All language subtitles for 1-6. Fantasy Composite Part 1.mp4

In this lesson.

We're going to create this
fantasy composite and we're going to be

diving quite heavily into layers, styles,
and how to use those

creatively in Photoshop to give

an image depth

and also how you can kind of layer up
the layer styles

and almost use them as their own layer
stack on top of a layer.

Let's get started

All right.

Let's go to File Open.

We're going to start
with the file called Vladimir

And what I want to do

is create kind of a fantasy composite.

We're going to give her some wings,
put some moons in the sky,

add some kind of fairy dust,

and then color grade the whole thing.

All right.

First,
let's make a copy of our layer here.

I want to get rid of this mermaid
on our shirt.

So let's go to the patch to

drag this to a clean part of the shirt
here.

Right about there.

Maybe get rid of this fold right there.

And that should work

next.

Let's go to file open

and we're going to open the yellow file,
which is a butterfly.

And I just want to take the wing.

And for this selection,
I'm going to use the pen to go ahead

and select the pen tool
and make sure you're up on path here

and zoom in a little.

And I start right here. Click

and then click and drag

to get that nice curve

for anything that has curves like this.

I always tend toward the pen tool

because it gives me the most control

of the curves
that I'm going to have in my final

mass or selection

Now, I also have this nice ability
of just going back here

and adding and subtracting to my selection

after the fact.

That looks good.

That's right.

Mouse click make selection pointer
to our point to feather it.

Okay.

To command to make that its own layer.

We can just detach this counter
move tool and drag that in here.

And then if I go here,
I can go ahead and just close this file.

I'm going to convert this
to a smart object.

Call it wing

call left wing

and I want to desaturated a bit.

So it's double clicking here.

I'm going to go ahead and add a vibrance

and just take down the vibrance here

and take down the saturation just a bit to

the nice thing

about using vibrance for something like
this is it retains the luminance

information a little bit better
than just using saturation.

So if I used saturate ration,

you can see
I'm getting this kind of grainy look

with Vibrance.

It does a little bit of a better job.

There you go.

Let's go ahead and close that

That looks better.

All right.

And I'm going to do
Command T for Transform.

Let's make that smaller

panel.

There is where I want it

and then I'm going
to make a copy of this layer.

I can also make a copy of a layer
by just holding option

and then dragging it

called this right wing conservative

yuck.

And then let's do
a command to flip horizontal

and bring that to where we want it.

Just right about there.

I don't want these
to be exact mirrors of each other.

So I think what I'm going to do
is make this one a tiny bit bigger.

So let's do command T, let's do option,
click on where the base of the wing is.

I'm just going to turn it a bit like this
and then hold down command

and just drag this
these two points out a little bit.

And then let's select

this wing here, command to option,
click there,

maybe bring this one down just a tiny bit

There you go.

All right.

And I want these on overlay

and you'll

notice on overlay that that color
is even more brave, more vibrant.

So I may go in here
and just bring that vibrance down

even more,
maybe more D saturation as well.

Let's go ahead and see how that looks

That's better.

Okay.

And then I want to take both of these,
put them in a group command G

and then add a mask to the group
called this group Wings.

And what I want to do is

paint out

where her hair sits on top of these.

So let's select a soft ground brush.

I got smaller, put my opacity on 100,

and then just paint it.

I'm painting in the mask
here, right where our hair is

and maybe unlink of this

maybe movement just a bit

too about there.

And with a with these on overlay,
you're getting that effect

where you're kind of seeing through her,
which I like.

All right.

But that's pretty good for the wings.

And now let's go file open

and we're

going to open the Neven the moon here.

And I want to select the moon out.

So I'm just going to use the round
marquee tool

and kind of select to about where the is

hold down option and shift

and that's about the right size.

I realize it's off here after
I've made this selection, I can always

just move the selection
by staying on the selection tool.

If you go on the move tool and
you start moving, you're going to cut it.

You don't want that.

Make sure you're on the selection tool
when you try to move the selection.

Also, another thing of notes is that you
can right mouse click and transform

a selection that will transform
the selection independent

of your pixels.

It's a nice little feature there.

Let's keep that a lot

right about there.

And I don't mind that it's cutting in.

I just want to make sure
it's not too far out.

All right.

So let's do Kemal and see

and command

the good old copy paste

okay.

So let's right mouse click and call,
make that a smart object

and call it Moon.

I want to rotate it so

that this is right about there.

And now we're going to start using

some layer effects
to give this some volume.

So our first assumption here

is that
the sun is probably somewhere around here

just based on the light hitting her there

and the light hitting there
and on her foot.

So that's what
we're going to base that on.

And what I want to do
is kind of give this shadows, make it

feel like it's floating in her environment
as opposed to being far away

So let's go to

the inner shadow

and I'm going to show you some tricks
here.

Let's go ahead and we're going to delete
the ones

that are there or

you're

just going to start fresh here
and add a inner shadow.

There you go.

All right.

So here's our default in our shadow,
and you'll see if I make it bigger.

You can see that
shadow coming into the edges there

and the nice thing about it is
I can actually change its location.

So let's take the sides down
and you can see where that shadow is.

So that's about where I want it,

because I'm presuming
the light's coming in this way.

So maybe one 45

or maybe actually one 50 is nice.

So right about there.

And then I can make it a little stronger.

And then I want to increase
the size of it quite a bit.

Right about their

I don't like that
it's overlapping this line right there.

So I may bring it in a little more.

So right about there,
and then we can change it

back to one 50

it's actually

one 45

actually looks nicer to me,
so right about there.

Okay.

Now I want to add even more,
so let's turn this off for now.

And we're going to go to let's get rid of
the ones that are here.

We're going to add a gradient overlay.

So this is our default gradient
overlay here.

I'm going to go to a black and white one
and we're going to change it to radio.

I'm going to reverse it

so that I have a gradient
going out from the middle and out.

So you can probably guess
where this is heading.

I can click here and move this

so that

it's basically the highlight

for our ball

and then I can put this on multiply

and take the opacity down.

I can also make a copy of this
and put it on overlay

or soft light

and that's going to give it
even more volume

And the other thing I want to do is

I want to color the

the moon with

layer style here.

So I'm going to click on Color Overlay,
and here I'm just going to select

a color from the background

and then put this on color

and maybe take the opacity down.

So we have some of the original color
showing through there.

You can see it
kind of fits better in our environment.

There

and let's
go ahead and turn our shadow back on.

So I like all that.
I like what it's doing.

The one other thing is because
we're adding all these multipliers,

it's making the black points
of this layer too strong.

So it now feels like it's

very close to us.

I want to push it back.

And to do that,
I need to put some atmospheric fog

or kind of atmospheric depth on top of it.

So to do that, I'm actually going to use

let's
see if we can do it with a color overlay.

No, we can't.

So there's

the layer styles work

as a layer stack in and of themselves.

So this is stacked on top of this,
which is stacked on top of this.

And you can change the sequence
of some of these.

But other ones, such as color overlay,

can never go underneath
a gradient overlay, right?

So what the sequence of these
is fixed to a degree,

but if you add more of a certain kind,
which are the ones that have a plus mark,

you can move those around.

So in this case, I'm going to use

an inner shadow
because I can't use a color overlay.

Now, fortunately,
you know, just because the name of

this is in her shadow, it doesn't mean
that's all I can use it for.

So let's go ahead and make a copy
and it change this one to normal

and just change the color to red for now
so I can see it

bring the opacity to 100

and then I can move the inner shadow
and there you go.

It's now covering my entire ball.

I can change the blend mode here to screen

and then select

the black color here

and there you can see it's now

adding some atmospheric depth
on top of our ball

and right about there looks good.

And the beauty of this is because
this is on top of the other layers,

I have all the depth
that I created with my layers

but on top of the whole thing,
I have kind of a fog that's

throwing it further into the background
that's going to drag it here.

So it's under this wing
and then just make it so well,

no peeks at a little more there,

but I'm happy with how that looks
and you can see how we can use

those layer styles
to give this some depth.

Next, I'm going to make a copy of this

holding down option again and dragging it.

I'm going to make this one
significantly smaller

and put it right there.

Now, you'll notice
that the effects did not scale properly.

It looks like our main offender
is the inner drop shadow.

So let's go ahead.

I'm going to turn off the global light
so that when I move this one, it's

not affecting this one.

And let's take the size of it down.

Yeah, there you go.

Okay, so

and in about there. Looks good.

Bring it up on this one.

I want the screen to be much stronger,

so probably

that's strong
just because that one's really back

and back in the distance
there, maybe even stronger actually.

Let's see.

Yeah, even like that looks good.

All right, let's hit. Okay, on that one.

Next,

I'm going to take one more and put it's

kind of midway between this and this,

so right about there.

And also because all of these are layer

effects stacked on top of this,
they're actually not

attached to the rotation.

So I can rotate this.

And you'll notice that my highlight
is staying in the same place where

I can create the effect
that, you know, this isn't exactly

the same planet as this

probably do need to adjust my

yeah.

I need to adjust this guy again.

Let's turn off Global Light

so I'm not affecting the others

that looks pretty nice.

And on the screen,
we're going to make this

probably

something around there,
something in between

probably even lighter

and be like that

yeah.

That looks good. All right.

And then finally, I'm going to make one
that's huge

in the corner here.

And let's find

that little interesting bit there
maybe there

that there

for this one, I'm actually going

to get rid of some of the effects

yeah, probably.

That looks pretty nice there.

Okay.

In this tutorial,

I want to dove a little further
into text in Photoshop

and also how to recreate cool layer
effects on techs.

And to do that, we're going to create this

poster for a Food Network

show using images and using text.

I'm also going to show you how to install
fonts using the Adobe Typekit.

Let's get started.

All right.

Let's go to File Open

and we're going to go to the course
assets.

15 text and titling.

We're going to open
the file called Color Diet Food

and we're going to turn this

into a poster for a TV show

called The Good Chef Project.

So first thing I want to do
is put some type here

and let's
go ahead and select that type tool

and let's just type here, click and type.

Good return, chef.

Then I'm going to do command to select
all my type.

We're going to make this quite a bit
bigger 300

and I want to change the font.

So let's go here

up to the font I'm going to click on

add fonts from Adobe Typekit.

And there's two fonts I want.

So let's search here the first one

is called Madrona.

So these are only

and there it is.

Let's view family

and click activate one font here.

And then the next font I

want is called Cuisine.

And let's view this family

and activate this font

and you'll see the little notice here
that the font is activated.

And now if I go in here

and type in my drone,

I've got that font

so that's pretty good right there.

Let's move a little bit to the right.

I don't want as much space here
between the two

so I can go to my character tab here

and change this from auto.

Just change it to 300

and let's make this a little bit bigger.

And in order to the shortcut

for making text bigger is shift command

and then period
and then comma makes it smaller.

So shift

command period to make the text bigger,
shift command comma to make it smaller

All right, let's move this over.

Kind of want
this knots here to be at the top.

I want the claw and there
and then I want these

to overlap
these kind of big lines of texture there.

All right. So that looks pretty good.

Next, we're going to use some layer
blending or sorry

layer effects to make this look like it's

kind of engraved into the wood.

All right.

Let's go to layer effects blending options

and we're going to turn on the Bevel
and EMBOSS,

and we're going to use an outer bevel.

And outer bevel is going to create

a bevel effect outside.

If you do inner bevel,
it'll put the bevel inside

and then emboss will kind

of span across the outside and the inside.

And then pillar one boss will bevel in

on the outside and

then up on the inside.

And then finally, a stroke
emboss is if you put a stroke

on, it'll just beveled the stroke.

So in this case,

I want to do a outer bevel

so that the bevel is just outside
of our letters there.

And that controls

how strong the effect is in this case.

Let's do about 600.

And then the size determines

how big it goes out.

This case,
I want it to be about eight pixels.

And then also the direction you can do
down,

which will give the effect
of leveling it down or bubbling up.

And obviously the light will affect
whether it looks up or down

because down is simply
just doing this right

I turned off Global Light.

So if I move this

around and I have effects on
something else, that doesn't affect those.

But this kind of shows you
where the light is coming from.

You can see a little preview here as well.

So I'm going to turn on the global light.

Where where was this fine

I don't want any gloss contour.

This is if you want to create kind of

if we go to inner bevel here,
you can see it a bit better.

But this creates kind of a metallic look.

Oh, and then this smooth is the default

chisel hard gives you

kind of a hard chiseled look
and then chisel soft

I've always been confused by the names

because to me, the chisel hard

should be called chisel soft

and like this as a marked contrast.

But they're just two different techniques.

Generally, I'm going to use chisel hard.

You can also soften that up,
but that's just blurring it. So

in this case, I'm not going to

let's put that back on the outer bevel
and let's get rid of the glass contour

here.

I think the default is screen

and the default here is multiply.

I actually want to put this on overlay.

I think that gives a little more
of a realistic effect.

And we want a pretty high, let's say 80.

And then on multiply, that's
how your shadow area is being affected.

You can try this on overlay as well.

But in this case,
I think Multiply actually works just fine.

And let's put this on 60.

Now you'll notice
these make defaults and reset default.

If I make this my default
and then make changes

I can then reset to the default
and any of these have those two options.

So just to realize that

and okay so that's all I want to do here
let's hit okay

let's do command zero
so we can see our whole image there.

Next thing I want to do is
I want to add some texture on top of this

as if it were painted white but also is
peeling like the rest of this would.

I'm going to turn this off for a second
and then go to my channels

and look through here and see
which one gives me the best effect.

In this case,
the Red Channel is the most white,

and because I'm creating white paint,
that's the one I want to use.

So I'm going to do command A
to select all, then command C, then click

back on my RGV and then click Command V,

and that'll paste my red channel here

as it's as its own layer

and then here
I can drag this on top of Good Chef

and then use my option

to make that sit on top of it.

And you can see the effect
that that's creating there.

And then I'm going to do
an image adjustment curve

shortcut for four curves as command and

and we're just going to make this

a lot brighter

and so somewhere around there

looks good.

All right.

So now we just have a little bit of that
texture showing through

the next thing I wanted to do is

I actually want to break some texture
through here.

So this has an even more kind of aged
look.

So let's go back to our background layer.

I'm going to option click on it.

So we just see that.

Go back to my channels here.

I want to see which of these
has kind of the nicest contrast.

And I think, again, that the red actually

yeah, I like the red best

just because I get a nice contrast
in here.

I'm getting some nice contrast in there.

So let's command again

and Command V

and I put this on top
and then I'm going to go to Image

Adjustments Threshold,

and that's going to create

pure black and white out of this.

And you can move
where it's thresholding here

the probably right around there.

Now, if this is too much,
you can do a similar thing.

Let's cancel this one 30.

That's pretty nice.

We can also do that with levels
our curves.

So let's go ahead and do a levels here
and essentially

we are bringing these two together
to create that threshold

so right about there actually looks pretty
nice.

Let's set okay

and now I want to make a selection
out of this.

So if I hold down command
and click on this, it's

going to select the white

and then I can turn this off,

turn on my good chef layer and add a mask.

And you can see it's now kind of breaking
up this now it's a little too much.

So let's see if we can't

do a command M on our mask

and adjust it a bit

and see it's already pretty

black and white, meaning any adjustment

here, we're going to do
is not going to affect that much.

So in that case, what I'm going to do

is just paint with a white brush

and just leave a few areas here

dug into.

All right, so let's go in our brush.

I want to select a hard rounded brush,

make sure I'm on 100% opacity

on the mask here
and then just start painting out.

Just leaving a few spots here

that are broken.

So there

maybe this bottom little corner here

and a little bit here

and maybe a little bit more here

and kind of like this

big one right there.

I'm going to leave that.

Get rid of the rest

and stick the same here.

Have a few of these.

Realize we also do have the texture on top
this one here.

So it's not like
we're losing all that nice detail

and here it's definitely too much up here.

So it's dispersion, but smaller

I do like how it's breaking around this,
not here because it really feels like

this was

actually engraved into this word.

So I'm going to leave some of that nice

broken up part there

and I think that's pretty nice.

Let's turn this back on here.

So let's maybe make this
a little bit darker

in our dark areas there

but there again,
command em is the shortcut for a mask.

All right.

So that looks pretty nice.

I do want to get this cloth
setting on top.

So what I can do
is I can put both of these layers

into a group and call this good chef

and then put a mask on that.

Let's turn it off for a second

and use quick selection on this claw,

maybe select and mask

with some edge detection.

At Okay.

And then make sure my foreground
color is black and then option delete.

There I go.

Okay.

Next thing I want to do is add
the and project.

So we're going to use
create a new text layer.

So let's go in our text tool here

and just click and then go there

and this is where

I want to use the quizzing font

and the size of it is already pretty good,
maybe a little bit smaller.

So I select my text here,

maybe make this to 80

and that's pretty nice.

And color wise I want to pick a color,

so I just click here
to select the color of my text.

I want to pick a color
that's in side the image here.

So maybe this kind of fluorescent green
and then I'll just push it up here

and I think that's pretty nice.

Next, I want to make a copy of this layer,
so I'm going to option drag it

down here,

go in my take tool and

change this to project

and I want this to overlap

that layer there just a bit like that.

And on this we're going to add a stroke

and the default is one pixel.

Let's make that a little bit bigger.

And I want to make the color a darker

green from the image

yeah, maybe that one.

And let's make it five pixels.

Make sure it's on the inside
and let's do color.

Okay.

And let's also add a drop shadow.

So let's go to drop shadow
and reset that to the default

and let's increase the distance here,

bring up the opacity

that looks pretty nice.

So, okay, I want to copy
all these layer effects to the

so if I hold down command and option

and then click on effects,
I can drag them onto this layer.

There you go.

I want to make that drop shadow
a little bit stronger.

Maybe just a tiny bit smaller

and copy those there.

All right.

So I'm kind of like that.

The next thing I want to do
is add some text down here

for that, I'm
going to go back to my text tool.

And in this case, I want it to be white

Now, the problem is I have this selected.

So as I'm making changes up here,
you can see it's making the changes here

so you can go select these select layers

and that way, when you start
making the changes here, it's

actually not going to affect anything
you have selected.

Let's do Arial Bold.

I want this to be maybe 35

and instead
of just clicking to make the layer, I'm

going to click and drag
and that's going to create a text box

and you'll also notice
I put some fake text in there.

I can use that fake text

to adjust my settings here.

I also want to put this on auto,

and then in here I'm going to type August,

let's say August 29th,

seven, nine,

p m, seven, 9 p.m.

and then return on the Food Network.

That's good.

Enough.

And center this up under here.

And this is where

smart guides actually may help so
if I turn on smart guides and I drag this,

you can see that line there indicates

when it's centered up with the project.

So that looks good.

Let's also give this a drop shadow

drops down.

And obviously
I don't want it to be that far away

and I want the size of it to be bigger

and maybe a little bit of spread there

there you go.

Said, Okay,

next thing I want to do

is just fill in this

kind of empty spot right here,

and I'm going to do that by copying this.

So let's go to our bottom layer here
and I zoom in

and then go to my pen
to make sure I'm on path

and then just draw a path around this.

The reason I'm not using the Circle

Marquee tool
is because this is not really a circle

and as I've mentioned before,
using curves is the best.

When you have something that

has curves in it

that looks pretty good.

So let's right
mouse click make selection at, okay,

and then do command to make a copy of that
onto its own layer.

So I want to put it here
and then I'm going to go to Drop

Shadow and I want to kind of match
the Drop Shadow of this one.

So let's select the drop
shadow, drop shadow

color, select that color there.

Now turn off global light on this one

move that to about there.

Increase the size of it

it's a little bit

too dark so let's move it this way.

That looks pretty good.

Getting a pretty nice match for that.

Now this will have some ambient shadows
around it to somebody.

Use an outer glow for that and

from here I want to change
the blend mode to multiply

and change the color to this color here.

And then increase the size of it.

So there you can see that's
just adding a little bit of an ambient

shadow around it.

We'll keep that pretty low opacity there.

So there you go.

Now, as I move this around,
you can see the shadows following me

and also the nice thing about this is
I can rotate this

and the shadow
is going to stay in the same

angle there.

Now, I can move this too. Here

and I want to do the same

with this tomato
and just kind of overlap the letter.

The more things,

the more elements that I can have
overlapping and a composite, the better

just because it makes the whole thing
feel less like it's a composite.

And more like it's
all one photograph taken together.

So I'm going to snatch this
tomato here again.

Let's go to our pen tool

and this one,
I'm going to cut into the tomato a bit

because I don't want those deep shadows
that are being cast

by these

elements around. It's

a is the shortcut

to go to my direct selection error there.

All right.

That looks pretty nice.

Forgive the background
sound of the lawnmower there.

All right.

Let's go to our original Layer
two command J

and you can see we have that there.

I want to get rid of that.

So I'm going to lock
the transparency of this layer.

And then just use a healing brush there

There you go.

And I can unlock
the transparency of the layer.

I remove this to write about there
and I want to put it above.

So there, what's rotated around?

Now, in theory, that would not rotate.

So we're going to move that. Just

make this look

a little more realistic there.

And I think right about

there is nice
can also just skew this a bit

so it doesn't have the same shape
as our other one.

And then what I want to do is

I want to get rid of this highlight
and then move it over here.

So first let's make a highlight
it's own layer

make a lasso around there, command J

and I turn it off for now.

We can call this highlight

and then on this layer
I'm going to use the patch tool

and just

get rid of this. So

and then let's move this to where

it would be so right about there.

And then I can just put a mask on it

and with a soft brush

just paint around those edges

and that's good enough.

Let's merge those two command E

and then I'm going to take the effects
that I created down here

and hold down option and command and copy
those until there.

Get that nice shadow there
that looks pretty realistic

so that's nice there.

Then the next thing I want to do is

go to file place embedded

and in our same folder here,
you're going to see

another document called the book

and let's go ahead

and just place that
and then option click on the eyeball.

And I want to cut out this bowl right here

so let's go in our pen tool again

and let's just cut this out

it's pretty good.

Let's go a

make some small adjustments here.

Good.

Right, Mouse click make selection

and let's put a mask on this

and then convert to smart object

and then I'm going to option click
to turn off that eyeball

and you'll notice that the drop shadow
here is going in this direction.

I want to match it to this.

I'm in a right mask or command
T for transform and just transfer that

so that the shadow is going
in the same direction as the rest.

This image

and I basically want this to be the
oh here.

So I'll put it there.

Make this a little smaller here

about there

and again, this is just another element

that's overlapping to make this look
all more realistic.

When I hold down option command

actually another way that you can copy
the layer effects is right mouse

click here and say copy layer style
and then paste layer style here

that looks really good.

Let's put that underneath it.

So it's kind of hiding back, back there.

Next thing I want to do
is just crop the whole thing

so that we don't have so much head space
and we're a little more centered

on our titling.

So let's go on to the crop tool.

I want to put this here on five by seven

and then

bring this up
and you'll notice how it snaps down.

If it's not snapping for you,
just make sure you have Snap turned on.

All right. Next, I'm in a drag this here.

I'm using these two guides here
I want them

to kind of center up my titling there

out there

and there looks pretty nice.

Let's hit the check mark

I on to make sure delete crop
pixels is not checked.

So if I need to recruit, I can

there you go.

Let's also go to view

new guide layout

and I'm going to

let's just do columns to

and get rid of the gutter here
so that it's no gutter.

Let's do rows

three with no gutter

it's going to give me a few guides here
to center things up.

So I want to take my project here
and just centered that up to this guide

and also take this food

and center that up to the guide like.

So thank the

and the good chef
already looks pretty good.

And now we can turn off our guides

I'm pretty happy with that.

All right. Next,

I want to add a vignette to this.

I'm going to add a new layer here

for this.

I want my guides
on which is command semicolon

I'm going to select the circular maki here

and let's head Q for Click Mask

fill my whole mask with blacks
and nothing selected

and then go from right about the middle
here.

Click start dragging hold down option

Now that's about where I want it.

Now I can do option delete

to fill that part of my mask with White
and then go to Filter

Blur Gaussian, Blur

Blur that quite a bit

Let's say two 50 hit okay.

And had Q

and if you're not sure
which part of this is selected,

go in your selection tool and the part
that's not selected will have a cross

icon and the part that is selected
will have a little select icon.

So in this case I actually want
my selection to be the outside someone.

I invert my selection. All right.

And then we can do a curves layer
and you'll notice that my mask

I can just bring down that curve

if bring the top down just a little to

and we're getting a nice vignette there

I don't need this layer

in called this vignette

let's turn off our guide's
command semicolon

and I'm pretty happy with that.

I want to pump
just a little more color into this guy.

So select him

and let's
go ahead and do image adjustments

vibrance

and a little bit of vibrance there,

maybe a little saturation to go

and there you have it.

I'm pretty happy with that.

All right.

Let's go ahead and save

I'm going to call this

good chef TV poster

at Save

and this

I want to save as a PDF
because I'm going to send it to press.

So I'm going to show you that here
this is if you're getting something

printed, see, my K, what I'm going
to do is I'm going to save as

and I'm going to go to Photoshop, PDF

and when to turn off layers and

go ahead and hit save

and that's what's hit.

Okay. Here.

So this is the Save Adobe PDF dialog.

You have certain presets here.

So press quality and so forth.

If you're going to send to press,

I'm going to show you some settings here
that you're going to want to use.

First select PDF X three
that's going to be compatible

with 99% of all print houses.

Next, go to compression.

You want to keep this to maximum here
and then for output

change this to convert to destination
which is going to be working seem mark

any press is going to use

see my K color space
and that's it had saved pdf

and there you go it's done.

Now if we go to our finder

you're going to see a PDF here.

And if you open this in acrobat

you're going to see
this has been converted to seem

okay and is ready to go to a print house.

Let's go ahead and close that

and that finishes that tutorial.

All right.

In this lesson,
we're going to create a movie poster

for the girl with the Dragon Tattoo.

We're going to use an image of a woman
and to add

syntax and texture, some color grade.

I'm kind of using all the different things
that we learn

in this course to create our own image.

That would be something that you would do
in design.

Now, as a photographer,
you probably won't be doing movie posters.

You'll probably have a graphic designer
to do that.

But I really like doing movie posters.

So come with me on this final journey.

All right.

So in this lesson, rather

than opening an existing file,
we're going to create a new one.

And to do that, we can either
click on Create New or go to File New,

and that'll open the new document dialog,
which you can see here

and all your settings are here
on the right.

And these tabs
essentially are pre-made presets.

You can also access templates
provided by Adobe here.

You can look into that.

Honestly, I never use this because I'm
usually creating stuff from scratch.

In any case, although there are
really cool stuff that you can get here.

But for now,
we're just going to go and create our own.

We're going to call this movie poster

I want it to be 24 inches wide

by 35 inches tall,
and I want the resolution to be one 50

our job color, eight bit white background,
that's all.

Okay, actually, I'm
going to change the background to black.

Not very important.

You can always change
that after you've created your document.

So let's head create.

This is going to be our movie poster
and I want to put some guides in place.

So I'm going to
go to view new guide layouts

and I want the

columns to be for

and the rows to be

well, let's do to actually
now let's keep that at six.

And then I do want some margin

I'm going to make the margin, let's say

two inches

I don't need a left and right,

but I want also to inch margin on

the bottom

actually.

Let's make this one inch Erika.

All right.

So that's my settings.

You can copy those let's add. Okay.

And to turn off the guides,
you can do command semicolon.

So if they're getting in the way,
you can just turn them off.

Our next thing we're going to do is go
file place embedded

and we're going to select
this had this file here

and I'm just going
to move this to the bottom

and then hit the checkmark.

And let's turn off the guides
command semicolon.

And essentially what I want to do is
I want to create our own version of

a poster
for the Girl with the Dragon Tattoo.

So we're going to add a Dragon Tattoo
to her back and then add some titling

and then do some subtle color grading.

And through the course of this, we're
going to learn a little a little more

about text layers, adding text,

adding some texture,
and also adding a tattoo.

And finally, I want to show you
how to create an action in Photoshop.

So let's get started.

First,
I'm going to make a copy of this layer

and convert it or rest dries it.

And I want to get rid
of this existing texture

because we're going to add our own.

So let's just zoom in a little bit here

and let's do a really

basic selection of her using Click Select

and to make my brush a bit bigger
with the right bracket there,

just select her

all right.

So that would be a little more careful

when I do the hair here
so I don't select everything.

So right there

and then maybe make my brush
a little smaller

as I approach the hair here.

That's what I wanted to avoid.

Can your command Z

and let's do

that.

Let's go ahead and click select

and mask, turn on some smart radius

and then I'm just going to use this
brush here,

which is just the standard
masking brush basically.

And I can adjust the feather here

and just paint in the hair area here.

And that's going to be
good enough for our purposes.

All right.

Let's head. Okay.

And I am going to invert my selection

so I'm selecting outside of her

and then I want to add a curves layer here

and you can see in our histogram where
the black should be versus where it is.

I'm just going to drag this
or black is where it should be,

right about there.

Now, here's the tricky thing, right?

So by doing this,
I've made the black point

of the background stronger
than the black point of her, right?

So you can you zoom in here,
you can see that she the black point in

this image is not 100% black
so how would we avoid this?

Well, what we can do is rather than using
let's go ahead and command click on this

so we have our selection, throw this away
and then let's use A Levels instead.

I'm going to go here and do levels.

Now what I can do is I can do

the same thing I was doing with my curves
and compressing that black point.

But then I can bring my black point up

to match what it was.

So there you can see

I turn the TV on and off.

I'm getting rid of the texture, but
I'm not changing the black point, right?

So it still has the same black points
as it did before, but

I'm simply compressing out

that texture that was in there

so I'm pretty happy with that.

Next thing I want to do

is go ahead
and just make a layer at the very top,

do shift option, command a

and what I'm going to do now

is pull in the Dragon Tattoo.

So let's go file place embedded

and select

the file called Dragon Tattoo
and put this down.

So it's right about there.

Be a bit smaller

and I think that looks pretty nice.

Kind of wanted a little bit under this

okay.

And before we dove too much into this,

what we need to do
is separate the frequencies

here, basically do a standard frequency
separation on this so that we can put

the dragon under the high frequency
meaning under her skin texture

so I've already covered
how to do frequency separation.

But what I want to do
now is show you how to create an action.

So let's go ahead and open our actions.

Palette

and actions are basically

a means of

recording actions that you do in Photoshop

so that you can then repeat those actions
without having to do all of them again.

Okay. So let's click on this.

We're going to call this photo actions.

So this is making a new set,
not a new action.

And then in this
we're going to create a new action here

and we're going to call this Frequency

Separation eight, but

now it's
important when you create an action

that you have

selected the layer
that you're going to make the actions on.

So in this case, this layer right here
is the one I'm going to do the actions on

so I want to make sure

when I start recording
that this is the layer that's selected.

So let's hit record.

So now you can see this is red.

Anything I do from this point
forward will be recorded in this section.

And you can

you can see here that the actions
are going to start listing as I do them.

And another thing to note here is
you want to do as many things

through your top menu and failing that,
you want to do them through shortcuts.

And the reason that's important is
an action

will not record mouse movements.

And it also,
if you select a layer within your layer

stack, it's going to record it
as selecting the name of that layer.

So if I

select Dragon
Tattoo, and then I try to run this action

and another document that doesn't have
a layer called Dragon Tattoo,

I'm going to be up a creek
without a paddle All right.

So let's go ahead and go layer,
duplicate layer.

We're going to call this one low frequency

and then let's do it again.

We're going to call this one
high frequency.

And then what I want to do is
I want to select the low frequency layer.

The problem is if I do it in the layer
stack, this action may not work.

So there is a shortcut to changing
which layer you have selected,

and that's option and left bracket
to go down.

Option right bracket to go up.

So there you go.

I've now selected low frequency next I'm
going to go to Filter Blur, Gaussian Blur.

I want to zoom in here.

And for this, I'm going to do three pixels
because that's something that'll work on

90% of all my actions on my frequency
separations.

Let's head.

Okay, and then I'm going to do option

right bracket to select high frequency.

And here I'm going to go to image
apply image

make sure the layer here is low frequency.

And because the action name this, it's
always going to be able to find that.

And then you want to make sure
it's on subtract

100% opacity

scale to offset one 28 ten.

Okay.

And we're going to change
the blending mode here to linear light.

And then what I want to do is select
both of these and put them into a group.

So to select it,
I'm going to do option shift

left the

bracket that's going to select
both layers.

And then I want to do a new layer group.

So we're going to go group from layers

so that the layers that I have selected
are included in there.

And because I'm doing it through this,
I can also name the group.

So we're going to call this frequency
separation

hit. Okay.

And then stop recording.

And here you can see
we have our frequency separation.

It matches our background image.

And now I can start doing my frequency
separation corrections.

And the beauty of this is
I can throw this away

and I could open
an entirely different document.

Let's go to portrait retouching

model

make sure we open this at eight bit

and I'm not going to open a smart object

open image

select my frequency.

Make sure the layer that I want to do
frequency separation is this one.

And then just hit play

and voila,
I have my frequency separation done.

I could start working on it.

All right.

So let's close that and

well, I deleted the layer
so we can just head play again.

Boom.

I have my frequency separation.

So that's something that you can do.

One thing to note
is after you've made your actions,

a smart idea is to export them
so that you save them

and that I'm just going to select
the folder here that I've made.

Go up here and go save actions.

And we can call these photo actions

now, when I quit Photoshop,

this photo actions will still be in there
when I open up again.

But if for some reason,
my Photoshop crashes

between when I created my actions
and when it crashes,

these aren't going to save.

So that's why I always think
it's a good idea to save your actions.

And if you don't
have your actions anymore,

you can always go
here, load actions, select

a file you created, hit open,
and now I have my actions again.

All right, so that's how you
create actions in Photoshop.

All right.

With our frequency separation done, I'm
going to take our drag in here and drag

it between the low frequency,
the low frequency and the high frequency.

Let's zoom in here

and let's put this on multiply.

All right.

So right away,
you can see we have that skin texture

sitting on top of the dragon,
which is what I want.

And now we're going to make this
look at all more realistic.

So first off,

tattoos aren't quite this

sharp.

So we're going to add
a little bit of a motion blur on there.

Let's do like 1.5, maybe

most. I'm going to copy this layer.

So shift and drag and the one underneath,
I'm in a blur even more.

So we can just
double click on the blur here.

I want
it to have some kind of bleed out there,

which is usually what happens with tattoos
is the longer you've had them

that do you know, the color dye starts

to see deeper into the skin.

So right about like that

and part of the problem,

though, is it's making these parts
of the tattoo darker, which I don't want.

So what I'm going to do
is I'm going to command

click on this layer that's going to select
the transparency of it,

and then I'm going to do select
modify contract to pull in that selection.

We'll do that by six pixels
and then select Modify and Feather,

and we'll do this by six pixels as well.

And then I'm going to hold down option hit
delete.

That's going to delete the inside there
so that our bleed off

is just in the middle.

Now, I do kind of
want it in the white parts here.

So what I

may do is
just select option, click on this layer.

So I just select this, go into my channels
find the darkest channel

which seems to be blue, and then hold down

command, click on that

option, click on this again

and go into this layer option,
click on the mask

and then do command delete.

There you go.

Okay, let's go back to our layer.

All right, so there you go.

Now we have more kind of the
look that I'm looking for there.

That looks pretty nice.

Next thing I want to do
is add some variation in terms

of how strong the tattoo is.

Let's show you a little trick to do that.

Let's add a layer mask,
make sure a layer mask is selected.

Make sure colors are black and white.

We're going to go to Filter Render Clouds.

All right.

And if we option, click on the mask.

You can see what that has done.

It's created just this cloud pattern
and then let's blur that

just to about there.

You can also unlink it and maybe make

the pattern a little bit larger.

I can just do

something like that maybe.

And I don't want it to be quite so strong.

So going to do command M
to do a curve layer on my mask

this bring up the bottom of it.

And also I want this part to be

like stronger.

So something like that

and then let's do the same thing on here.

And now you can see the problem
is I already have a mask on here

and if I do it on here,

it's just going to over, it's
going to replace this mask.

So what I can do is I can do
command and G to put this

in a group and a mask onto the group.

And then do the filter render clouds

let's detach that again

to command T to make it larger

like so it looks pretty good

and I'm going to do command
am on that as well,

just bringing it up so it's not as strong

Okay.

So that's starting to look more realistic

now. What I'm going to do
is take all these layers

and convert them to a new smart object

put that on multiply

and on this layer

I want to displace it against her back.

So to do that,
we're going to go image duplicates

and we'll call this displacement map

and in here I want to delete

when I click on the option, click on this

and then just flatten image

and say, Okay, I want a flat image here

and I want to bring a little more contrast
into this area of our backs.

I'm going to do Command M for a curve

let me do that.

And then
I'm going to make a black and white

and then do some blurring

I want to get rid

of all this little fine detail.

All right. About there.

So 27.5 looks good.

Let's go ahead and save this

we're going to save it as a document

into our job file.

Let's go ahead and close that.

And then with our Dragon Tattoo
Smart Object here

selected, I'm going to go to Filter

Distort displays.

2020 should be good hit.

Okay. And select the displacement map

you can see that's now
kind of curved it along

the folds of her back there.

We can also take the opacity

down on the whole thing

just have a little more
of that skin showing through

to about there.

I think

pretty nice.

The last thing I want to do
is take this layer here, copy it.

Let's bring it all the way to the top

and I'm going to do an adjustment
layer here

let's do levels

and I want to just isolate
the highlights in here.

So I'm really going to push this
so we're just seeing

those highlights

just about their looks good.

And then I'm going
to turn this black and white

and I just want the skin
so I can just use a big white

or a big black brush here
and just paint this away.

Just like so

so I just have that little highlight
on our skin there.

And then I'm going to put this on screen

and just going to delete it.

This spot there actually

yeah, it's delete that there there, Erica.

So now it's just this highlight
on top of that's how to there

just makes the tattoo feel more

like it's under her skin.

And then what it might also do here.

So I want to make it a little bit
less strong down here.

You can also see potentially it's

might help to get rid
of some of that color in there.

So let's go to Vibrance

just take that vibrance down a little bit

yeah.

About there

and then I'm going to double click

over here and I want the underlying layer

to right about there
you can see it's starting

the dark areas are starting
to eat into the tattoo.

There

it is

right about

there and then we'll just break it
like this.

Holding option to break it

There you go.

So, okay,

so I'm quite happy with how that looks

on last thing I want to do is

get this flower

over here.

Let's put this in the frequency
separation.

I'm actually going to change this
to Dragon Tattoo

because this entire layer set

is creating that Dragon Tattoo.

Okay.

So let's
go ahead and turn that off temporarily.

And I want to select out this

flower.

To do that, I'm
going to select color range,

see if we can isolate the skin color here.

Hold down shift

so it is doing it to a certain degree,

but we are getting a lot of the flower
still selected.

So let's take down the fuzziness,
maybe take down the range as well.

And let's see how that does.

Not too bad

what we can do
here is make a copy of this,

bring it above the Dragon Tattoo

and then add a mask to it.

Now, the mask is the opposite
of what I want.

I want the flower to show
so I can just take the image

here, go adjustments and go invert.

There you go.

And now I want to clean this up
so that this black area

has no black spots
and the white area has no white spots.

So I'm just going to do that with a brush

let's paint this area with some white

and then head X there

and paint this area with some black

that's a way
you can use kind of a combination of

color selection and then

just straight up
painting to make a selection that

the other selectors

are not going to have a very fun time with

and it is faster than trying to.

Right.

You know,
draw a path around this entire thing.

Oh, okay.

I think that's good enough for the area
that we need.

We really just need this area here.

So that's the area
that I'm concentrating in.

Can now right
mount or command click on here

and then I'm holding down

option and shift to intersect.

Just making that my selection area

now if I go back on here,

you can delete this layer mask

and let's add a new layer mask on here.

And there you go.

Now there is still some noise

and stuff back here,
so let's try to fix that up.

I'm going to go ahead and command click

to select Delete the Layer Mask

and then click on Select a Mask
and then turn on the smart radius here,

turn that up.

And also with the brush here

kind of paint in between here

see if that does a better job.

All right.

Let's

it. Okay.

And head mask again.

That's a bit better.

It's still this, but
I think I'll just go on the mask itself.

And with a white brush,

just paint that area

same with this panel right here.

And I'm pretty happy with that.

Okay,
so that finishes pretty much our work.

And also because this is all layered
the way it is

and everything's happening in layers.

The nice thing about
this is if I want to change

the size of my dragon or it's placement,
I can do that

the only thing I would have to do
if I want to change this,

the only thing I would have to do a second
time is the displacement.

You know, maybe we can get

the dragon down just a little bit
so that we have more of that skin overlay.

Maybe make it just a tiny bit smaller and

right about there

there you go.

That looks nice.

Next thing I want to do

is add my own texture to this background.

I'm going to go to the very top here,
go file place embedded

and grab it.

This long name here.

This is just a grunge texture.

Let's turn it around,

make it bigger

you go

and I'm going to get rid of the color.

Let's do image
adjustments, black and white,

and I want to put this on overlay

and I don't want it to affect her.

So we have this mask.

I could just copy that
mask over like that.

And that does a pretty good job, actually.

Another thing I could do is

do the good all layer blending trick.

In this case,

just move this slider over to the right

until it's not on her
and then just break it up

just like that.

There you go.

The nice thing about that is the texture
will kind of go into the darker

areas of her hair and also into the darker

areas here because it's

adding that texture based on the aluminum
luminance of the layer.

So there you go.
We've added our own texture.

Next thing I want to do
is add some typography.

So let's go on to the type tool.

I'm going to go to our fonts here

and we're going to search

for a fonts called Monserrat.

And if you have an earlier
version of Photoshop

that doesn't have Adobe Typekit,
you can download this font from Google,

and I will also include it
in the course assets.

So let's go view family

and let's activate

the monster out family there

Okay.

All right.

So let's go on the tape tool and let's

select Monserrat

and I want to use

extra light.

57. Let's turn on the guide's

command semicolon
I want it about right here.

Let's type in the Girl

with the Dragon

Tattoo

It's it's a checkmark.

Hide our guides

think I want to go up a little bit.

And if you hold shift,
when you move your arrows,

you move by
ten pixels as opposed to one pixel

all right.

And then

select the text command
and just make this a little bit

the letting a little wider here
maybe light instead of extra light.

Let's hit the checkmark.

Yeah, I'm happy with that.

All right.

And then I'm going to option
and drag this over here.

We're going to put some actor names.

So we're just going to say, John Smith,
I want to make this a bit smaller, maybe

45 actually.

Let's make it 40

and then option drag it over here

and I can hold down shift
so it stays in the same place

I call this one Jane Smith

and both of these names.

I want to back off a bit
some of the select them both and change

the opacity to 50

and then lastly,
I want some credit text down here.

So I'm going to go back on to my type tool

and change this to regular

change it probably to like 18.

Oh make sure

when you make changes
you don't have text selected.

So let's go to select these select layers.

All right, so let's change this to 18
and then I'm going to click drag

to make a textbox

and let's
go also in here and change this to auto

and let's make the

text a little bit bigger and change

kerning to zero.

All right.

And because this is a text box, I actually
want to resize and move my text box.

I'm going to turn on guides because
I want it to go to this bottom guide

and I want it to be centered

all right.

About there.

Okay.

So next I'm going to go to my finder.

And inside the assets folder, you're going
to see a document called Credit Text.

Let's double click that.

And so you don't have to type all this.

You can just select all this text
command c, go in here, select

all that text and do command to V

and let's go ahead and make this

a tiny bit smaller
so it doesn't have any line breaks

right about there.

Let's go a little bit closer here,
see what we've got going on

so to change the

font size with shortcuts,

select
the text, then hold down command shift

and use period and comma

okay.

So that's pretty small.

What I may want to do is just bring

the director of photography

down to the next line.

I can actually get rid

of all the hard line breaks here

and then just move this text box.

All right.

So I want to get rid
of the hyphenation in there

there you go.

Okay.

So now let's say I want to transform
or make this text bigger.

If I go in here, it's
going to keep it in the text box.

And if I don't want that,
I can do a free transform

on the whole thing
and that will make the text bigger

and make

my text box bigger at the same time.

There you go.

That's my fake movie poster.

Credits

and that pretty much finishes
all the text.

We can take all those layers and put them
in a folder called Text and then finally,

what I want to do is just add some color
grade on top of the whole thing.

For that, I'm going to use a gradient map

and let's go ahead and select

the dark color and make that kind of a

turquoise blue.

And let's make this color

kind of a golden yellow

and probably need to do saturate this
a little

and let's put this on soft light

and maybe

make the yellow a little more gold and

a little warmer

that's pretty nice.

And then finally,

I do my famous

blue curve

just bring up the bottom of the blue,
bring down the top,

maybe add just a touch of red

in the highlights here.

And I'm pretty happy with that.

I can see a quick before and after

and there you have it.

Let's go ahead and save it.

And we can call this girl

with a dragon to poster

All right.

So that wraps up the course.

I hope you learned a lot from it.

If you want to get further
into Photoshop compositing,

you can check out my YouTube channel
where I have quite a lot of free tutorials

on how to recreate different movie posters
and do different types of composites.

Also, if you want to really learn
Photoshop compositing,

I suggest you take some of my advanced
courses on Photoshop compositing.

Those courses are all project based.

I do think that's the best way of learning
software

is to learn it through doing projects.

And even though the beginning of this
course was a little heavy

on teaching new tools,
I did try as soon as I could to start

relating those to real projects.

And in my compositing courses,

each one takes a composited image
and starts from the beginning

and takes it through the entire cycle
from beginning to end.

And through doing that,
I teach you different techniques

and different tools in Photoshop
that you can use.

All right. I will see you next time.