. And again, remember that when I'm finished, I can refine this. I think in this case I'm just going to do my best to go around. Then I will refine my path. And I'll be able to see to whether I want smooth curves or sharp corners for some of these here. Alright, and come around and close this path. Remember in my Paths panel I'm going to double-click work path and I'm going to call this skirt. All right, now what I'm gonna do is Command Plus to zoom in spacebar to use my hand tool to move around. And now what I can do is I'm just hovering this point and moving it. So I think I'm gonna make that a sharp corner. And I might actually just hover over that line to add another point there. Now I can just go around and I'm really just dragging this path to where I want it to be. And some times I can see that I might need in other points, I'm just hovering over, clicking to add a new point and then dragging that point to where I want it to be. Really the fewer points you have, the smoother this selection will be, though, come in a bit there, add a new point and then drag it in. You have to be mindful because it may change another point or another part of the curve below. It just takes some time clicking and dragging these points to where you want them to be. It actually deleting this and see if I can get a nice smooth curve here, which I think that that is actually going to be better. Maybe I liked that when they're actually to anchor that. That is looking better. Let's see, I can actually just click and drag this up to, to move at as well. I think I might need I do another point in there, so click to add a point and then I can drag it again space-bar to use my hand tool to move around, tuck this in a little bit. I think this needs to be a sharp corner. Clearly I'm going to grab this point and move it way up because I do need to come around the hand here. I think maybe this sharp corner does look a little better. So again, just fanatically my way around pressing the space bar when I need to, to bring up my hand tool and then nudging any points that I need to by double-clicking, changing from the sharp corner to smooth curve or from a smooth curve to a sharp corner. And again, just grabbing a nudging all these points around, doing my best to make a clear selection. And again, changing a point above may change what's happening down below. So it really just keeping an eye on that. Alright, we're almost done here. Let's make this a corner. Let me use my hand tool and make sure that I didn't affect this corner Command 0 to zoom back out again. And I'm going to Command S to save this file. And I now have the selection of the skirt. I'm going to press V for my move tool or a very important tool. I'm going to unlock my background layer by double-clicking it, and I can just rename this background. What I want to do is add a levels adjustment layer so I can see the folds and I'll need to be able to see the folds in the skirt before I move on to my next steps. So I am going to add an adjustment layer down here at the bottom. Click on levels, grabbed my black slider, move it to the left so I can really see the folds in the girl's skirt. That looks good. And remember that this is an adjustment layer, so I have not, if I just toggle this off, I have not affected my original file. I'm going to make sure I've got the visibility turned on for both my levels adjustment layer and my background layer. And I'm going to Shift Option Command E to create a stamp layer. Toggle off the visibility for those two layers. Double-click layer one and call this Liquify. I'm going to toggle on the layer visibility for my pattern. Select that layer, Double-click opacity, take it down to 50%. And then I am going to come up to Edit, Transform and warp. I can command plus to zoom in here, spacebar to move around. And what I want to do is just take in these edges. It looks like the skirt is wrapping around. An order for that to happen. We know that the edges have to be squashed in a bit. Think about making a cylinder around the girl's skirt. Click the check mark to confirm this transformation. I'm going to head up to Filter and liquefy, double-check my pressure at 20, density at 20. Show Image, Show mask, show backdrop. Use Liquify mode is behind. And again, I can play with the opacity. I'm going to Command Plus to zoom in. And I want to make sure that I start with the edges. Grab my Forward Warp tool, right square bracket to have a nice big brush. And I'm going to tuck in the edges here. Whatever your pattern looks like, it should look, look a little squashed as it goes around these edges. This will make it look like the pattern is indeed wrapping around this skirt. The second step then is to look for any large folds. And I think again, what I'm going to do if I just take this opacity down even further. I think. I'm going to do is treat all the folds and her dress like medium-sized folds. I'm going to stay on my Forward Warp tool command plus to zoom in. What I'm going to do is left square bracket to make this a smaller brush. And I'm just going to come up the sides of some of these folds. Down the other side. If it's a smaller fold, I might just come up the middle. All right, I think this looks good. So I can click OK. I'm gonna make sure my pattern layer is selected. Double-click the side opacity, type in 100 to bringing the opacity of my pattern layer back to 100%. I don't need the Liquify layer. I will grab that and drag to the trash. And I don't need my levels layer, I will grab that and drag it to the trash. Turn on the visibility of my background layer, I'm going to come to my paths panel after making sure that my pattern layer is the one that is selected, come to paths, select skirt by clicking on it, come up to Layer, vector Mask, Current Path, and it come back to layers, come to my Properties panel, click off and on my vector mask. And now for the feather, I can double-click and type in 0.5. Let's right-click our background layer. Duplicate. Call this displace folds. Document is going to be new. Name displace folds. Okay, I'm going to come to the Image menu adjustments and down to D saturate and then filter menu Blur, Gaussian Blur. And two pixels is fine. Okay? Command S to save this, save, I can close this window. Right-click the background layer, duplicate layer, call this displace texture. Document is going to be new. Displace texture. Come up to the filter menu. Other and high-pass. We're going to see if we can get you can see them here. Some of the folds and her dress. I think that's a little bit high because we don't want to see any color. I think three is going to be fine in this case, these are supposed to be subtle filters. And then Image Adjustments and desaturate. And I can Command S to save this. Save, I can close this window, and then I want to apply these filters. So select my pattern layer, come up to Filter, Distort, Displace. Okay, I want to grab my displays folds. And you can see there the fabric just moved with the natural folds that would've been there anyway. And then filter menu, Distort, Displace, okay, and then grab my displaced texture file by double-clicking on it. Finally, I need to add some Gaussian blur to make this look more realistic. Filter. Blur, Gaussian Blur. Let's try one pixel. There's still some sharpness here. I don't like with one pixel. Let's go back up to two. I think that looks a little more realistic as though this pattern were printed on fabric. And Command S to save this file, once again, we need to work on our highlights and shadows. This isn't looking particularly realistic quite yet. The first thing I'm going to do is make two copies of my background layer, selected my background layer and just dragging it down to the plus two times. I'm going to drag one copy up to the very top, double-click this and call this shadows. Grab my second copy, drag it all the way to the top, double-click and call this highlights. I'm going to toggle off my highlights, makes sure my shadows layer has been selected. Again, I don't want any color information to come through. Soak up to the Image menu adjustments and desaturate. I'm going to come to my blend mode and choose multiply. I'm going to add a curves adjustment layer and grab a point. I think down here, it's going to bring out some nice shadows. Make sure that I clip this to my shadows layer. I can toggle on my highlights layer. Again. Image Adjustments and desaturate. Blend mode is screen curves adjustment layer, select a point to maintain my highlights and then bring this down. Make sure that this is clipped to my highlights layer, a levels adjustment layer. Grab my black slider and bring it to the right. I'm looking to see the folds in the girl's dress. Clip. This. I am going to close in my Properties panel and I'm going to make sure levels one is selected, press Shift, click on shadows, add a new group, double-click and call this shadows and highlights. I'm going to actually click on this carrot to close all of my filters. I only want this apply to the skirt, come to Paths, click on skirt, come back to layers, come up to the Layer menu, vector Mask, Current path, that's starting to look better. Now I can play with the opacity. If I just hover over opacity, click and drag to the left, you can set whatever opacity you want. I'm generally finding between 50, 60% works well. I think actually let's take this up to 60%. I'm actually going to leave this at 90% because I'm seeing some of the shadows coming through. If I open this up and I really don't see enough shadows, I can double-click my Curves Adjustment layer and bring the shadows down even more until I really start to see them in the dress. Now, I can see to the left of the girl's hand that I'm getting some dark spots. I don't want that. I am starting to see more shadows, which I like a lot better. So I can play with my curves adjustment layer even after I have gone through this process. And I'm liking that a lot better. And even if I double-click my levels for my highlights, and let's just play with this a little bit. And actually if I'm bringing it to the right even more, I'm starting to see more of the shadows and highlights properly. And I might just double-click on my curves adjustment layer for my shadows. And I think I want to bring this up just a little bit. Sometimes it's helpful to overdo it and then back it off a bit. Again, you're using your eye to guide you. I'm looking at what's being created to the left of her hand, but also making sure that I can see some of the highlights and the shadows in her dress. I think that that probably looks the best. And again, you can even play with your opacity, take it down, bring it back up until it looks realistic to you. Let's try 90 again. I think that looks good. If I zoom in, what I do find is I've got some funny lines created by my shadows and highlights. If I toggle that off, I can see the lines go away. I'm going to add a layer mask. Make sure black is selected B for my brush tool. I'm going to use my left square bracket, decrease the size a little bit, and just paint along here until some of those lines disappear. And again, my flow is on 10%. I just find just a little bit of painting. We'll get rid of some of these harsh lines around the hand. Now we're going to create the ambient shadows. I am going to command click on this mask that has created a selection of our pattern to skirt. We're going to Command Shift I to invert that selection. I now see the marching ants around the outside of this. I am going to select my background layer, create a curves adjustment layer. And then just bring this curve down until I see lots of shadows created around the dress. I can close my properties panel. I'm going to create a new group and double-click to call this ambient. Shadows. Drag my curves three into that group. Now what I can do is option click on the mask and that is inverted the mass create a black mask and blacks out everything that I just did. Now B for my brush tool. And I have white as my foreground color. I'm going to Command Plus to zoom in a little bit here. And now I can just paint in some of the shadows right along the edge of this dress that would be created by the color of this dress. All right, I've got some shadows there. Now I can play with the opacity to get the effect that I like. And now I can see here on the blue ball, it is quite intense. If I'm not happy with that, I can click X to toggle back to my black brush and just paint out some of the blue, the dark blue. You're using your eye to judge this. Going to command 0 to fit to screen. I think that is looking a lot better. 11. 9 Pixabay: In this lesson, we will be applying our knowledge of how to make mockups using a free stock photo from Pixabay of a girl in a fancy dress in Google. I'm going to type in picks up bay.com in the search bar. I'm going to type in toddler girl dress and scroll on down. And I'm going to click on this image here and free download, a thinking Gilman chin, Free Download. And I'm actually going to click on 2160 by 30 to 40, the largest JPEG file download I need to log in, or you can join. And I need to create my new folder. So new folder, and this is going to be picks up a girl fancy dress, create, and then simply save my image. I can come back to Photoshop open, navigate to the folder that I just created. Double-click my image to open it up. And I'm going to click File Save As to make sure this is saved as a Photoshop file format. Photoshop rename, picks up a girl fancy dress. Then I can come down to the right, click on new layer. Make sure I'm on my Marquee tool. And I'm going to draw a marquee rectangle around the fancy dress. And again, I need to make sure this Marquis is larger than the actual dress and Shift Delete to bring up my Fill dialog box, make sure I've got 50% gray selected. Okay, I can Command D to de-select, double-click layer one, call this Pattern. And then I'm going to control-click or right-click, Convert to Smart Object. I can then double-click my smart object icon, come down to the bottom right-hand side, New Fill Layer, Pattern, navigate to the pattern. I would like, make sure that I've got the scale. I would like, I think that is fine. Okay. I'm going to drag my gray fill layer to the trash. I don't need that anymore. Command S to save my smart object, command window to close my smart object. And then toggle off ability of my pattern layer by just clicking on the eyeball. I'm going to move into creating a selection of the girls fancy dress. And I am going to Command Plus to zoom in here, press my space bar and I just want to show you what we're gonna do around her hair. I tried a lot of different ways to get a great selection. And I really found that really just creating a selection around this part of the truss and then this part of the dress here, and then coming around her hair provided the best selection. Even though it looks like this is a complicated selection to make, there didn't seem to be enough of her dress here or here to warrant any other way to create a selection. I'm on P4, my Curvature Pen tool, and I'm going to use my hand here and I'm going to start at the bottom of her dress. Just laying down points. And this is a fairly complicated dress texture. But again, if we just go around the main part, I found that the other things that we're going to do to make this mock-up. It didn't really matter if we went around every single little frail on this beautiful dress. Actually, I'm going to need to do this in a few parts because there are some different parts to this dress that are separated over here is a separate spot than then we'll join them together. So again, I'm just going around the hair that I can really see and double-clicking if I need a sharp corner. Again, we don't need to worry about being extremely, extremely precise because we can always go around and modify this selection. I'm just doing the best that you can with all of these frills that stick out from the dress. All right, I am going to double-click on this work path and I am going to stay front of dress. Okay, now I can just in my Paths panel, click off here. And I'm going to do this other section up here. I'm still on my Curvature Pen tool. Just going around tight to her hair. And just this little section of the back of her address. Alright, I can come over to my paths panel. Click on this and I'm just going to say back of dress and click off while in my Paths panel. And I've got one more section to finish up here. If we just come up here and around most of her hair. I think I'm going to make this a sharp corner. Alright, we're gonna call this top dress. Now, we want all of those put together. So if I just grab this, make a selection, then I can control-click or right-click back of dress, make selection. And I'm going to say Add to selection. Now I can come to the last section, control-click or right-click. Make selection, add to selection. Okay? Now if I command 0 to fit to screen, I can see the all three sections of the dress are part of the selection. Now what I can do is come down here and saying new path. And I'm going to double-click here and just call this dress. And sometimes I like to use all caps to know that that is what I'm dealing with here. I'm just going to also grab this path and bring it to the top so that it is front of mind when I go to work on things. If I then click on the dress, you can see that my hat is now active again. I'm command plus to zoom in. You can have a look and go around and make any changes that you want to refine this, I'm going to put on some nice music and let you just sit back and watch as I refine my selection. That looks good to me. I'm going to Command S to save, and then just click off of that path. Let's double-click the background layer to unlock it. Name this Background, come down to the right and we will add a new adjustment layer, a levels adjustment layer. Again, this is going to help us to see the creases in the girl's dress and this is not affecting our original image that we imported. Let's just increase this here. Alright, now it's really easy to see the folds. I will close that. And now I want to Command Option Shift E to create a stamp layer of the levels, which is a visible layer and the background which is a visible layer. I can turn those two off, turn my pattern on, select my pattern layer, decrease the opacity to 50%. And now I am going to edit, transform, warp. I'm going to Command Plus to zoom in. And what I'm going to do is again, think about this being a cylinder and wrapped around the girl's body here. So try and think how this fabric would be pulled. All right, that looks good. I'm going to click on the checkmark to confirm that transformation. I am now going to make sure that my pattern layer is selected and Filter Liquify. Double-checking pressures. 20 density is 20. Show Image, Show mask, show backdrop, use layer one. I believe that we forgot to label this as our Liquify layer behind. And I'm going to turn up the opacity a little bit here, zoom in and spend some time with my Forward Warp tool, right brackets make this bigger and pushing it in. That it gives the illusion that this is wrapped around the girl. Really focusing on just bringing in these edges. All right, That is step one done. I am going to decrease the opacity and have a look at some of these really big full tier. So let me zoom in. I'm going to use the phrase mask tool. And let me decrease the brush here by using the left square bracket. Just going to carefully paint around this fold here and come back to my Forward Warp tool. And I'm going to tuck this pattern in there. And if you want to increase your opacity a little bit so you can see what's happening to the pattern. I may go back to my Freeze Mask tool and do this fold right here as well. Forward Warp tool and tuck the pattern in there and back to my Freeze Mask tool. And I'm gonna come down here. Forward Warp tool, just tuck this pattern in there a little bit. Freeze Mask Tool and I'm going to come along here Forward Warp tool and just took this pattern in there a little bit, decrease the brush size. I think that is it for our really big folds. Now we want to look for any smaller folds. I see one here, so I'm just going to come down one side and up the other side, maybe across here. And back, cross here, back across, back across and right here to the left, to the right. And I think right here, Let's go up here and down and across there. We build little piece right here. Alright, you can turn up your opacity to see what that is going to look like. And that gets lots of great movement into our pattern, into that fabric. I'm going to press, Okay, here is our layer that I forgot to label liquefy. So I can double-click that and label liquefied just so that I remember what that layer is, I'm going to select my pattern layer, Double-click beside opacity, type in 100, and I'm going to grab my Liquify layer, drag it to the trash, grab my levels layer, drag it to the trash and turn on my background layer, making sure that my pattern layer is selected. Come up to paths, select dress, come to Layer, vector Mask, Current Path, come back to layers, open up my properties panel, and I'm going to toggle off and on the Layer vector Mask, the feather, I'm going to put to 0.5. Once again, let's create our filter. So right-click on the background layer, duplicate layer. We're going to call this displace folds document toggled to new. I will name this displace folds. Okay, then I need to come up to the Image menu adjustments, desaturate, and then Filter Blur, Gaussian Blur and two pixels is fine. Okay, Command S to save this, save, close this window. Right-click on the background layer, duplicate layer. This time displace texture. Document is new, will name it, displace texture, and then filter other high-pass. And you'll really see in this case why we're doing this, because now we're getting all of these flowers that are in the fabric of the girl's dress. We're capturing that and replicating it in our pattern layer. Let me try two pixels for this. I think that's better. I think three pixels, a little too harsh. You can even check and see what one looks like. Let's bump that back up to two so I can still see some of the texture. Okay? And then we don't want to bring over any color information, Image menu adjustments and D saturate. I will Command S to save this, save and close this window. I now want to apply these textures so I will select my pattern layer, come up to the filter menu, Distort, Displace. I'm going to grab my displays folds file and then filter. Distort, Displace, and grab my texture file. The last filter is to blur this pattern a little bit filter actually before I do that, let me zoom in. So see, you can see now, now it might be a little bit too harsh in some of these areas, we might have to refine it a little bit. But what you're seeing is the texture of the flowers of the girl's dress come through. So command 0 to fit to screen and then filter, blur, Bosnia and blur. We try one. I think one is actually fine because there's so much texture coming through in this girl stress. And Command S to save this. Once again, let's create some highlights and shadows to make sure this looks like a realistic mock-up and not a piece of colored paper applied to this dress. I like to click this carrot here and toggle off all of the filters so it cleans up my Layers view a little bit. First of all, we're going to drag the background layer to the plus twice to create two copies of the background, I'm going to grab one of them, drag it all the way to the top, double-click this and call it shadows. I will grab the second copy. I may drag all the way to the top, double-click and call this highlights. And I will toggle off highlights, make sure I have selected my shadows layer. Again, I don't want any color information coming through. I just want the dark spots or the shadows. So I will come up to Image Adjustments and desaturate. Again, I will click on what says normal right now, but this is a list of your blend modes and I will come down to multiply. This brings through only the darker pieces of information, and it will come down to adding a new adjustment layer. And it will be a curves layer. I'm going to grab a spot and drag it down until I can see lots of dark shadows. Don't forget to clip this to your shadows layer. Come up to my highlights layer, toggle that on. Image. Adjustments, desaturate. New Adjustment Layer Curves. Grab a point here and just leave it to save my highlight information. Then drag down so I can see all of the nice highlights coming through. Don't forget to clip this to my highlights layer. Come down to adding a new adjustment layer this time levels. And I will grab my black slider and drag it all the way to the right. Don't forget to clip this to your highlights layer. Now I forgot to put this on screen mode, which is why it's looking a little bit different. So come to highlights. And blend mode is screen and that's looking a lot better. I'm starting to see the pattern come through. Now. Make sure levels one is selected, hold down shift, click on shadows, and then new group. Double-click this and call this shadows and highlights. Now I only want this to affect the dress. So I need to come to Paths, click on dress. I like to come back to my layers panel, then layer, Vector, Mask and current path. And now I can see that the shadows and highlights are only affecting the dress pattern, but this is much too intense. So I can hover over the opacity word, click and hold, drag to the left. Until this looks a bit more realistic. I like how the shadows are coming through, but it's a little intense right here. So what I actually might do is come and click on my shadows Curves Adjustment Layer. And I just want to play with this. The next thing I'm going to do is to add a layer mask. Make sure I'm on black as my foreground color B for brush command plus to zoom in hand tool to move around. And I'm just going to soften out these edges just a little bit in this mock-up, they actually look okay. But I find just a little bit of brushwork along the edges can make this look more realistic. Especially around the hair there. That's a lot better. Once again, let's create some ambient shadows. So it looks like there are some shadows cast by the dress command. Click on my pattern Vector Mask There. It is turned into a selection. I'm going to Command Shift I to invert that selection. I now see the marching ants around the outside of this. So it means everything but the patterned dress has been selected. I am going to select my background layer, create a curves adjustment layer. And I am going to decrease this. And again, I can always change the amount that this is created. Afterwards, I'm going to create a new group, drag my curves three into that group, and double-click group one and call this ambient shadows. I'm going to hold down Option and click on the Mask icon. Now I've hidden everything that I've just done. Now I want to make sure that white as my foreground color B for brush. And what I can do is I'm just going to zoom in a little bit here. Decrease my brush size by left square bracket, and just paint in some shadows. I'm bringing back that shadow layer that I just created. So it looks like this dress is casting some shadows. It is now colored and not as light as it was. Now, if I want, I can decrease the opacity, but actually I think it's fine as it is. Now. I have some cast shadows from the girl's dress. 12. 10 Kaboompics: In this lesson, we will be using our skills to make a mockup of a white dude from a photo on the kaboom picks.com website. Here I am in Google and I'm going to search boom picks.com. And I am going to search for begged. And now up here for orientation, I'm going to select Horizontal and I shall scroll. And here we are right here, and I will click Download. And then I've got to make sure that I set up my folder. Kaboom picks, do vey, create, save this, head on over to Photoshop, and I will click Open, navigate to my file. Kaboom picks do vey, double-click to open up the JPEG, I will then file, save as kaboom picks do VAE, and make sure under format I'm saving it as Photoshop. And save, I will then add a new layer, grab the rectangular marquee tool, and I'm going to draw a marquee around that do VAE, but it's got to be bigger, wider, and taller. There we go. And Shift Delete to fill this with gray, OK, Command D to de-select double-click layer one. I'm going to call this Pattern right-click or control-click Convert to Smart Object. I will now double-click and New Fill Layer pattern, navigate to my pattern, change the scale. That looks good, Okay, drag the gray pattern layer to the trash. And actually if I select V for the move tool, I can actually align my pattern how I would like to see it on the duvet. Alright, Command S to save command W to close the window. And I will toggle off the visibility by clicking on the eye. Make sure I Command S to save this, to look at our duvet, we actually have to a white one here on the bottom and creamy or one on the top. We're simply going to work on this bottom, do VAE this white or do Bay. In order to see it more clearly, we're going to add a Curves Adjustment Layer. So let's first of all double-click our background layer. We can title this background and it will unlock it for us. Now we come down here to adjustment layers. We're going to do a curves adjustment layer. I'm just going to pop out this properties panel here. And I'm going to pull the bottom down into the right and the top higher into the right. And that is going to be in, increase the contrast so I can see what I am working with. I'm going to pop in that properties panel back there. I am going to zoom in and use my hand tool and make sure I've selected P for my Curvature Pen tool. And I'm just going to work my way around this whiter do VAE. All right, now that I have my rough selection, I'm going to command 0 to fit to screen. So now what I can do is go around and fine tune any of this that I would like. So it's good to zoom out to give you some perspective to make sure that you've selected the correct duvet and then zoom in to make any fine tuned adjustments that you want. I am going to go ahead and do that. Alright, Command 0 to zoom out. And I've got my selection of the two vey. I'm going to head on over to my paths, double-click on Work Path, and call this. Okay, now my selection is save command S. To make sure I save all of my good work. I want to make sure I press V for the move tool. And I already have created an adjustment layer for the duvet that helped us use the Curvature Pen tool. So I can see that layer right there and I don't need to make a change. I don't need to add another adjustment layer, a levels adjustment layer. I can see that both my background is unlocked and my two layers have their visibility toggled on. So I'm going to shift Option Command E, and that's going to create a visible stamp layer. I'm going to turn off my curves adjustment layer, turn off the background. Double-click layer one, name this liquify, turn on my pattern. Select that layer, click into the opacity field, type in 50. And now I am ready to warp this. My pattern layer selected. I can come up to Edit, Transform Warp. I need to think now about this. Do VAE. I don't think it needs much warping because it's fairly flat. Alright, I think that's good. I am going to press the check mark to confirm that transformation. I can head right up to Filter, Liquify, double-checking pressure 20 Density 20 Show Image, Show mask, show backdrop. But I wish to use my Liquify layer. And again, I can play with the opacity as I work on this. So our first job is typically to push in the edges. And because this really isn't wrapped around anything, we don't need to do too much. But still I'm going to write square bracket, grab a larger brush. And I'm just going to push in this edge a little bit here. We would see just the little bit of that debate coming around the edge and maybe coming down a little bit here. I'm going to push this area up a little bit because the DOJ is a bit folded in there. I'm going to Command Plus to zoom in. And we want to now deal with the large folds. I'm going to grab my Freeze Mask tool, right? Square bracket just to increase my brush size a little bit. I'm going to come along here. And I'm going to come along here. Back to my Forward Warp tool. And I'm just going to push the pattern into this fold a little bit, and then into this fold here, and down into this fold here. Alright, I am going to left square bracket because we're moving onto our third step and looking at the medium folds. And there really isn't that much. I might just sweep across the top there, come across here just a little bit and back, maybe just tuck a little bit around here. I think that looks good or our bedding because remember, we're just dealing with the bedding that goes along here. This is a separate debate layer that we are not worrying about. I shall, okay, with my pattern layer selected, double-click opacity, put it back to 100, grab my Liquify layer, drag it to the trash, grab my curves layer, drag it to the trash. Turn on my background, making sure my pattern layer is still selected. Come to my paths panel, click onto vey, up to the Layer menu, vector Mask. Current Path, come back to layers, open up my properties panel, toggle off and on my vector mask and set the feather to 0.5. Let's move on to our filter. So I'm going to right-click the background layer, duplicate layer, call this displace. Folds. Destination will be a new document and I will call it displace volts. I'm going to come up to Image Adjustments and D saturate and then Filter Blur, Gaussian Blur. And I'm going to leave this at two pixels with the displays fault, we will really see how the fabric wraps around all of the folds in this duvet. Command S to save this, save command W to close this window. Again, right-click my background layer, duplicate layer. This is going to be displaced. Texture. Destination will be a new document. I will call it displace texture. Now there may not be anything that comes through here because there's such subtle texture in this debate. But we'll see if we can pick up some of it here. I'll go up to the filter menu, other and high-pass, and this will find all of the edges. Let's try it and see if it brings across any of the fine edges of this. Okay. Then Image Adjustments and desaturate because I don't want to bring across any color information. I will Command S to save this, save command W to close this mixture, my pattern layer is selected and then come up to the filter menu. Distort, Displace. Ok, and let's begin with our folds file. If I turn this on and off, you can see a subtle movement where the fabric will be moving into the folds of the original duvet. Finally, filter, Distort, Displace. Let's bring our texture layer in. Texture. And this may not have a big effect like it did with the girl's dress. But it's subtle and it's all these tiny little things that we'll develop a better mockup file for you. Lastly, Filter Blur, Gaussian Blur. Let's try this at even three. I think that's better for soft fabric. Okay, Command S to save this. Let's create some highlights and shadows because this really looks like a flat pattern on this duvet. So to start, let's make two copies of our background layer by grabbing it and dragging it to the plus that's grabbed one of those layers, drag it to the top, double-click and call this shadows. Drag the second one all the way to the top, double-click and call this highlights. Toggle off my highlights layer, make sure shadows is selected. Come up to Image adjustments and desaturate. I wish this to be a multiply blend mode at a new curves adjustment layer, grab and drag down to create some more shadows. And you can keep an eye on the duvet here I am seeing lots more of those shadows come through. Make sure to clip this to my shadows layer, counting my highlights layer, toggle that on. Come up to Image Adjustments and desaturate. Change the blend mode to screen, add a new Curves Adjustment Layer, create a point to save my highlight information and drag down until I see some nice highlights in my debate. That is looking a lot better. Makes sure to clip that to my highlights layer. Now that effect is too intense, so I need to add a levels adjustment layer, grab the black slider and drag it to the right. And you'll see I'm starting to get some of the dark parts coming back in my debate. Makes sure to clip this to my highlights layer. I'm going to close my properties panel. Make sure levels of selected hold down shift, click on shadows, create a new group. Double-click and call this shadows and highlights. Now obviously we don't want this affecting the entire image. So come over to Paths, click onto vey, come back to your layers panel, layer, Vector Mask, current path. Now again, if this effect is too strong, click on opacity, drag to the left. And I can tell you this is looking a lot more realistic than it was. I think I'm going to leave this at 80%. Now if I zoom in, I'm going to check my edges. They're looking a lot better compared to the other mockups. But what I can always do is to create a layer mask B for brush tool, I've got a nice soft brush selected. I'm going to right square bracket to make this bigger. And just very gently paint over some of the edges here. And that is looking a lot better. Once again, let's create some ambient shadows. So this duvet was white, would not have cast any shadows on the pillows or the ground, the floor here. But now that we've added a pattern to it, it will. So I am going to command click on my pattern layer. It has created a selection. I want to invert that selection and select everything else. So I will Command Shift I to invert that selection. I now see the marching ants around the outside of this picture. That is what I want to see. I will select my background layer, create a curves adjustment layer, and bring the curve down here. You can see that everything else has been darkened. Create a new group, double-click group one and call this ambient shadows. I can drag my curves three layer into that group. And I am going to option click to create an inverted mask. Make sure that I have white as my foreground color. I might need to click on X or select the x. Make sure I am B for brush tool. And I can right square bracket to make my brush bigger, I'm going to zoom in a little bit and just paint around the outside of this. You can see I'm getting some shadows now from my duvet. If we create shadows that are too dark not to worry. We can always use our good friend, the opacity slider. Alright, now let's use the opacity slider. Just bring this down a little bit until it looks realistic to our eyes. I think I went a little too far here. Let me just double-check that I can select x and use black as my foreground color and just fixed that. Alright, and that is looking much, much more realistic. 13. 11 Class Project: In this final lesson, I will walk you through the steps to take for your class project. Your class project is to create your own mockup from stock photography and add it to a pattern of your choice. You can find some photos to use this mockups on the following free stock photography websites. Pexels.com, unsplash.com, re-shot dot com, pixabay.com, and kaboom picks.com. Try searching for bedding. Kids clothing, white dress, white clothes, or white shirt. These photographs are free to use for commercial and non-commercial purposes. And you do not need to ask permission from or provide credit to the photographer or the website. Using water more photos, create your own mockup and apply a pattern of your choice. Don't forget to experiment with blend modes and layer opacity to get the effect that you desire. I can't thank you enough for taking this class with me. I've really enjoyed working through this process with you. Be sure to upload your final mock-up to your class project by clicking on projects and resources and then Create Project. I have also added an information page with links to all of the resources used in this class. I can't wait to see what you create.