Lecture 3

18 minutes
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Transcript

Hello, everybody, are you ready for the third lecture? Let's do it. As we saw at the past two episodes, we're now going to continue and we're going to get the lab file, put it in Photoshop, and smallest size little bit and make it 80. Okay, that's nice. Put it here and duplicate it and duplicate it to make three lamps. All right.

Now I want to make the perspective right. So I'm going to do as I did before, I'm going to use the pen tool, and I'm going to make a line, a line to the perspective and get it down. Yeah, like this, and I'm gonna make the lamps on it to give me a nice perspective and right What? Yeah, let's cue from there to here. And queue up there. Yeah, that's perfect.

Okay, that's good. All right, I'm gonna delete this layer. And I'm gonna make a layer. Clipping Mask multiply and lose that shadow here. Just to give me volume not to make it flat. Yeah, that's better.

This will make it real. And another layer here, Clipping Mask multiply and use the brush. Yeah, the volume here. Good. And for third one, the same. clipping masks multiply.

And a brush in some volume here, Mason. Now I'm gonna get the slayer file. I'm gonna put it Okay, and I'm gonna try that. And I will delete the part of the wallet and patch tool to fix this one there and make it screen. Alright, that's good, but the curves would release out the spores that Oh, yeah, these like parts of the wallet. And I'm just gonna stick with a flare.

A smaller little bit here on the lamp. fit in there. Okay, that's good. Yeah, that's amazing. But tennis. magentas has a lot of colors don't want to.

So I'm gonna colorize it and give it cyan to fit in with the mood. Yeah, that's cool. But also keep the blue palette. That's too important. Don't put any Color notes not like this. So that's good and merged it and we're gonna take out a little bit from this horseplayers.

A little bit from right and left from above. from below. That's good. Okay, that's amazing. Yeah, right. Just gonna put some lights from it.

All right. Now we're gonna duplicate it and apply layer mask and put it on the other lamp. But I don't want it to be the same. I don't want to be repeated the same player the same lights all this No, I want to play with it a little bit. So I'm going to take this make it Gaussian Blur. Blur a little bit.

See? Beautiful, but it's different. Make it three is good. They are stored also. And I'm going to use the smudge tool to make some random players. It's not specific, not a picture.

It's my hand that's doing this. So it can do it easily so easily smudge two, three horns there. Love this. Okay, I'm gonna delete with the eraser a little bit of there. And I'm going to do the same at the last one, here and here. And smudge.

A little bit a little bit. A little bit a little bit. Bit. That's good. I'm going to use the razor tool to take this harsh light. Okay, that's good.

Yeah, we now have three lamps, three lighting lamps. I like this. Okay, and we're gonna take out some things with the razor. Okay, that's beautiful. And now we're going to make it The highlights, so we're going to create a new layer, make an overlay and use the eyedropper to take it all from background and load it up. Bring this light and blue color.

Use the brush tool to put some highlights around the lamps in here, up and down over there to give you the great look of the light. Yeah, that's good. Okay. All right. A little bit. Sorry, not all of them.

Okay, here, and here. And here. Okay, that's good. All right. More, more. here and I'm gonna put this strong highlight on the lamps you know the the purse mold and give a strong client highlights.

That's good. Yeah the lamp part lighted up in more light more specific lights in the center it's good and we're going to create your layer. So flight plates down down light down town. Okay, that's good. Can you use the cursor to create more highlights and more specific ones clipping, make a mask inverted. Just pop there.

Hear here easily, easily, easily. Don't try should easily every step is a great step. up and up. Okay, that's good. That's good. We're now lighting the labs.

Very nice. Alright, see before and after. Only three layers can change the world here. That's good. Okay, little pad here. Alright, that's good to hear and hear up here.

Okay? All right, that's good. Okay, we're gonna play with some heel. edge to trade a little bit and get them some cyan before and after. Just a small detail can make the difference in just the Leave what I've gone out or what has gone out of this tool will be dead. We're gonna make shadow for the lab.

So we're gonna go to that lamp layer Make Selection can create a new layer is the eyedropper ticket, a dark tool from background most apply infinite. Get it down, down, down, down, down, down, right. All right, take selection like mask and inverted. Okay, looks good. And move it a little bit. Okay, we're gonna flirt with motion blur to give me the realistic shadow.

Not to be flat. All right, that's good and we're going to use the blending options to take out some of the whites I use. I love blending options because it makes a realistic mix you know, you can just use the gradient and take out this no way the plug the options helps you to create a nice moves with the whites and the blacks. That's what we did there. And we're gonna reduce the opacity a little bit, a five percents good. And apply layer mask and duplicate it, put it on the other lab.

That's a nice one and duplicate it and on the other one to skew a little bit. That's perfect. Also, we're gonna put some small details tale which is the smoke a, we're gonna get it every smell, we put smoke, why to put it and where to put it, we're gonna tell you, we're gonna put it in the lab to make it real to make it more realistic. If you're walking in the streets, you'll, you'll find the lab and there's some smoke out of it, which makes it more you and that's what I'm gonna do now. And we're sitting in this alright, and I'm gonna use the levels to make it more realistic and to this, reduce it better. Don't use the pasty with smoke specific good smoke if you want to try and do it of course, but I give good advice to the levels it's better and it gives the smooth you know, the smooth shadow the smooth highlights for the smoke that's better and they will Gonna make a layer mask and we're just gonna take out the spool he gonna take out Whoa, we don't want here.

Yeah. See difference? just slight lovely difference. That's what we need. As I said before every detail matters. All right, that's good.

Let's select all these layers and group them see before and after. Yeah see the difference beautiful. I like this. Okay, so we're gonna create a new layer and I want to show you something important. We're going to choose direct color as the clue for us in any highlights of any lab has some sort of raise goes like this is like this. And like this, a like this here.

Here and here and here. It also intersects with the other race, create some highlight parts and some shadows. And also this light would go there and effect this part A create a nice highlight there. So that's important. Create a new layer. Adam grew up, Please catch the blacks and the yellow, the highlights, sorry, they're here, it's gonna be a dark part.

Here. It's also dark part but it's like a gradient starts from black it gets softer. Here is the same black and softer. and here also it's gonna be a dark part here and also here. It's important to hear it's got to be a dark part. Okay.

And here and here, you know that the light source of light starts harsh and then it goes softer. And here it's gonna be dark, also, to some funny sketch, just to get my point that's important. And the light also starts harsher. It goes a little bit softer. Here, starts strong here, here, here, start slider and then goes. That mid tone.

And here and this is the light part that we talked about. I hope you get my point. It's here and out there. It's gonna be also light. Shadows here and here. All right.

From near for you, and I hope you got my point in steak, these two layers. We're gonna apply what we said in a new layer Clipping Mask. so polite. And bring big brush and some shadows. Exactly what I talked about. I've got a plate now.

Here's some shadows at the edge. Give me nice shadow here and here. 10 here. Give me more for better, better, better. Okay, here for shadow And now point the highlights. Here, in here.

All right, that's good. Soft. See that pasty 3% too, too. So, right now we're going to create a new layer, all sorts of lights or shadow and see this part, the end part of this wall and the other wall kind of kind of got kind of merged, you know, there's no strong shadow, that separate numbers clearly merged. So the supportive part and a little bit at the end here and here, hear also for the for more Okay, that's good he here. Okay, some gradient.

I like playing with gradient brushes. Gives me a nice, smooth shadow. Here more here. Okay and now on this layer of the side get back to face slippage shadow here. Just make the first molar. Take a good look of what to get back to the side.

Breaking the curves. I'm gonna play a little lighter right here, as we said about the light. It's gonna be here. Okay. Yeah better. All right.

That's good. saves you the kerbs really saves you here more in a little bit higher. Good see distance. Beautiful. Okay. And we get back to New Layer for the store.

So flight, and we're going to do exactly what we have done on the side. Then on the face. Some shadows at started edge. Some shadows here, here to be separated, fake. Exactly. has to be blended a little bit with the edges of the side of the face.

A little bit there. Yeah, that's nice. All right, that's good here and here. Remember, we didn't do anything for the highlights. Not yet. Shadow shadow shadow here and here.

Okay. Going to get back to the highlights. But let's finish the shadow Well, here. Alright, that's good. And for the highlights. smooth, smooth brush smooth, just played safely play really safely.

Don't rush it at all. A Pump, pump and another pump. It's good. I think we're getting close. I love this. I love this.

All right, all right. We're almost there. Push to hear here.

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