YELLOW Belt – The Dojo Masterclass (Photoshop course)

1. Intro: Welcome to the Dojo monster gloss, the first Photoshop course designed like a martial arts training. This is the yellow belt level to where I'm going to show you how to recreate the artwork, the yellow prism, using Adobe foreshore. In this class, you'll learn how to convert your ideas into digital artworks. Often create fake 3D structures. How to properly control and create light amongst blending techniques. Perfectly applying colors and textures, create realistic transparency and much more. By the end of the class, you'll be able to create this beautiful artwork and apply the same techniques to your own personal projects. So if you want to become a black belt in the Arctic Photoshop, begin your training. Now. 2. Fast 3D Technique: Welcome to the dojo today. We're gonna take a look on how great this effect inside of photo shop. My name is Sandy and is the yellow prison. First thing we need to do he still grave in your file. So but the file you and I would give a size off 1600 with and 2000 height Give a resolution off 72 picks up her inch, and we've given name to this. Let's call it the Yellow Prison and click Create. Now, we've got the file when it to first of all, is always unlock over layer, so double quick and okay, so we don't have any problem in the future. And we need to create our basic shape for the three D letters. So let's have a look at the actual file. So we need to recreate this in this case, I made this being, but you can do whatever kind of shape you want and to build a street. The letter I didn't use any three D technique or three D special filter. We can recreate it just using old and basic tools we haven't set for shop. So let's have a look on how to do that Screwed in your layer. Take the text to and we just write the letter B will make the speaker and we choose a phone . There's gonna be easier to work with. This is good with a simple one that everyone has on his computer. Just go with an arial. Okay, We can make this a little bit bigger just so we can work with it a little easier. And first they want to do is right. Click on the layer and go to convert to shape what these allows us is to turn our text layer into a shape layer. This way it still is Use built using vectors, but it's not gonna be Ah ah, if your text layer is gonna be like if we drove the whole layer with the mental. So as you can see using this tool right here, we can actually select all the different points over where vector mosque and we can also change it or delete it for the specific case. What I want to do is tow remove the holes inside to be because it was just one the actual shape, a full shape of the baby. So we'll just click on one of the corner and click the delete button once and then again, and we're gonna do the same for the Balkan health. And it's it. We're already He raised that part and this is clean and we can move it. We don't want and scale it up. Scale it down, And it's not gonna affect the resolution. Legal, this solar better shape. So let's keep it this size for now on what I want to do is again taking this to or click in the bottom. Your keyboard. Um, I want to go up here and select as a feel no feel. And there's a stroke in this case, just a black stroke on. We can also increase the widow of the stroke a little bit. Let's go for a tree. Seems fine. Um, so this way we literally have only the outside off the B drawn and inside it's gonna be empty. Another way of this, the way we want to do is to distort the shape, to give more or less the angle we want to give it for for our final be structure. So I just want to read it a little bit and give a little of a bit of a three dimensional look. So we'll just click on this corner keeping down the common or the control key. So I just act on this specific corner, as you can see. And just this little thing gives us a lot off trading my credit. National Look, I think it's already good. We can just click OK, on. If you're not satisfied, we can you can again re to the treatments for and adopted a little bit. Just give it a shape that you like and you're happy with. Um, yeah, I think I'm happy like this. We can also make it bigger coast again. It's still vector shape can rotated a bit of fun yet and another we've done this. What I want to do is to duplicate the shape. So second, the layer click common J or controlled Jay And we moved this second the second layer just about here. What we're doing right now, it's literally building treated the model off this being without using entry this offer. So I just want to define what the other face off this three D object is gonna be. And let's say I wanted really thick, so wanted the is actually like this Seems fine. No one is to create all the connecting lines. This is just gonna be for our reference. So could be done. Really, Simply using Under our are tangled to with the line to. And if we draw a line that has the same with as I wear be outlying so in this case is going to be three picks. So is gonna be releasing toe create this extra lines, I'll show you. So creating your layer and with the line tool selected, you just click on the first corner and connected with the 2nd 1 a CEO easily. We made an actual connection between the two points that we can keep doing this for all the other corners so we can keep using the same layer doesn't really matter, because this is just gonna be the reference structure. And we do just want to we want to connect this to sections I want to do. It holds 42 points and for these two, let's go back and read it. Okay, so very easily, very quickly we build an actual three d model, but we're using any three d softer Now we can do is still creating your layer Select all the layer created so far and click common or control Eat to merge them all together Now we have a single book and we're gonna call it be structure We can simply play around with it on Mega decides what want another with the structure we need to use It's only the reference , but what I will so need is an actual full a year that has these whole perimeter filled with with an actual color. So how to do that, Griffin? Your layer we call where magic one tool and make sure to have Conte was selected and simple from all layers. So what I do now, I just click outside the lower be And as you see, we select all their there is right outside our three d block and now simply clicking Common Shift I or Control shift. I were reversing our selection and now we can feel the selection with a color. So we got down here and we create any solid color. The soil color is gonna use the same selection we had active before, and we just give a light color just for us is the reference, and then we just move it. Underwear be structure. As you can see, we have a layer that feels completely our structure on and then separate layer with all the connecting lines are gonna help us later to build an actual treaty. Really sick three D model. Now, we can just simply put this in possession position, we think is that somebody is gonna be a little smaller and remember always to select both players to do this oppression. So I said that this is quite good. Okay, Maybe a little higher feels for it in the middle of the moment. All right, I think it's a really good start. 3. Modelling: I want to proper model this shape. So to do that, we just hide this be structure for now, we're gonna use it later. We just want to focus on this layer here. We just call it based shape. Okay, Messenger colors is gonna be a little easier to work on. So let's just go with a black and you see how we get our Bages everywhere. Now, this is actually working. Well, if we want to make a whole, um, very hard shape, but for the purpose of the Satara want to make it become a little bit like a horny that is trying to very slowly melting down and because of the property off, honey, that, too to make it look really released it. We want to have a smooth for surface and everything is to piss move. So how does move out this corner in a way that it's easy, fast and actually realistic? Well, there is a really, really fast technique, So selecting this base shape and selecting the actual, uh, let your mosque so not silly over here, but the mask we want to go on Filter, blur, Go, Schindler. Now, these things like the wrong way to define something in a more clear way. But trust me, this is gonna help you a lot. So if you just blur this layer, you see, I was just blurring the old, the corners and the size of the shape. But we're not just doing that s you see, like the old corners are actually getting smoother. Like if you would see this image from a distance, people look more like around the corner shape. Well, this is actually what's happening. A And there is a simple way to use this. Movements were creating. So let's give us a blur or, say, 20 pixel her now click OK. And now still selecting our mosque with press common, L or control help to bring up the levels. And now we can work on this levels and basically we can shrink down the black and whites. You see what's happening. We're literally defining the shape. We're removing the blur, but we're keeping the softness that were created before. So the goal. It's more or less to keep the central slider in the middle without even touching it. So, as you can see, you should be more or less year But every time we moved the right or the left slider, that moves, too. So if we try to bring it more or less in the middle, that's going to create a more defined shape that has a similar with or the similar size is the original one. Otherwise, if you see if we were too much for one side or too much from the other side, the whole structure is gonna be a little bigger, a little smolder. And we just wanted to keep it the same size just because we build the whole bi structure before there's gonna be more when more useful if everything is more or less the same size. So let's say that this is quite good for me. But so let's click. OK, and a simple is that we made the whole smooth surface. And if we see with the structure, so if you make this colder, lighter way, have to wait to be structure, see, it's more or less the same shape and size before now, this trend is black again because it's easier to work on and let's just create a new layer . So let's get this is the base and select the two and we press common optionally or control . Hold it and we are emerging the layers, creating a new layer that is just simply the black shape but no using a mask. So it's a feel layer with the we want. We're done this because now we want to liquefy this a layer to make you look like it's slowly melting down. So selecting this layer, we go to filter liquefy keeping selected the first to the for World War two. We want to have a smaller brush. So we decrease the sensitive Russia. Maybe not too small display with it. Okay. Oh, or 100 About 200. And so, using this brush, we want to simply make the shape a little on human so it could be larger or smaller. We just want to create, like, little pockets off honey there, slowly dripping out of the shape. We're still using quite a big press. So we want just to have big deformation in the letter council and changed the took part. It just needs to look a little more organic all right, straight down the hill with Speaker and I'm smaller than your regional. And now they would done this basic thing. We can keep going, but this time with a smaller brush. So just decrease the size and you strike two. Who's done a little bit and try to have some like dripping folk. It's a funny let's say I quite like this. Ah, so we just need a couple of those not too many, because they need to be until quite organica Just not too, you know, to make it look never really sticking natural. It just doesn't need to be to perfect and needs to be scattered around. And you just really need feel Does it say that maybe this side is stripping down? Just gonna push it Bullshit. Don't you pull up a little side here So we make it kind of shaped like a like a drop and their store right riel rule on how to do this. Just need to go with the flow and check. Hold. Nice. Just remember that the goal is having some drips off, honey going down and also considered that honey is a little more thick. Then, for example, one milk or cheese. So if we have this long drops of oil, it will look a little strange if they're a little too Finn. Um so let's just try to keep it as realistic as we can on we also have, Like, we can change and do however we want but like to make you look more organic feeling I will suggest to keep it, Um, just as realistic as possible Looking at a little bit more here and just play with it. Just do it however we want. I think this look quite nice, so just click OK, and we consider the difference with the base ship we had before it was before. This is after just simply adding a few deformation with the liquefy. We made it look way more realistic. 4. Lighting Technique: We have a really nice shape at the moment, but to make you look way better now we need to actually are light and shadow on. Do do that. We're not gonna use any fence. It'll again. We're just paying the shadows and the lights on top. Best way to do that is actually to start from a base color. There's not this black. So how to do that? We just select. Click with common hold on or with control. Keep on this little icon and layer, then create a new layer. And this time we feel it with no black but just a 50% gray. Or we can write down here 80 80 80 click, OK, and with option delete or off. The elite were just feeling with our great color so it can actually delete the layer underneath. And this is gonna be helpful because I quickly show you weaken literally use at dark brush to paint shadows and the light brush, depending lights. So there's gonna be way faster. And because this is a 50% gray color, it can actually then become another color. And it's gonna be a nice middle ground, too. Then off any sort of highlights or any sort of shadows. So just call these again base. And so we create a new layer this start, we link it to the one under net, and we literally start drawing the lights and shadows. So I will start with shadows at the moment. So let's select black. Kohler was a foreground color. We pick, um, very soft brush. And we want to have the structure withdrew before Justin top off. Everything will just have ah, lower bus it. So we actually see See through it and we can paint on top and we just use This is a reference just as a reference to know. Okay, this is this point where there is actually the top part and is the side, and we can actually decide how the light is going to react. We need those to define more or less where the light is coming from. Also, to say OK, here is gonna be lighter, or we're gonna have some more highlights here. So to do that, just draw some Ah, reference point here and talk. So let's say that our life comes from just a talk. Maybe this direction. So this means is that probably this whole part on top. It's gonna be hit by the light and the closer we got to the search, the life is gonna be same thing for this portion over here, this little corner, it's gonna be hip light. And instead, we're gonna have shadows on this site just because the light is not gonna really effective . And this from face down here is gonna be a little bit of mix. So probably the bottom part is gonna be with shadow, but not too much shadow. And the top part is gonna have a little more. It's gonna be affected a little bit more about the light. Uh, yeah. So in properties one besides gonna be even more dark on the gate, we're just gonna use these. Is there a friend? Just so we have a clear idea in mind what we want to do. Eso We don't just get lost during the process. Bullets hide this layer and we go back with the slayer. We'll go with the release off brush and we just start painting. So as we said, we start with a black rush and we can go even full intensity. We just want to define very roughly the shape. This is fine. There we go with white. I would put it over here. That was said you could be over here on. You can see if we put their pass it down. We already have a little bit of the nation. This is already very helpful. And we can keep going on the As we said before, a little bit of stark this area, it will be a flight. This area over here just not too much. And it's a really good, very certain point. We just want to keep this quite light. So it's a 25% this fine. And then we just create another layer on top and we keep doing this. And what we also want to do is to using our structure. Layer is to a little bit visualized what's gonna happen in the surfaces there behind our main surface. This is because if you would see, like this hour, be just gonna look like, um, I don't know, some kind off concrete. Maybe it's melting down or any other material that is really thick and doesn't let any, um, any light going through. But as we know Horny doesn't have this specific property. Honey is really trans lucid, so we would see a little bit or what's happening behind. So with this in mind, we just want to define a little bit off all the other shapes. Um, So how do we do that? A simple way It could be too literally drawing it again using our brush tool on a new layer . Mistrust. Just go with the flow and see what happened. I just go wait white in this case, throw with someone in here right under the same here for this face on the back for is it's more or less defined. Oh, so we're crippled it down. We had the structure. It kind of looks a little more translucent now, just simply adding that little layer on top. And what I want to do is to erase using the razor to this lay we just created from the size . This is just because I want to have it visible Onley on in the middle of the over where me on. That's because the more we go to the center, the more the trans lucid effect is gonna be visible. And maybe we can also use a little bit of a movie game from here. Yeah, okay. No, it looks quite nice already, but we keep going with the lightning. So we want to do is new layer again. And this time we keep drawing with our white. I think the brush certainly is a hard brush this time and the strait of finding a little more of how the life's gonna be. So as we say this every here is gonna be more affected by the light, and I kind of want to draw it. I kind of want to draw how we should be, how I should be affecting our structure. Striker, just go and do something. See what happened. Um, we can always use another again. Our ear is it through eliminate fortunes. I just want to make you look like it's candle translucent. So even the way that the light is gonna bounce on it, it's gonna be quite hard in specific points. For example, here it's gonna be more or less like this or for, you know, the way I imagine it And maybe also want to have, uh, some hard there pockets off lights in the border Maybe here is gonna be more light. And then we throw something like this. Try to see what feels right or even what feels wrong. Strike. There's no one to tell us that we're doing right or wrong. There's no real right the wrong. It's one if it looks good to you. This'll loved and we look too nice. Homes. I can erase parts. It's not a problem. And with the racer we can also where you raise portions. And once I've drawn this, we can even just use filters and blurry it a little bit. Using Go Schindler, uh, would've wanted to blurry but like this is kind of feels fine. Let's see already there before a doctor. Yeah, it kind of starts getting a little more of the shape and the material we want to give to it . So let's get going. Scored in your layer. Do the same thing this time on days from face. Let's say here is gonna be and nice highlight points for Maybe I can even go a little wrong room kick candle. So give a little bit off. The roughness of the surface on the street blurted Same values before, and we raise what we don't like. We conclude a little more, see what happen again. There's no right or wrong. Just try. And if it feels too strong, just reduce your buster. That's it. I just keep going with it. Maybe we want toe some highlight this time on this sign right here. So maybe even if it's old dark Mary. So lights going Someone is coming true straight to keep it away from the border because the more border in my mind is to be a little darker. This could even represent, you know, the lie that bones off some willing just comes back on the letter. Kind of make you look, you see more translucent and more just more interesting overall looking blurry again. Uh, and we just keep going with this same technique. See what up wrong brush. Just There's no real technique that I can teach you are This is the actual way you need to do it because this is how I do this. I just try and just things will work out eventually. And if it doesn't work out, it's no problem. We just go back or raise, or we can always fix it. Most important fake. It's starting doing stuff because otherwise we'll never get anywhere. Kumba wanna out some highlights on this at two. So and say Well, look, because I really like this nice small wife broke it over here. Oh, maybe be really interesting here, too. Your A game? Yeah, yeah, and yeah, just to raise when? What we're saying It's too much. Yes. And you were a lot off LA highlight points. It's going some shadows, stick some black and make it a little more contrast in this silence will be a little darker . Turn with it so far. So I could just have ah, whole black bloc and just reusing it buster slightly. Yeah, and I kind of feel that the middle being is to be darkened. Don't ask me why. Just try make you look this kinler a bit. Now it use? Yep. Yes, you, if you see already, was the result before laughter with just few brushstrokes women, the whole treaty looking structure. It looks quite nice to me. Um, yeah, let's just keep going with a few more layers and see what we can get So more like here and again. Remember that we're not putting light and shadow on Lee where it's supposed to be. But it's also where we want to draw de eyes Attention. Yep. Looks quite nice to me. Not a strict going in. A little more fetus on the straight to G Put some highlights on all this little drops we created before. Forget new layer and we go with white brush Stone way smaller, straight going here, for example. Let's say that the lights going from the right we set, um, so we cou maybe throw some trust in lights on the opposite side. Maybe this is a reflection. We raised what we don't like and put just a little going to be a little harder. Sorry. With brush to on the other side. Just make sure your look touching the porter and how it already looks quite more realistic , doesn't it? I can keep doing this. This is here a little bit. Oh, Syria's. Well, we don't like and and then we got some highlights. Yep. Quite nice with this year, too. Um, a hard one. You can see how Just if you brushstrokes just made you look amazing. Get going here just because, honey, it's really one of those materials there is really shiny or just in my mind just looked You look really, really shiny. And so far we only created really soft edges and soft shadows. Now we need to bring the shyness up, and he shouldn't be everywhere. Just needs to be to a few little small needles like all this drops here. Um, the Navy will do if you're in here, See, just a small How does that look? I don't mind. It kind of looks nice. Yeah. And maybe because with the highlights here, when it hold, LifePoint and I would just here. I don't know, maybe let's go back. It's not a big problem. And maybe I want to put some more here too, and maybe hear this corner on. You cannot A little gross here. There was something here as well. Okay, Yeah, Looks very nice. Very nice. All right. I think it looks a little bit too dark, probably overall, and we can fix this instead of using just letting a white wouldn't go with any on their adjustment layer so we can create a curb layer. Remember to just link it with old other layers, and then we just bring this up on Chris Akane Trust. Remember anything with its a park the modified could be altered Can become something completely different. Yeah, Looks quite nice and shiny. How would you think before and after? It looks very nice to me. 5. Texturing: Dexter is what is really going to sell the whole idea and the whole artwork, because so far we really built something out of scratch. And Hillary looks really good. But to make it go from good to great and bring it to the next level, really need to pull texture into it. And how to do that? We got the whole series of texture inside that we're all set folder. So you've got a couple of bees that were going to use later. We're old, the other once we're using now. So it got some horny, it just drops. And we got some more horny bubbles, and we have some ice somewhere ice cubes and some rocks. Now, this last tree looks quite open to use inside of, ah, horny kind of looking poster. But trust me, this is gonna really help. Bringing the whole thing to life is not gonna look at izettle. It's not gonna look like rock at all. It just cannot help bringing more crankiness to the whole thing. So let's go back to photo shop, and first thing I want to do is keep the layer section clean, so we just select all the things we've done so far and we group them inside it and put it into the group with common gyp. And we call this group just your one is fine. And now we want to create a new grip. And to this group I want to give the same shape we create so far. So we opened the works here. One select the shape off the base layer kicking the commoner control keep. And we applied this mosque. So this new group we created and now inside here we're gonna use our texture. So they just call this Dexter. I could in your layer. So it goes right inside the group and it's got over. Also folder and register with. I will just start with dripping honey, maybe. Yeah. So, honey, zero wants we open it in for a shop and we select it Kobe and basic here, And you see, just huge and destroyed everything we've done so far. But don't worry, just convert a smart object, call it on it groups and I was really down skillet. Um and this is gonna help us put some more off. This drops their extra droves from with it. So far just to enhance the whole natural looking over where poster. So first thing I notice is that this drops have highlights on the left side and a dark area on the right while we can't get the opposite so far So first thing I want to flip for his own police and used in this way. So it's gonna feel more consistent. Um, no. So I'm feign stood speaker. Just select one of this at the time, so just they were less it'll and select this small one over here, selected and with common J or controlled Jay, we duplicated from the smart object and we can work on it having it black and white so quickly. Common shift you or control ship. You were turning into a black win by version and we can work. We're using these in a multiply version, uh, struggling to Su dark story. Let's do another thing. Let's go back. And since that that will work, we need to find a way to I could be more easy to work on for our specific poster. So what I want to do is we click with double quick inside the honey drops, and I want to cut them out. But I want to do it in a very simple and cost way. So we just used the Pento and because it sold really around the and we don't really need to to be too precise, we don't have any texture way to cut out. You can literally just go through it quickly. Even if we are a little bit too inside the shape doesn't matter, just cut it off. Just a couple of Quix. We can just have a nice selection, which is doing a deal here because we don't care about the top are so we Come on, return on. We make Moskowitz so we save it and closed the smart object. So now we have a cut out version over where honey drops and weaken. The same fans were doing before we cut out. They stop one common J, turn it into a black and white version, and so this time we can literally using it without turning into any multiple I e. Or using any other blending mode. So let's start on this side. I want to have some dripping honey coming from here, so that's a want to use this old bloke here. So I put the mask on it on and using a black brush, I would just brush out the took on. Yeah, just more little brush strokes when we could blend properly. And yeah, I just place it where we like, Kind of like it up here. And there's a way to blend a little more. Look, it's actually coming from on this side, and you see how the caller, the luminosity of the drop, is a little different. To change that, we can simply click on the layer right here. It's of the mask and click a common L or control L We just call out the levels levels, and we can In this case, we want to have a little darker so we can move this central, um, slider to the right. Many, even the left, one to the right. Just a little bit. You see, I was immediately making it just blend a little bit better, and then we can just get in the side was the right position, but said it's years Fine s o. This is the first drug with, but we can just make another one that's select this thick one. Come on Jerry Control J and put it black and white. And I was scared, though it said that we wanted to don't here. So, man, Hey, more down and with the musk I would've black brush with Russia at the top. Remember that we decided that here is gonna be like a border. So I don't want this to cross the border. So it's just a crazy for what I'm not supposed to be and in the game complain it better. We select layer and we common elf and we bring down this lighter way much better. Now have a look. Yeah, it's really nice. Maybe should be hard. Europe's there should be more here on. Maybe you can even just change the the with a little bit. So make it fit bit more. Okay, Quite like it. And just put it 3rd 1 Let's see on the sea, in the middle section state this long one, maybe even these two together. Let's have a look. How the work. Okay. Turning black and whites Skillet Dow Let's say that could be over here. Oh, maybe here but the mask and removed the talk part. A couple. Do you want to separate them terrible middle a little bit and spoke them around a little bit. Many smaller. Um, kind of Look, having nice Louis not stated, but civil was straight with some levels again. And see if we can improve it. Making dark hair. It doesn't really work this way. And the life there, maybe? Yes. Kind of like it. Like this. Okay, so the first step of texture is done. We just put some more drops. And you see how using realistic drops of honey immediately make it look like it is the actual material. It is actually on you. So you can remover where honey drops and we just keep our train. You once. Now we go back to our are set folder, and this time I want to use the second image. Honey number two open here. And I want to use this big bubble. Went with this big bubble in the middle of my B. So I just want to make us a quick selection here. Just a rough one. Nancy. What happen just to keep it is whether we can, because then we can remove portions with a mask, so we Kobe and paste it. I turned into a black and white, and we can already it's tell that needs to be lighter. So we called the levels up and we make it lighter. Okay, Um, let's get it done. Let's say that I wanted here in the middle like a right here, place it there and put the mosque, and I you race aside just kind of like this bubble so can also keep them. They will have something, really is. So the whole thing may remove this part on. You see how this gray or here is a little bit lighter than the actual great Win it so strict through fix it with levels. Bring it. Oops, steak. I was in the mosque layer that select the actual layer, Start getting up a little bit. So can the works better here, but worse over here. So I wanted to do it somewhere else in using another technique. So the council and ST using doctrine burn so touching, burn how they work. That still makes everything. You put it on life there, while the burn toe makes it darker. In this case, we use the dart's, too. Let's keep here the range as highlights for now and see if it's enough or not. And I want to make a lighter. Just welcome section here. So selecting the mosque, the layer, not the mosque. I want to You start over here and it's a little bit of strong. I want to try not only highlights there on the metals. Yep. It's gonna work a little better for this case. And now I want to use to burn till again in the midterms. This time we do it on this side and try to blend the quote. We was the the actual background. So we're actually blending it without erasing that. It's a little strange thing to do, but in some cases can really help. So another would down this one quite happy. We go back with a brush and on the mask, and we raise whatever, whatever we don't like. That's a here, here, hard edge and its little potion here. Okay, that looks nice. Let's keep it down here. Maybe we need to reduce your positive. It's kind of looks, it's inside the bubble now. All right. Eso without that. This thing over here now, what I want to do is to another texture. So come back here and we take the ice number one opening with selectable Kobe and basically in here we can again turn into black and whites. And this time we want to use a blending mode, sir, with soft light country into a smart object so it can change the size again if when you and we shrink it down and you see how the whole eyes he's actually giving another old texture. That is very nice, but he also kind of look very hard. So what I want to do is using the structure more on the top side. Oh, we're honeybee. Uh, so I was trying to place it in a way that makes it actually looks nice. So I couldn't talk. Maybe so flights onto this. That's true with overly. And you're like overlay thought it sotto light so I would rest. Arise this using Cohen l or Control. Well, we bring the levels up and we change the colors of bill role ice, So click OK, and then we can reduce the intensity and he looks really nice. And now we're playing mask. We invert the mask. So we're hiding everything and painting with white. We just place our texture where we need it. So it's gonna be for sure on top part and a little building this from maybe just until here . Yeah, it looks quite nice. Okay, look. Sorry. The pretty nice. And we can also use the other ice ascent. So that's bringing it up This case, we have old ice blocks so we can use the heart shapes of this ice cubes to build the heart shape of our being. So let's try. And maybe with this one left, we can select with the the mental, so it kind of have a little bit more control on. I'm already. I only want to have good selection off the top portion. This one is gonna be probably you raised. So as long as we're nice selection on top, click, click Common return and then we copy. And we based it here. It turned black and whites and can using overly kind of places. Well, we think it should be. We can also distorted a bit if we need to have it fitting perfectly. Um, yeah, I just traveling years older, different tools in your skill set and place it. How should be for you. So you see are actually distorting an ice cube to make faith in this corner. And now he's in the mosque. Reverse it. And we applied only where we need it. It kind of looks like a frosty, um, material, and it also is a little too light. So we use levels. Then we bring down, flew in Austin and then we would use your old pasta. We cannot see this. So if we see before in doctor after where Dexter Group, he makes a huge difference. And we also have our rock over here. I was struck and bring it up for now and see how it works. Miss Places all inside our texture group black and white But it's, ah, a soft light blending marks Can I kind of wanted may be here until so it looks that's matter with make a mosque and we're buy only what we need It it's just doing a little bit more definition to stop portion. You can even would use your old duster. Just just a touch of it. Cool. It looks pretty nice that so look before and after before and after. Quite good 6. Color Grading: so far we have time maybe having fun, playing with black and white and gray. But I seem to bring some core into it. So we create a new layer we put inside a group and we give to the group the same mosque as we had on the extra group, so we can simply hold the option or all key and drag our mosque on. The new group is basically replacing the mask on school, this city Koehler correction and in this group we're gonna make it a colorful, like, really colorful, and it's gonna look amazing. And actually putting caller seems like a really difficult thing. But I have a really nice and simple technique that is gonna work a lot, and most of the time it's going to really solve your problems. So figure down here, we want to create a new grade in math. Now we're them up is not regularly used too much, but I really think it's really powerful. So first we don't want to do is activate. Deter on what this does is blending in a more softer way, the colors off the radiant, and then we have this great aunt on top and I show you what happens. So the basic Korean is this black to white, and with this does this turns our image black and white. But it was already black and white. But I show you what happens if I put this red and green for this orange and blue or this one was actually treat colors. So the way the grain and map works is applying to or more colors to our image, but using all the luminous values explaining a little better. Let's click on this greater and we open this panel. This left corner represents the black point with this right corner represent the white point. What this means is that the color that is on this point is going to replace the black in our image. So if we want that the black is green, you can simply select the green, and you say the black portion are gonna be green and this is the white point. So if you want the wife going to be a light blue, for example, we just select that were like blue, and that's it. We just gave green to the black light blue to the whites and in the middle with this nice Greg Unt. Now we can even change the caller in the middle and they're gonna blend all together. So let's sit in the middle, wants some rep or yet like this and we're basically giving a turds component, and this is gonna blend with all the other colors creating this new interesting look. But we're not here to play with random colors. We want to give, honey, look, toe our poster. So let's just start with black and White. First of all, because this is because we have a lot off, like points and the life points air pretty much gonna be white, so still want to keep it. And we don't really have any black black point, anything. If we would have it, they were gonna be pretty black. So let's get this is 1/4 for now. I just want to work in the middle first. So let's put the new selector in the middle and clicking on color. We select yellow orange color that same or less like this on a quick. Okay, you see already how we gave a nice and I stint to our be what? We're not done yet we want to place it in a way that actually feels natural and goods. Um, maybe I want to have it. Yeah, like there's like a darker they're credible can be But I think that the orange is a little bit too. Let's say dirty. So what we can do is always go in here and change the color afterward and see what happened . Everyone more yellow. We more like this. Maybe lighter. Okay, that second, this is already quite good. But you see the pain. The main problem for me is all this gray area. This is because we put this yellow orange color here, and then we only have a black caller again, so the color will automatically blend from this point to this point. So we're just adding black. And what other black dots it makes everything look a little greater. While in measure, there is a different kind of grading from light to dark. It's usually never from at the other thing, literally black. But it's a gradual thing where we have a little bit more red or a little bit more off. Just another color so hardly fix that. What I usually do is I have another point over here and the worry. Now everything is erased. We want to give to this color at darker look, but that it's darker in a natural way. So it's not but a black dark. But it's a more orangey reds dark. So you see already how we gave a different Tom and we can't have been made the grade in more. Just more rich in general and more colorful, it doesn't look dark anymore. It looks more naturally blending with darker color. And even if the dark is still the black, the black is gonna blend from this new caller to the black, so it kind of makes it look way more nice. So you see, already I looks better. I think it still looks too much like it's a little bit too right. So it kind of looks like on great and you give to fire. So maybe I will keep this more closely yellow or orange? Um, yeah, but trying to avoid the black black color. So let's say something like this. Yes, maybe we can again move the sliders in a position that it's more that is working better for us. Um, and we can do the same thing to the white because of the moment we're going from our yellow color to the white Onley, adding white. But we can do the same art Dane, for example, it with a lot IRA version of the yellow. So this way can do looks more like a golden. And we also the opportunity to move this lighter and the side. Where does this light color is gonna be? Let's say it's gonna be here. I can walk around the game and many needs to be a lighter. Well, that's pretty is around. What up? And let's say that you like it. Just click OK and let's see what happens for and after. And it is simply out being one layer ones green and my player see it, how much is working. And the good thing about this is that everything that we do under net is going now be affected by this cooler. So if we, for example, on in our text tour group, we are with sir painting with black what was served painting with pure black for then we go lighter. You see how it's not great, but it's going slightly or injury these because we decided here that this level of black is not gonna be black or grey is gonna be more orange. No, Having this layer already in there is gonna help us a lot. Enhance everything with them before with texture and with the colors. So now that we've applied this, we can kind of go back into our texture layer and make it look even nicer. So, for example, if I want to enhance this, then ice layer with them for we contrite to bring back some of the sexual Dexter is in the white, and you see how it actually looks different from what we did before, before we had the actual callers, it kind of looked a little dirty with. Now we are actually seeing what is gonna be the final result, and even something like the rock that before was a little too harsh. It's now we go back to where us It's folder and we think the rock No, it's elect them all copy and pasted. We can actually place it. You know, we're seeing in a way that it's more really sick, unbelievable, and but in soft light, the game, or even know just keep it up normal. We're just your bus fare so we can make this whole corner here look a little more harsh. It is simply because the whole layer were created before is really helping us, bringing the colors in a more realistic way. So you see how before enoughto sexually helping us a look, Um, and something is if we want to use the actual brush. So if, for example, want to clean up a little bit of this hearing the bubbles we can do we just using black and white. So used the brush with a white color on a slightly print over here. See how were again painting light. But it kind of feels more effective than well with it before we can go now with black. So you were just booking. Callers were not looking black. It just feels different. It's kind of hard to explain, but like when you we look at it, it kind of sins clear what's happening and see how this simple layer off black and white. It's making everything look way different, way nicer, and we keep going just over the texture over our base layer with Kohler's doesn't really matter what we do it just give it on texture. We can have more, maybe more light over here or over here. We're just gonna see that it's gonna look different because of the whole color. Sometimes just hard to work having only black and white When we when we are a little color again it's just gonna be easier because it's closer toward our how he is is used to see many want at some like I like sports here and said The drops I don't know, just trying and then we can still raise it It's the marcher. If it's no looking good What we can do the opposite we can You're not some some shut off the other some under this story. So, for example, this is the layer and just want to paint around it so we can invert the selection. Um, And with some black, maybe like this and we can reduce your lost their hopes. Maybe had two lives on in you later. Sorry. You layer and black. And we used to bust you will come where and hadn't seen the whole drop. Just a couple of clicks. Look And yep. So you see how a simple color layer is helping us to bring even more texture at the end, because considered this is, well, it's gonna look like again. So it's more like the more we go closer to the final result, the more we can up details and go changing everything with them before we can't even have more of this shallow. They're really like under each one of our drops. It's manual select autumn rivers and again on some black. You hear it now just a race, but we don't like it. This gives us so much control. And again, remember, if the whole colder then looks a little strange, maybe looks to yellow or too orangey. We just go back to our great in math and change it and everything. It was just gonna be applied directly, like it's all nondestructive. And we can always go back in time and change things. Star problem it'll and for example, now you see how this portion was a little bit. This drug looks a little bit too light. No problem. We just spend on top again. Take a black brush. I spent a little bit the race will you don't like and look, which is so easy, so easy. And to make it look even more nice. Now, the way fixed all the great and maps we can use, Um, some more adjustment layers. So we should probably do this under this great him up. So we create a new layer, but underneath and I'll create a curve adjustment. So we already done it before, so we know how it works, huh? See what happen? Have you want to make a living darker and then hands a little bit of the highlights again? There's no specific rule. Just the world looks nice to you. Yes, Let's see Foreign after much, much better, so much better. 7. Realistic Transparency: nice to have some more beetles to it. So let's go to our set folder again on, and I want to have this be number one, but I just want to open it when it to cut out our be. So to do that, I'll just start with a quick selection. First, Chris is selected all. And once we're done this, we can refine our selection. So clicking on select and musk we can, we thought, were refinish to just go around. Make sure selection is a little more Quinn. They would click OK, and we copy and pace it on top when we got here, or B we commerce into a smart object color layer bit and we skillet down. So I want to put my baby inside the beef. So I just want to the sides first of all, what is the right size for eight? Because that will determine everything else. Let's say I want to have it like this, all right? It looks what nice and I wonder it kind of trapped inside about our letter. So to do that kind of need to the side word be ends and where the letter starts. So where's the point where it's still inside the letter, and where's the feeling that I had is literally out of it. So there is no real way to decide that will assure me to try. So it's duplicate this layer. That's hard. It and our be copy using the lazaretto I just want to draw Oh, how I think the baby is gonna be. So I feel it's just gonna be cutting having how this little portion here and the whole head . So I just had the mustard and this is what I think you should be coming out of the letter and to see how it's gonna look, you know, more clear. Wait, let's turn on this be layer and just put the capacity down just to see was the actual effect of the end Is gonna look wait much better than this, but it's just for having a little quick overview to it. Uhm and another figure one toe out. He's the final parts off the legs. I want them to stick out too. So, in the Moscow to be using a a white brush, I want to brush in this little How do you call them hands? Um certainly give them a right to shape. So they're kind of wrongly, so they should probably come out like this more or less yet looks nice. And they start to give the right shape to the rest of the Me too. So probably is it's gonna be more kind of like this. All right, so this is how I work. Whole intellect. Er is gonna be groups straight to hide this. Okay. Okay. Looks quite nice. And I think the the right thing to make it look really realistic is those little details. You see how we have this little bump over here? If we would have gone here just like this will consider it a bomb. It's gonna look lies, but it kind of feels a bit strange. Well, if we added a little bump, it's like we're kind of following the rial shape of the B. C. Campbell feels more natural, like more. It's actually coming out off this whole. And what's that simple? Actually, it looks pretty good already. Um, the main problem, isi, is with the size of the beer because we made a quick selection. It looks nice, but you can see how this portion or this forest side here as kind of a white whitefish. I kind of tend to it at the end, So let's try to find a way to remove it. One thing I want to try is turning this layer into most of life and then duplicated and pull this layer into normal. Now it seems like with them nothing, but we have the Nuffield. That's how it looks so far. What I want to do now in this new layer, it's hard old site parts or the parts that have this little white, um, board their problem. So let's take a brush with black cooler. We have a really soft and painting on the mosque. I want to. Hi. This portion you see how we're like removing all the white? Very usually in quickly. Listen, But you were here. Here? Yes, maybe even this little portions here. Very nice. Very nice before. I don't know the show before and after. Anyway, trust me. Looks way better like this, so let's put this whole thing inside. Little group. Call this beer on. Let's look at this. Let's see how the B is. Actually, it's looking like it's sticking out and now we cannot a little more things to make it look like it's actually coming out of that. And first thing I want to put its a shadow. So as we say that we're light sources from this direction. So we should have a shadow coming from the legs of the beasts and this part of the head because the whole shadow is gonna be reflected on the surface such to death. Just create a layer under this one, Onda. We just Spain into it with black. I would it so far for almost everything. So I just want to kind of painted like this, give us sort of shape, more or less. Well, what I think is gonna be like and same thing for this one. But let's say the legs are gonna be like this and this shape again. It's gonna be kind of like this, and I want to give a heart edge kind of look, that's why we use the heart brush. So another would done that. We can literally reduce your bust here and blurry a little bit to blur it. This time, we're gonna use this March 2 just move around these parts and the reason why you this much still in no Hibler a Kocian blur effect is because this way I can literally control the level of blur it can avoid to blur the portion that are closer to the legs or the hats. So we literally are having blurred that is control and diffused depending on how far aways from the subject. I know we've done that. I'll probably apply this shallow with a leaner burn and increase the capacity. So, you see, I also the color looks a bit nicer. That would be kind of like this is nice. And now the be that we had underneath, you see that we just put it in just a lower a busty does not for me the best way to do it. The best way would be to have it the same color or thing kind of coloring with Deng toe the whole bi. So to do that, we just place it underneath our CC group so I can keep it outside the group right over here between the Cole correction and a texture, and you see how we just simply applied the whole coloring the with none so far and also after we're done this we can change the color of to be how we do that. We place a curve adjustment layer. We link it on their nets and I just don't want it to be so dark and so light. So we want less contras to do that. I pull up this corner here to remove the dark parts apple down this over here to remove the white parts. So it's kind of less the find, and I also kind of wanted to react to the rest. So I think I want to reduce a little video busty so kind of threats, the days and all this other stuff we put on so reduced capacity and we can again. It's just curve adjustment to make it more or less visible. Yeah, pretty cool, huh? Just very simple and just placing it in a different position. It's helping so much and other little thing. I want to have a more realistic cut here because it's hard and it's the rights. Let's say position and direction. But you see how it works. Realized on the legs doesn't work. S march is nice on the body. That's because the body is really for you so to death. Being affected this top layer over here and we literally paint single for air. Um, to do that, I will probably go with your smarts to make it really small. Maybe one or two picks. So but to pick some and we'll be around Oops, layer is going to top top. What? This wrong problems become or strong? So we troll longer lines? Yes. And we're literally spa jing and at the same time creating for experiment with do it on the outgoing outside Just because we're a layer underneath that as on more defined shape Overall. But I have a student first like this and then we can fix that other one we're creating this for. It looks quite good and that may be here to and now we can erase these portions from the underneath layer. So we take a brush toe. What? Soft with black We your race. We don't want you here too. You see low like now it's a really smoke up look Credible. That hero. Yes, Yes. Now it looks nice. Looks very nice. Very nice. And yet we conceal change. Other things afoot being they're wrong. Like for example. Let's see that this two bubbles over here are kind of two. Important at the moment on the look, too big and too just to present. So just go back in our texture layer. We find that because there's one guess and we can just reduce it. We can reduce the intensity oath wish lier this'll a er to the kind of knows a little bit off importance. So we focus a little more on the bit that averages too much of this. Yeah, and yeah, so we still have control over everything. This is just a show. I want to make it more present or less just every control you want. And yep, that's it. Let's see how it was before. Enough to be when you come with this deal so we don't be and would be See how much interest we put in the hole poster. It just looks really amazing. 8. Final Details: now we're only missing some final touches to really bring this whole poster to life. So we do want to add this final touches. So what I think went to really improve is be so be looks quite realistic for now in the whole transfer and see section of it. Where is inside our letter? But the park outside? Yeah, it works, but, you know, I should cried. The more the element, that is more focus off the whole thing. So to make that look when were nice, we just want to emphasize delight into it. I want to have the light that reacts toe the animal. Exactly how reacts to the rest of the peace. And we also want to, as we said before, focused the I to what's important and maybe bringing more life and shadows toe the whole animal. So how to do that? We opened our be that you're and first thing. I want to make it look more nice overall. So want to go with a curve adjustment, bring it up quite a bit and then just musket out and with a white brush just want to bring out the ice for soul. She looks like a quite important element off the beef. I really want that to talk. Um, I just want to do it on this overall section. You in the is the whole legs. I just wanted to look more just shiny. Just looks the missile feel and look more or nice. It's really hard to explain, but just have a little co adding a few more highlights. Just make it pop, make it look like Ah, yeah, that's the thing I need to look at. And once you've done the mass, we can actually increase the value of the cure just like that. And then some of the thing that we're gonna make you look amazing are really the smallest detail Now have a look quicker, the new layer, and we co we think it brush. Ah, what brush Really small. Now we're gonna paint light again this time. Just want to be you know, that the light comes from this direction. So it's going to react on the B and create someone really strong highlights on the face And on this black things I don't know the name. Sorry. And even on the on the arms, so in your layer you really close and we start painting. So how would they react? It would just be over here really strong. It looks. It's quite a strange thing to do. But trust me and see the results one over there, this one over here, literally putting lights where it doesn't exist. We really put it, you know, strong way we just used. Why? Because why not? Trettel Define redefined the shape of his face. This and switch on the hands too. Here, come over here. Same here. Let's have a look at what happened so far. So look before and after we're literally drawing the shape of the B, just making it put out. But, like with few white lines, will never done much Dissuade lands in this highlights, etc. Without and with just how a couple of lines can really bring everything to life. And I like it. But some of them are a little bit too work too thin or too sharp, so I can just go over and then with some more white. If we want to make it look fungible. Given more emphasis on specific areas, you know, with a soft brush, especially here, this should be really kind of reflect anything we're listens to on the radio. 12 I want to give a real off painting lights over. Things like that didn't really exist. Something that lots of people really struggle to do because they feel like it's not possible or is not really looking to good eso. So people just tend to find alternative ways to add light or just finger on Oh, I don't truly that way Or the image doesn't have that specific reflection is gonna be It's gonna be impossible to do it well, literally just takes you a little bit of time. And patients well, ask and look really good. Never. We've done this on this from oldest side, Let's say before laughter, we can even be even more crazy. Android over the hairs looks. It's really more complicated, so I will do it on a separate layer on sure is gonna be easy or manageable both. Let's see, just throw highlights on the hair have. It's a bad idea, but we're trying now. Maybe here, too. This makes it look more furry right? That's so much terrible it is. But come a break softy. We'll see from a distance it kind of looks cover looks nice. We don't highlights with the highlights. Yeah, and maybe want to really make this. I pop because it feels more like it's Ah, it's very important parts. So just I just think that doesn't have enough shadows oil. Crittle, the your make it darker. And I just make this whole section darker. Yes, yes. And now that I make it darker, maybe you can bring more highlights to it. The Islamic paint on it. Let's go with a soft, wet brush over here, and then we races from where, within minutes, sort of who's the right shape, kind off and then very differently, any more or less straight with the leaner Dutch and reduce the positive small it. That's not bad. That's not bad. Maybe he's name is to be smaller and closer. Just here again. Let's try just any anything, you know. Just try anything. Never know was the right way to do it. Yeah, it looks really nice. Americans smarted obits. What fixed the shape I could hear in here? Come over a bit. You could use a little bit. Let's see awas before and after that. We live in the dark. Yeah. Conscious. More find, like kind of C I s t I, um any of the darker part two billion darker? Yes. And this one on top, I kind of wanted more colorful, like it feels like I just put while on it. Well, it's way said so far to have a more realistic kind of color way to put cooler in the lights and colors in the shadows. Otherwise it just gonna be really fake. So maybe strategists just put in your layer, take the brush, take just the orange cooler. Maybe just let them talk. Uh, just listening to so flight. Yeah. So plight. And then I raise the portion I don't like I refused intensity of it and have a look just may. It's a really small touch, but it kind of feels like it's reacting to the whole the whole letter block, because it's old yellow in the reflection in the I kind of miss to reflect what is happening in the whole environment. So see, seal this little things with them on the B before and after we really made it pop. And now I want to change the deck room because the background that I really wanted that white because it just takes a little bit from the over role look. So we're just creating you solid color and we just pick any quarter we want. I would just go for some the course. They're already here. This yellow here, sweat lights. It's not really contrasting with anything. Yeah, what like or if you use the same while using original. This is the It's sorry. This is the color coat F F F six C zero straightly used up. Yep, it's quite nice. It works in this too. BGE So we're clean and that's it. Well done, human. It'll get things, means that you're officially l a belt in the art of ownership. Share your final artwork so I can see your result. Anything. Any help with the process? Our for the shop masters are there to help you. Thank you for joining the theme