Lecture 6

32 minutes
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Transcript

Hello, everybody and welcome in the sixth video. And now we're too close to finished what we've been fighting for. And now let's continue. I'm going to bring the paint bucket, photo and tract in Photoshop. Take this blue bucket. Yeah, with the pen tool where if you spent too large a million times here, but as I said before, it helps me so much.

That's why I'm using it a lot with the curves here, okay. Yeah. And another movement. Of course, you know what we want to move the pencil a bit from to the left or to the right to use the right and the left of the keyboard so that it helps me and not to do it again. Here. If I want to take out this stretch line, I press ALT.

Okay, now we're close to finish. Take the sport, this curvy part bought it taken the method here came down next election and furthers the report eight we copy it and we delete the picture and you see this tiny part it's from the background and need to take it out. You know, use the pen tool make a selection, feather 0.8 also and delete it too easy. And now Fritos Forman make its size a little bit smaller. Put it here besides painter All right, I'm gonna flip it. Now that horizontal so that I match the source of light.

That's important. Every detail matters as before, and I'm gonna group and call it paint bucket. Yeah, pour the bucket. The layer also and I'm going to use the Hue Saturation to see that magenta color. On the silver part. I'm going to take it off with the eyedropper and we'll reduce the situation.

They are mask and just take out this magenta part. I don't want it doesn't mean anything in the photo. So I'm not going to keep it in the brush and take out all these parts. Okay, here Okay, it's such a Read it. Okay. Don't rush.

Make it any step. I know it's now it's not enough in the mood but be patient with me it will be. And I'm gonna go now to the situation again, make a colorized and I want to get the cyan tone. Yeah, situation. See that color? Okay, that's nice.

Make it 73 it's good. Okay. See before and after. And I'm gonna fill with black here and it just water colorize the blue parts. Yeah, with the brush, okay. Here it's getting more science so it gets more in the mood.

I hear a lot of drops of the color. What do I see the color feels, feels relieved. Lovely. Okay, here okay. Just be careful not to do it in the silver part of this one here, here in the screen part I don't like it just paint over it and now we get to the curves. I want to put some blacks a little bit here hear from the middle is the right time making ability to take the color of the original color of the paint.

Layer Mask. I'm gonna paint on the black. Oh, gotta call it the shadow. Here are the parts of the paint. Hear the pasta the light didn't catch it some to help me to make a nice form alright feels like I want to jump here the order on the ticket Bethel this paint slowly I like it and I'm gonna just take a little bit here so that the lights go here and here okay all right. Well yeah a little bit shadow here.

All right. Erica Can you layer make it multiply to document more the silver parts like this because I can't have this harsh lights on Have it not only Okay, all of it and may or may just take out some parts that I did it here. Okay, you see that of using the brush, a lot like to multiply soft like like this goes the fields better. And now we're going to use the blood the options just to blend this blacks a little bit with the silver to get the texture right a little bit here, there, take out a little bit a little bit of put some more blacks a little bit in the light of this part because this is the part that catches light. And I'm going to create a new layer and also make it multiply that you see this strong source of light down there.

I don't want So I've got a paint over it. And I'm gonna make a tiny shadow beneath it. This not by the shadow of course, but step by step. Okay, in there a little bit is a black color. Okay, that's better. Okay.

And I'm going to use now selected color just to play with the colors a little bit. I'm going to go to the blues, give it more cyan bit here, some magenta. Okay, a little bit yellow. That's good. Okay, and I want to reduce the plaque a little bit. That's perfect.

Now I'm going to go to the you to the whites. Just want to make it more shadowing to the new chose a bit cyan and a little bit green. You know, the opposite of the magenta is green here and also the opposite of the yellow is a little blue. Okay and some blacks. That's perfect. We're almost there.

It just touches of the blacks. I want to give it a little bit color. Don't want to be that dark. I don't want to be black, though. I don't like this a little bit to reduce blacks a little bit a little bit. Okay, see the difference?

That's beautiful. And you layer and I'm gonna make it here. Gonna take with a dropper or the color of the background and just paint over it. I'm going to make it color. Okay, that's beautiful. Yes.

Now getting into Good. All right. That's gonna pay in here a little bit also pass the 80% That's good. That's good. All right, and now all the big the rim lights. You never missed the rim light.

Just the most fun part for me. Yeah, harsh light, harsh, light, harsh light over there over there. Yeah, I just like I love this. Okay, I'm gonna make a trick. So just look at it. I'm gonna make a selection.

And I'm gonna head left a little bit inverted and delivered layer best guy Invert the selection, just to take probably the background off from the paint bucket. So that the curves Give me the rim light and don't feel the paint bucket. It as you see this telling your blight kept me In the Mood more to put some lights got a faded with the bucket interests stick out from down. Okay, I'm gonna use the curves again and I'm gonna darken a little bit to help you with the form add another curves down a little bit a little bit okay black wore layer mask and just on this tiny white part that was Dell there yet Jerry more mood to stick out a little bit and we're to close it I'm gonna get back to multiply layer. Just see this dark, bad dirty look I want to take it out with the eraser tool.

Close to set opacity not to be so hard. Getting back to write a just shadows here at the multiply layer. Okay and now the other Hue Saturation just wanted to saturate minus 10 yes see now the difference see the blue colors Okay, and as we did with the Pater shadow, I'm going to do now with the paint bucket shadow use the pen tool can take part like this and we're going to do it three times and the painter but it's going to be less shadowing more than the painters are gonna be Too hard like him. Yeah, multiply. We're gonna adjust perspective, right using pivot in the Free Transform. Here, structured a little bit.

Okay, that's super here. Okay, that's good and we got a blood option. Just raise a little bit of red and fix it here to get. Give me the texture of the floor. Okay, and crease the blur tool to blur the edges a little bit. And that's so k layer math.

Just layer mask gradient and raise a little bit. All right. That's good. And a bit Okay, and now for the second shadow. It's gonna be of course, less than the first one. First one is the hardest one.

This one's gonna be less edit pencil tricks lection the other layer and multiply pled option to the same same, same page, exactly the same layer mask radius and raised a little bit. God I get the blur tool. Lawyer, lawyer here, okay? All right, gotta get better this one just delete a little bit to match the other one. Okay, that's perfect. All right and now we're going to get third one This one just gonna be slightly peering still gonna be harsh at all.

All right, you layer multiply. After filling the color blend options. You're gonna take out more this time. Just Just texture and opacity 30% that's good layer mass gradient. Just take out the edges. Okay, blur to blurred a bit.

All right, that's good. There we have the paint bucket on the floor and just multiply a little bit shadow for the a bit of the pocket as we did exactly with the painter, the bucket will be Have the seats team shadows. Right. Now we have the bucket on the floor. Oh my God, that's magic. I love Photoshop.

Okay, see this one, just want to take out this tiny part because the sorts of like, touches this part so it's not gonna be harsh. Okay, and this is the group of the paint bucket. And All right, I'm gonna flip it and just take it in the paint bucket group. And now is the fun part. For me. It's the painting that we're going to put here.

I made a new layer made a big white shape, and I'm gonna just do it right to be fitted perspective using the free transform here. All right, I'll lift it up a little bit and just bring it here. Okay. And I'll just lift from the left lifted up a little bit. Cuba from rights using oats to stretch both sides. Okay, just slow, just not yet.

Just a little bit here. Okay limit down. All right. All right now work, okay. I just want to, you know, make this curvy move so that the painting will be lying. down from the splinter.

Oh now, better. Okay. All right, I bet from here. I'll be the hide Of course. Here, okay. But here Okay, that's good.

Okay, okay, good. I think we're good now. All right, and I'm gonna look at, see right here. Okay, that's a little bit rotation. That's better. It's way better.

I'm going to group it and call it paper. All right, paper also. And I'm going to get there the picture of the painting and it's a lovely landscape. You see, I chose this. This picture specifically for the colors to be fitted the harmony a the mood of the whole visual and paste inside of course, and I'm gonna adjust it to the perspective of the paper and I'm gonna adjust it better paper okay and here are the edge he told the other edge just here to touch the edge and I'm gonna deal with the white shape using work but just let me fix this first. In this tiny part I'm going to deal it with the warp.

Okay, down town, we get it from the Hear also there. Okay. That's beautiful. Yeah, and now we have a semi joing. And you layer make it so like, I just want to put some shadows using brush on the top of the painting. Just to, to lie in our eyes.

The P big is really now touching the floor and just put some lights here because of the source of light, not the labs. I'm talking about that the main source of light of the picture that's coming from the right that we're doing first steps. I'm going to put some shadow here so that the the printer would match the light paper. Okay. Get the curves document a little bit here, a layer mask just want to make the edges a bit dark in here and here. So that will be flying just one to let it touch the floor below on floor saturation situation can get this yellow parts I want to give it a little bit of reddish color to match the whole visual and to match the table a little bit.

See nail to get the saturated a little bit. So that nice color hobby and I'm gonna get back to the science. See we have a lot of sites I'm gonna take this half towards the plastic, all the other tools of the sides. I wanted to touch rated a little bit after making yellowish too saturated. Now that's better and I'm gonna talk about the highlights a little part of it. Yeah, that's part that's good.

Okay. I think I want to jump also in this PT How lovely. I'm gonna get the curves again, and just wanna to saturate the contrast a little bit as we did before. And this move is tricky and also professional to do it. It's better than the contrast tools. After a better paper, yeah.

Now what they the trick that the brush, this brush really painted all this picture, so Big Boy Boy tricky brush. Took some ports or routes rotate it. The opposite just take out a little bit from here. See that's good Ehrenberg another brush to make a small touch. So that the brush really made a tiny part here. We're gonna make the size smaller.

Right here exactly like right here. So that the paintbrush did this part to be more realistic okay. Alright, that's good. And I picked out some devil I want to put some devil. So what give me 75% it's good. Okay.

See this this part is different. All right, however just a little bit so you can open it again and make it 640 30 All right. Good. Yeah, that's, that's way better. All right. A lot of things to be smooth.

I don't want any harsh things at all. And I'll get back to the paper because the lecture I want to make the share of the paper so we will create a new layer. Choose with the eyedropper, the darkest part of the table. Multiply stellar. All right, it's lovely. Okay, I'm gonna make layer mask deleted and restore what I need.

Get back my airbrush restore what I did here on the edge. And here on the other edge is just be careful this spots. This tiny details makes it more real. So we need to give it all what we have. And this part I'm going to go with with my pen tool starting from this edge here, get down down or good down a little bit bit be here here okay and get a drill the shadow from the paper to the printer. up.

Okay, here, stretch a little bit and take all these parts election you layer and multiply, multiply apply and use my brush to fill it all right here, okay fill this part, all of it all of it. Okay and I'm gonna go use by blur tool to fade. This edge as we talked about about fading the shadow. The closest part needs to be harsh that it fades away. This is the law of the universe, we can change it. Okay and create a new layer while supply because I want to spread the shadow a little bit.

The reason I did this and not just leaving the shadow like this goes, there's those sorts of light above the paper so that the shadow can be like this. It's the leaves the harsh sorts of light above it to be like this. So we don't have that here. So this case we spread the shadow decided that it gives me smooth look, right features for and just just a trusted perspective. Okay, that's perfect. Now we get back to the shadow on the floor using the pen tool.

We get this part here, who Here take this whole part. next lecture you layer. Take with eyedropper, the darkest shadow The color of door beacon multiply and fill it. Okay, let me get back to the bloody options. We'll do the same as we did with the paint bucket shadow painter also. Take the textures blur, the edges, blur, blur, blur, blur, blur blur, blur the edges, layer best kind of take, delete some of the edges.

Okay, that's beautiful. All right. Oh, okay, so when Okay, just restore a little bit here. Okay, opacity Reduce the opacity No, let's get back That's better. Okay, there we have the shadow for paper on the floor. Know that tables.

That's good. Can it back to this layer so I'm gonna put it in the paper group and get back to the brush group and take all of this, make a copy and merge it all right, and take the hair of the brush parts in, cut it alone, because I wanna play with it a little bit. So gonna be a wire up. And I just want to give the effect that the brushes it's really painting now. So the needs to be worked a little bit like bending here. Okay, that's good.

All right, add a bead layer. So flight, paste inside to the hair of the brush. I want to give some highlights And some blacks All right, that's good and kill a bed and you layer for the shadow. I made a drop here but of the black and use it as a free transform at structure a bit so it gives me tiny shadow and also faded away without using any blur or anything. But we use this in this tiny part we can use it with a bucket or anything well, we delete here a bit with the eraser tool. Okay, and I'm going to do another one.

Okay after this and your layer another one. They get one, take it just to make it more realistic to the best the 30% and delete a little bit where there is a tool of it. Okay? A bit here, here. Okay, that's nice. All right, just a little bit more.

Okay. I now want to play with the Selective Color. So I'm gonna call it first shadow. Can this layer, this layer emerged together and get the shadow down and merge. All what I've taught again, to be one brush, and use this light of color. Get to the blacks, we get three of the science in five for the yellow.

Okay, that's good. When you select a color for all of this add more side and more blue for the neutrals also more side and more blue. Okay and with the layer Becka water take out the parts of the floor and decide in this room all of this robotic take it up because it's already filled with science Oh I know what add any more side four on it okay that's better it's like change but it affects and I'm gonna drop it David effects in was too close to finish. All right, and it was going too slow with you. called the layers are too big or too much we go to the Delete crop. pixels up there.

And we work it. So we delete the outside things of the rule by the player and all of this. So the file gets back faster. All right, that's better. And after deleted the crop areas, I'm done here, and it's over. Thank you so much.

And I hope that I helped you with some tricks and some ideas in Photoshop. Please don't know the materials and try to be visual by yourself and set it to be where your execution and questions and bye bye, my friends

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