IntroductionWelcome| 00:00 |
(music playing)
| | 00:05 |
Hi, I'm Steve Caplin and I'm a freelance
Photoshop artist.
| | 00:10 |
Over the years, I've often been asked to
come up with illustrations of objects or
| | 00:13 |
scenes that either I can't photograph or
that don't exist in the real world.
| | 00:18 |
And so like many Photoshop artist, I've
worked out methods of drawing these
| | 00:22 |
picture elements from scratch.
I wondered if it was possible to write an
| | 00:26 |
entire book, in which each chapter would
open with a double page illustration
| | 00:30 |
created entirely in Photoshop.
And which would then go on to explain how
| | 00:34 |
every element was created, and how the
entire scene was then put together.
| | 00:38 |
The challenge was to create the book
using no photographic material
| | 00:43 |
whatsoever, and that book became, 100%
Photoshop.
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This book included a piece called, The
Hallway, a depiction of a private eye's
| | 00:51 |
entrance that might have existed in the
1930s.
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It's this scene that I reproduced in this
workshop.
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I'm creating the wood texture used for
the door, drawing the wallpaper, adding
| | 01:01 |
the lighting and building every single
element of the image from scratch.
| | 01:07 |
Creating images entirely in Photoshop is
highly instructive.
| | 01:10 |
But more than that, it's great fun.
It's a chance to unleash our creative
| | 01:15 |
abilities in full and to show just what
we can do with our bare hands.
| | 01:20 |
I learned a huge amount about working
with Photoshop's tool set creating these
| | 01:24 |
pieces and I think you'll learn a lot
from this workshop.
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1. Working with WoodCreating the wood| 00:00 |
Wood remains one of the most common
materials in our everyday life.
| | 00:05 |
Chairs, tables, roof beams, floors,
they're all made of wood.
| | 00:09 |
And because the door in the hallway we're
going to make is also made of wood, let's
| | 00:13 |
begin by making a piece of the wood
itself.
| | 00:16 |
So, we'll make a new document, and I'm
going to make this a 1,000 pixels square.
| | 00:21 |
It doesn't really matter how big it's
going to be because we're going to take
| | 00:24 |
this small piece of wood from this and
use it elsewhere.
| | 00:27 |
This is a good size to work to and let's
zoom in so we can see this at a 100%.
| | 00:31 |
We'll begin by choosing a good strong
brown as our foreground color and let's
| | 00:35 |
fill our space with this color.
To do this, we hit Option+Delete on a
| | 00:41 |
Mac, Alt+Delete on a PC, and that will
always fill with a foreground color.
| | 00:47 |
Let's add some noise.
We can go to Filter > Noise > and Add noise.
| | 00:51 |
And we want Gaussian monochromatic noise,
enough so we can see what's going on here.
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Maybe slightly less than that, something
around 14%.
| | 01:00 |
That looks good to me.
Next, we want to add another filter, and
| | 01:04 |
the filter we're going to use here is
clouds.
| | 01:08 |
So we go to the Filter menu and we choose
Filter > Render > and Clouds.
| | 01:12 |
And what this will do is fill the whole
area with a random texture based on the
| | 01:16 |
foreground and background colors.
Well, there's our cloud effect, but
| | 01:21 |
you're looking at this and you're
thinking, well, why did he bother adding
| | 01:24 |
all that noise just now, it's all
disappeared.
| | 01:27 |
Well, when we apply any filter in
Photoshop, the first thing we can do is
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go to the Edit menu and this fade item
appears.
| | 01:35 |
We can open this after applying any
filter at all as long as it's the first
| | 01:38 |
thing we do after applying the filter.
We can now lower the Opacity of that
| | 01:43 |
filter, so I need to take this right down
to around about 30%.
| | 01:50 |
We can still very clearly see that noise
we made, but we can also see the patchy
| | 01:53 |
cloud effect over the top, and that's the
effect we want here.
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So, I'll say OK to that.
To make this noise look more like wood
| | 02:02 |
grain, let's put in some motion blur.
And we can go to Filter > Blur > and
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Motion Blur.
We want a vertical blur, so we set the
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angle to 90 degrees.
And as we drag the slider, we can see the
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blur gets longer and longer.
We still want a quite tight wood grain,
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so let's take this down to around about
12 pixels, and that seems to give us a
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fairly good piece of blur.
Now, our wood is looking a little dull so
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far, so let's strengthen it up.
We could use many adjustments to do this,
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but let's, in this case, use Hue and
Saturation, and just increase the
| | 02:40 |
Saturation somewhat.
We make it a little darker, and that's
| | 02:46 |
looking better.
So, this is the very beginning of our
| | 02:51 |
wood grain texture.
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| Building the texture| 00:02 |
We've created the basic wood texture
using a combination of Gaussian noise,
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rendered clouds, and motion blur.
Let's now go on to turn that into a more
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convincing wood texture, and we are going
to turn this basic grain into the shape
| | 00:14 |
of whirls, knots, and wood, starting by
using the Wave filter.
| | 00:19 |
So, we go to Filter > Distort > and Wave.
Now, there's a problem with the Wave
| | 00:26 |
filter, and it's this.
The wave filter was introduced into
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Photoshop 3.
That's not CS3, that's Photoshop 3, way
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back 15 years ago or more.
And the problem with the Wave filter is
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that when it was first introduced,
computers had very limited processing
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power, and so, they could only show this
tiny preview of what's going on.
| | 00:47 |
As we change the sliders, a change occurs
in the preview, but we don't see it in
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the image behind.
Well, here we are 15 years on, and
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computers are much more powerful, but
this Wave filter has not been updated.
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So, we're stuck with this ridiculously
small preview, especially ridiculous
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because the Wave filter does create such
intricate patterns.
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We're just going to have to live with this,
there's no way around it until Adobe get
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around to updating this.
So, with a lot of experimentation, I
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found the best results are to start off
by setting a large number of generators,
| | 01:17 |
and this increases the randomness of the
wave.
| | 01:22 |
And I'm going to go for around 500 of these.
Now, you can see we're getting a kind of
| | 01:26 |
checkerboard pattern here, that you just
make it out in the preview.
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And the reason for that is because we've
got this repeat edge pixels checked, very
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important, change that to wrap around.
Again, it's very hard to see what's going on.
| | 01:40 |
So, we'll just use some figures that I've
worked out.
| | 01:43 |
I found that what works pretty well here
is to set the wave length, minimum wave
| | 01:47 |
length, we can leave at 10, the maximum
wave length, let's raise to round about
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260 or thereabouts.
Again, very hard to see what's going on
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in this preview.
The amplitude and this is one of the key
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settings, is the height of each of the
waves.
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And as we drag this, we can see it
starting to make a difference on that preview.
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Again, it's quite hard to see what's
going on with this tiny preview.
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Now, this is the really important bit,
the scale.
| | 02:19 |
What we want here is a vertical wave
formation but nothing horizontal.
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So, let's drag the slider which moves the
horizontal value here.
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We'll take this all the way down to 0 or
in fact to 1, which is as close to zero
| | 02:32 |
as we can get.
And now, we can see there's a very strong
| | 02:36 |
vertical formation.
Let's take the vertical amount down and
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we'll set that round about 29, 30%.
And now, we can start to see the sense of
| | 02:49 |
a bit of wood grain appearing in here.
If we play with the amplitude now, you
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can see that moving up and down, and the
wave length will determine the width of
| | 03:03 |
each of these waves in our wood.
If we like, we can press the Randomize
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button and that uses random seeds each
time to slightly alter the way this appears.
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We can never really see it properly,
within the wave filter dialog, so let's
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hit OK, and see how it looks.
And we'll Zoom out.
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Okay, that's not too bad.
There's some wiggling going on here I
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don't quite like.
I'd rather get a few more vertical
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streaks in it, so let's Undo that and
let's open up wave again.
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Now, if we simply choose it from the top
of the Filter menu, it'll repeat the last
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operation exactly.
If we hold down Option on a Mac, Alt on a
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PC, then it opens the dialog but it opens
it with the previously used settings intact.
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So, what I'm going to do here is to
increase the wave length slightly and
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reduce the amplitude and maybe take that
vertical component down a little bit, and
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let's see what happens now.
Okay.
| | 04:08 |
That's slightly better.
This is the kind of filter where you can
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keep on going backwards and forwards, and
you can make as many changes to this as
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you like.
It's worth taking the time to tinker with
| | 04:18 |
it to get results that you want but it
can be a frustrating filter to use
| | 04:20 |
because of the tiny size of the preview.
And the only thing I'm not happy about
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here is the overall width of our pattern,
I'd rather it were a little tighter.
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So, let's Undo, go into that filter once
more and make it tighter using this Wave
| | 04:35 |
Length slider.
And let's try that.
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That's good, there's a pattern that I can
live with.
| | 04:44 |
It's worth taking the time to experiment,
as I say, with this filter, but don't get
| | 04:47 |
too cross with it.
It's doing its best.
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| Completing the texture| 00:02 |
Now that we've made the basis of the wood
texture by adding a wave distortion to
| | 00:05 |
the Noise, Clouds and Motion Blur we used
earlier, let's go on to add the human
| | 00:09 |
touch by applying some distortions
directly to the surface.
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And we're going to do that using Filter >
Liquify.
| | 00:20 |
Now what the liquefy filter allows us to
do is to Smear, Smudge, Pinch, and Pull
| | 00:24 |
the image in a variety of ways.
We're going to start by using the Twirl
| | 00:30 |
tool, and that's the third one down, to
twist some of these straight lines into
| | 00:34 |
more organic shapes.
We could make the size of our brush
| | 00:40 |
larger, either by dragging on here or by
using the Square bracket keys.
| | 00:46 |
And the Square bracket key, as you can
see I'm holding it down now and it's
| | 00:49 |
quite a slow process.
If we hold down the Shift key as well, we
| | 00:53 |
can use the Right bracket and the Left
bracket to make the brush larger and smaller.
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So I'm going to drag down here with a few
little wiggles.
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We are going to hold the Alt key to twirl
anticlockwise; otherwise, it'll default
| | 01:07 |
to twirling clockwise.
And I'm putting in some very small
| | 01:12 |
movements down here.
Just to make a few little variations in
| | 01:17 |
this wood.
If we find at any point we've made too
| | 01:22 |
strong a change, such as this wiggle down
here, which is looking unconvincing, you
| | 01:27 |
can always go to the second icon.
And this is the Restore tool.
| | 01:34 |
And as we paint over it, it'll return it
to its original state.
| | 01:39 |
Let's now have a look at the Bloat tool,
and that's the fifth one down.
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We can use this to make our knots.
And to do so, I'm going to look at some
| | 01:48 |
dark areas in this wood.
There's one down here.
| | 01:50 |
If I can just hold on that, as I drag, it
expands that area.
| | 01:55 |
Let's do the same with this dark area
above, and the small dark area here and
| | 02:00 |
one over on the side and one up there.
And so, by pulling out these knots by
| | 02:06 |
expanding them, we're able to make our
wood texture look just a little bit more convincing.
| | 02:12 |
If we go too far on this, well we could
revert selectively our document.
| | 02:18 |
Or we could switch from the Bloat tool to
the Pinch tool and that'll just shrink it
| | 02:21 |
down again.
It's the opposite of a bloat.
| | 02:25 |
So some of these are a little bit too
strong.
| | 02:26 |
Let's just take them down.
And that's looking rather better.
| | 02:31 |
But the two of these most often are the
Forward Walk tool that it's strangely called.
| | 02:37 |
I prefer to think of it as a Smudge tool.
Let's reduce the blush size here and we
| | 02:43 |
can use this to smear in any direction we
like.
| | 02:48 |
I can use it to pull out from these
knots.
| | 02:51 |
And this is the tool that really creates
a more organic looking wood texture.
| | 03:01 |
Now this is the kind of thing that you
could tinker with endlessly, and in fact
| | 03:04 |
I have tinkered with it tremendously from
time to time.
| | 03:07 |
It's enjoyable to play around with, and
you can keep on playing until you get a
| | 03:10 |
texture that you think looks convincing
and is good enough for your purposes.
| | 03:16 |
That will do for now.
So we'll say okay and return to our main
| | 03:19 |
Photoshop document.
Now it is all looking a little bit washed
| | 03:23 |
out to me so I'm going to strengthen this
wood texture by first duplicating the
| | 03:27 |
layer, and now I'm going to Desaturate
this copy.
| | 03:33 |
And we can do that with Image Adjustments
> Desaturate and that knocks all the
| | 03:37 |
color out of it.
When I change the mode of this
| | 03:42 |
desaturated copy from Normal to a Hard
light, we can see through it to the wood
| | 03:46 |
below, and it strengthens that up.
In Hard light mode, we lose the mid tone
| | 03:52 |
gray but we keep the highlights and the
shadows.
| | 03:55 |
So there's our original wood.
And there's the strengthen version.
| | 03:58 |
That may be a bit too strong so let's
take the opacity of this hard line layer
| | 04:02 |
down a bit.
And there round about 55% that looks good
| | 04:07 |
to me.
And then to make the effect slightly
| | 04:10 |
stronger by using Free Transform to
stretch this copy very slowly, and that's
| | 04:14 |
going to blur the effect a bit but
produce a slightly more convincing wood texture.
| | 04:21 |
And finally, I'll merge this down til we
have just one there.
| | 04:28 |
Making wood is one of the trickier
textures to get right in Photoshop,
| | 04:31 |
largely because of the often
unpredictable nature of the wave filter.
| | 04:36 |
With little trial and error, anyone can
make a convincing wood texture.
| | 04:43 |
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2. Making the DoorDrawing the skirting board| 00:02 |
Now that we've made our wood texture,
lets starting building our illustration
| | 00:06 |
by making the new document.
I am going to make this at 2900 pixels
| | 00:11 |
wide, by 1750 pixels high.
Now there is nothing special in the
| | 00:15 |
numbers that I have chosen here, I've
just picked this as a size that will fit
| | 00:19 |
comfortably on the size monitor, when
viewed at 33.3%, that's the only reason.
| | 00:26 |
Because I'm working with Photoshop in
frame mode, so with an application frame,
| | 00:30 |
I'm going to drag this, and dock it.
It just makes it neater.
| | 00:35 |
So, we're going to start this
illustration by building a skirting board.
| | 00:39 |
We already have a piece of wood we made
earlier, so I'm going to make a selection
| | 00:42 |
out of this.
And I'll take a horizontal selection like
| | 00:48 |
so, push to the move tool and drag this
into our new document.
| | 00:53 |
I want this to be horizontal rather than
vertical, so I'll rotate it, and there it is.
| | 01:01 |
Now, to turn this into our skirting
board, I'm going to first of all zoom in
| | 01:05 |
so I can see it more clearly.
And I'm going to select the top chunk of
| | 01:10 |
it using the marquee tool, and let's hide
that selection.
| | 01:15 |
So we don't see the marching hands.
Now I'll switch to the burn tool.
| | 01:19 |
And I'm going to use this, to paint some
shadow underneath the top rail, so the
| | 01:24 |
bottom of that selected area.
I set the exposure here to 80%.
| | 01:30 |
Now I'm using a pressure sensitive tablet
because the harder I press with the pen,
| | 01:34 |
the darker this will come out.
If you are using a regular mouse, then
| | 01:38 |
you'll want to change the exposure of the
botch and burn tools, and in fact the
| | 01:42 |
pressure of all your painting tools, by
changing this figure here.
| | 01:48 |
And the quickest way to do that, rather
than type again a number or dragging, is
| | 01:52 |
to use the number keys on your keyboard.
You can press two to get 20%, five for
| | 01:58 |
50% all the way up to zero for 100%.
If you want intermediate values, you
| | 02:03 |
could try for example, four and five to
give you 45%.
| | 02:06 |
Right now I'm going to work at 70%.
If we unhide, we remember that is the
| | 02:10 |
bottom of our selection, so I'm going to
use a slightly smaller brush, with our
| | 02:14 |
burn tool, and hold the shift key down,
and that will make me draw a straight
| | 02:18 |
line, and now drag all the way along.
A slightly smaller brush, and I'll drag
| | 02:24 |
back again.
So I get a darker bottom for this selection.
| | 02:30 |
At the top of the selection, or at the
top of this piece of wood, I'm going to
| | 02:33 |
use the dodge tool and it's listed here
along with the burn tool.
| | 02:37 |
Now actually, there's no need to switch
to it, because when either the dodge tool
| | 02:41 |
or the burn tool is selected, if we hold
down the alt key on a PC, option key on a
| | 02:44 |
Mac, we get the other tool temporarily.
So now I'm holding the Alt key down, and
| | 02:50 |
I've got access to the Dodge tool.
I'm holding the Shift key as well so I
| | 02:54 |
draw a straight line.
And when I drag across, that adds a
| | 02:58 |
highlight to the top of my selection.
I now want to add a similar highlight to
| | 03:02 |
the top of the remainder of the wood.
So let's inverse that selection, using
| | 03:07 |
the inverse from the select menu, and now
everything except this area is selected.
| | 03:13 |
I'll hide the edges again, and that means
I can use the burn tool once more, to add
| | 03:17 |
a highlight onto this piece of the wood,
and now let's deselect.
| | 03:23 |
I want to make a bit more detail in here,
so what I'm going to do is to duplicate
| | 03:28 |
this layer, and squeeze up the copy.
I'll use free transform, to drag it up
| | 03:35 |
from the bottom.
And when I move it to about there, and
| | 03:39 |
click okay, the smaller version makes a
rather nice detail for the top of our
| | 03:44 |
skirting board.
And that's pretty much as I want it to be.
| | 03:49 |
What I might do is remove a little bit of
this very distorted grain here.
| | 03:56 |
We can use the eraser tool.
With the soft edged eraser, I'm going to
| | 04:01 |
hold the shift key to get the straight
line, and drag through the center of this
| | 04:05 |
area, and that returns some of the
original texture to the view.
| | 04:10 |
So I like the way this looks, I'm going
to merge these two layers together using
| | 04:13 |
layer and merge down.
And I'm going to call this skirting board.
| | 04:20 |
Now, let's have a look at our whole
illustration.
| | 04:25 |
Well, I'm going to want a door to come
over on this side, and the skirting board
| | 04:29 |
to run all the way along.
So, I'll drag this down into place, and
| | 04:34 |
I'm going to use free transform, to
stretch it all the way across the page,
| | 04:40 |
and lets lift it up a little way.
Now that has distorted our wood texture
| | 04:48 |
quite a lot, but it looks okay like that.
I'm quite pleased with the effect.
| | 04:55 |
Let's take a copy of that, to make a data
rail, and this is the rail that comes
| | 04:58 |
around about waist height in old
buildings.
| | 05:02 |
So I've made a selection from that, and
we can do layer, new, layer via copy.
| | 05:06 |
We'll call this one (UNKNOWN), and drag
it, higher up the wall.
| | 05:14 |
The skirting board was easy to make,
requiring only a light touch with a dodge
| | 05:18 |
and burn tool.
It's the wood texture we made earlier
| | 05:22 |
that makes it look real.
| | 05:25 |
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| Building the frame| 00:00 |
Now that we've made our skirting board,
we can build our door frame out of the
| | 00:04 |
same piece of wood.
There's no reason to do all that shading
| | 00:08 |
again, we've done it once so we can just
repurpose our work.
| | 00:13 |
We'll switch to the Marquee tool and
select a piece of this skirting board.
| | 00:18 |
Now, when we make a new layer, we can
either go to the Layer menu, and choose
| | 00:22 |
New Layer via Copy or we can use the
shortcut.
| | 00:27 |
And that's what I'll do from now on.
Cmd+J on a Mac, Ctrl+J on a PC, and that
| | 00:32 |
makes our new piece of wood.
Let's rotate this 90 degrees, again,
| | 00:38 |
rather than going to Edit and
FreeTransform, I'll use the shortcut
| | 00:42 |
Cmd+T on a Mac, Ctrl+T on a PC.
We want to rotate this 90 degrees.
| | 00:49 |
If we hold the Shift key down as we drag
outside our selection area, then we
| | 00:53 |
rotate in 50-degree intervals.
And that makes it very easy to produce
| | 00:59 |
precise 90-degree rotation.
Now, let's move this up to where we want
| | 01:04 |
our door to be.
I'm going to stretch it down so that it
| | 01:07 |
falls slightly below our skirting board
and make it a little bit narrower.
| | 01:12 |
So, that's the left-hand side of our door
frame, and let's move it to the front,
| | 01:17 |
and let's give it a name, Frame Left.
To make a copy of this layer, well,
| | 01:22 |
that's actually very easy.
We simple hold down the Alt key on a PC,
| | 01:26 |
Option key on a Mac, and with the Move
tool selected, we drag, and we can see
| | 01:29 |
that the icon changes as we hold that key
down.
| | 01:34 |
Now, when we drag it, we make a copy.
If we hold the Shift key as well, we move
| | 01:38 |
that copy exactly horizontally.
Let's bring that out to here, and let's
| | 01:44 |
flip that horizontally.
So, FreeTransform again.
| | 01:49 |
In fact, rather than flipping it, let's
rotate it by 180 degrees and that way,
| | 01:54 |
we'll avoid the symmetry in the wood
grain.
| | 01:59 |
We can apply that.
I'm going to move all of these over to
| | 02:02 |
the left a little way, and now take that
left-hand side of the frame, the copy
| | 02:05 |
rather, which is now the right-hand side,
and I'm going to make another copy of it
| | 02:09 |
by holding the Shift key down.
And this is going to form the top of the frame.
| | 02:15 |
So, to FreeTransform again, and I'll hold
the Shift key as I rotate, so I can
| | 02:19 |
rotate that 90 degrees.
And to do these corners, we're going to
| | 02:24 |
need to Zoom in, and here we are at a
100%.
| | 02:28 |
I'm pulling this right up until the top
of the horizontal piece lines up with the
| | 02:35 |
top of those verticals.
And sometimes, it's easier to get it
| | 02:40 |
close, and then nudge it using the Arrow
keys on the keyboard.
| | 02:44 |
Each time you nudge, it moves it up by 1
pixel.
| | 02:47 |
Now, we want to miter those corners.
How do we figure out how to do that, we
| | 02:51 |
can't see where the corners are.
Well, here's a useful trick.
| | 02:56 |
If we would use the, the Opacity of this
layer to, say, 50%, and just as with the
| | 02:59 |
Painting tools, we can reduce an Opacity
of a layer with the Move tool and the
| | 03:03 |
Selection tools active by pressing the
keyboard.
| | 03:07 |
So, when I press 5 on the keyboard, I get
50%.
| | 03:10 |
If I press 0, it takes me back to a 100%.
At 50% here, we can now see the
| | 03:14 |
underlying vertical member quite clearly.
Let's take the Lasso tool and start
| | 03:20 |
dragging them till we hit this inner
corner.
| | 03:24 |
And at this point, I'm going to hold down
Alt on the PC and Option on the Mac, and
| | 03:28 |
that gives us the polygonal Lasso tool
temporarily.
| | 03:32 |
So, it means, it will draw a straight
line between the points that we click.
| | 03:37 |
Now I can drag again and I can release
the button and that key.
| | 03:43 |
So, you select it through the diagonal
here at this end of our horizontal piece
| | 03:47 |
of the frame, and then we can just delete
it.
| | 03:51 |
Let's do the same on the other side.
So, once again, I'll drag up to that
| | 03:55 |
corner, hold down the Alt key, go across
through the opposite corner, loop to take
| | 04:00 |
in all the rest of this horizontal piece
and delete and deselect.
| | 04:07 |
When we return the Opacity of this piece
to a 100%, there we go, perfectly mitered corners.
| | 04:15 |
Building this door frame was easy because
we already had the skirting board to work with.
| | 04:20 |
The trick of lowering the opacity of a
layout and mite of the corners does make
| | 04:25 |
the job very much simpler.
| | 04:28 |
| | Collapse this transcript |
| Building the door| 00:00 |
Now, that we've made the door frame, we
can make the door itself within it, and
| | 00:04 |
we'll use many of the same techniques to
do this.
| | 00:08 |
We'll start by copying a piece of that
frame and begin building our door.
| | 00:13 |
So, with the left-hand side of the frame
selected, I'm going to use the Marquee
| | 00:17 |
tool to start just at the top and drag
all the way down to the skirting board.
| | 00:23 |
And I'm not going right down to the
bottom of the frame, we'll address that later.
| | 00:29 |
We'll make a new layer from that, and
holding down the Alt key on a PC, Option
| | 00:33 |
on a Mac, we can give that a name, and
we'll call it, door.
| | 00:39 |
And let's move this along.
This time, I want this bevel to appear on
| | 00:43 |
the inside while looking on the outside.
So, let's move that all the way across.
| | 00:49 |
I think this very bright piece is going
to look unnatural when we make our door,
| | 00:54 |
so we're going to get rid of it or select
the piece of beading on the inside here,
| | 00:59 |
hide those edges and with the Move tool,
hold down the cursor key, then nudge this
| | 01:04 |
across one, two pixels.
And that's enough to get rid of that.
| | 01:11 |
While we're tinkering, we need to
distinguish between the right-hand edge
| | 01:15 |
of this door and the door frame.
Let's do that with the Burn tool.
| | 01:18 |
We'll make this quite small, set the
Exposure to say, 50%, and let's Zoom out
| | 01:23 |
so we can see the whole height of the
door.
| | 01:27 |
Now, I'm going to click on the top and
hold the Shift key down as I drag down to
| | 01:31 |
the bottom.
When you Zoom in again, we can now see
| | 01:35 |
that there is quite enough distinction
between the edge of the door and the frame.
| | 01:39 |
We can make that a little bit stronger,
so I'll Zoom out again, a smaller version
| | 01:45 |
of the Burn tool and drag down again.
That maybe is a bit too strong.
| | 01:51 |
Well, we don't need to Undo, we can use
the Fade command to reduce the Opacity of
| | 01:55 |
that, and sometimes, this can be a much
easier way of achieving what we want.
| | 02:01 |
So here, we can take that down to say,
33%, maybe a bit smaller than that, and
| | 02:06 |
that's quite good.
Let's now take that door, copy it across,
| | 02:12 |
and using the Move tool, with Option on
the Mac and Alt on the PC held down, I'm
| | 02:17 |
going to rotate this 180 degrees, really
easy to do with the Shift key held down.
| | 02:26 |
And I'll use FreeTransform to rotate this
by 180 degrees, to make the opposite rail
| | 02:30 |
of this door.
Now, to make the top rail, let's select
| | 02:37 |
the side, make a new layer from it.
I'm going to use the shortcut here.
| | 02:42 |
We can use Option+Cmd+J on a Mac,
Alt+Ctrl+J on a PC, to make a new layer
| | 02:47 |
and at the same time, give us the choice
of name.
| | 02:52 |
(audio playing) And that's where I rotate this
around with FreeTransform again and move
| | 02:59 |
it in place at the top of our door.
Now, so we can see what's going on, I'm
| | 03:06 |
going to hide the original door frame, so
we see just the door itself.
| | 03:13 |
Once again, let's use the same technique
to delete the corners here to miter them,
| | 03:19 |
reduce the Opacity to 50%, and use the
Lasso tool.
| | 03:26 |
I'm going to come into this corner,
across it at 45 degrees over to the next
| | 03:30 |
one and doing all of that, and delete.
And you'll notice, I held down the Alt
| | 03:36 |
key on a PC, Option on a Mac, to draw
straight lines across these corners.
| | 03:42 |
We can delete that, return it to 100%
Opacity, and there it is.
| | 03:47 |
Let's now take a copy of this rail down.
So, that's the main part of this door
| | 03:55 |
built in much the same way as we made the
outer door frame.
| | 04:01 |
| | Collapse this transcript |
| Finishing the door| 00:02 |
With the outer door rails made, we can
now easily finish both the door and the frame.
| | 00:07 |
We want to make the middle rail to go in
here.
| | 00:09 |
So, let's select a piece of the edge of
the door, and copy that to a new layer.
| | 00:14 |
I'm using Cmd+Option+J on a Mac,
that's Ctrl+Alt+J on a PC.
| | 00:20 |
Which makes a new layer for my selection,
and gives us the chance to give it a name.
| | 00:26 |
Let's drag this out and rotate it 90
degrees to make our rail, and that's a
| | 00:34 |
good location for it.
I want it to come right up to this edge.
| | 00:41 |
On this side, it's too wide.
Well, we can make a selection and hide
| | 00:46 |
the edges with Cmd+H on a Mac, Control
+ H on a PC and Delete.
| | 00:51 |
If that's not enough, we can nudge our
selection even though it's hidden and
| | 00:55 |
delete again and that's much better.
And with that rail in place, let's miter
| | 01:00 |
those corners.
Now, it's too small and too fiddly to do
| | 01:04 |
a technique of reducing the opacity.
Let's just switch to the Razor tool, and
| | 01:09 |
using a hard-edged razor, we can just cut
off these tops.
| | 01:13 |
Left and right.
Now, we want to make this rail so that it
| | 01:19 |
works top and bottom.
So, let's take a copy of it.
| | 01:23 |
Perhaps, only down as far as about
half-way.
| | 01:26 |
We don't want the shaded area to come in.
And I'm going to switch to the Move tool
| | 01:30 |
and hold down Option on a Mac, Ctrl on a
PC to move a copy of this down.
| | 01:37 |
I'll hide the edges, and use Free
Transform to rotate this by 180 degrees.
| | 01:43 |
And that now works for our centerpiece.
Let's duplicate the whole thing, and
| | 01:48 |
bring it right down to make the bottom
panel on the door.
| | 01:52 |
Now, the bottom panel needs to be
slightly deeper.
| | 01:55 |
So, I'll move it up into position.
Select the panel except for this
| | 01:59 |
bottom-shaded piece, and we can just use
Free Transform now to pull that down into place.
| | 02:06 |
Let's now take another copy of this
middle rail, bring it down and rotate it
| | 02:12 |
90 degrees.
And while we've got Free Transform
| | 02:19 |
active, we can simply stretch it down to
meet our bottom rail.
| | 02:23 |
And we'll need to move it forwards one
layer higher in the Layers panel, and
| | 02:27 |
we'll drag it down a little bit further.
And that looks fine.
| | 02:32 |
To complete our door, we'll need to put
some panels in these spaces.
| | 02:36 |
So, let's go back to our piece of wood.
We've got a piece selected, we can drag
| | 02:40 |
it across.
Move it behind all the elements of the
| | 02:44 |
door and let's scale that down.
And there are our door panels.
| | 02:53 |
So, there's the door completed.
Because we've got so many pieces of the
| | 02:58 |
construction, let's select them all and
merge them together.
| | 03:02 |
We can use this using Merge Layers, or we
could use the shortcut Cmd+E on a Mac,
| | 03:07 |
Ctrl+E on a PC.
While we're doing that, let's also select
| | 03:12 |
all the layers of our door frame and
merge those together.
| | 03:16 |
Now, you remember when we drew the door
frame, we left it deliberately long at
| | 03:21 |
the bottom, and I'll show you why this
is.
| | 03:24 |
I'm going to zoom right in on here, and when
we make the frame, to make it look
| | 03:28 |
3-dimensional it needs to project
slightly beyond the skirting board.
| | 03:34 |
But not as much as we've done here.
Let's switch to the Eraser tool and use a
| | 03:39 |
small eraser.
And I'm going to roll it out over this
| | 03:44 |
curved veil on the outside, and then over
in towards the door itself.
| | 03:54 |
And let's take out all of this piece.
And that just makes it look that much
| | 03:59 |
more convincing.
Now, we want to copy this to the other
| | 04:03 |
side so we can load our frame with a
selection by holding down Cmd on a Mac,
| | 04:07 |
Ctrl on a PC, and clicking on its
thumbnail.
| | 04:11 |
If we switch into Quick Mask by pressing
Q or pressing the icon at the bottom of
| | 04:16 |
the toolbar, everything shown here in red
is unselected, and everything that's
| | 04:20 |
selected is the frame itself.
So, what we can do is use the Marquee to
| | 04:26 |
make a selection around the bottom of
this door frame, switch to the Move tool
| | 04:30 |
and hold down the Alt key as we copy this
selection across.
| | 04:35 |
We can position it over the other doorway
and flip it horizontally.
| | 04:44 |
We can use Edit > Transform > Flip
Horizontal.
| | 04:48 |
And let's just nudge it back into place,
that's good.
| | 04:52 |
And we now exit Quick Mask.
What we've managed to do is to move that selection.
| | 04:58 |
So, if we inverse the selections where
everything except our frame is selected,
| | 05:03 |
we can now simply hit the Delete key to
take out the bottom of that frame.
| | 05:10 |
And there's our image so far.
We've actually built this door in much
| | 05:13 |
the same way that the carpenter would
build a real door, constructing the rails
| | 05:16 |
and the panels independently, and then
fitting them together.
| | 05:20 |
Of course, carpenters don't have a luxury
of an Undo key.
| | 05:26 |
| | Collapse this transcript |
| Color correction| 00:00 |
All that wood looks rather too new to me,
so let's darken it up.
| | 00:05 |
And we can do this easily using the
Curves dialog.
| | 00:09 |
This is our Door layer, and has taken on
the name Top Rail, because that was the
| | 00:12 |
layer that Photoshop arbitrarily chose
when we merged all these layers together.
| | 00:17 |
So let's rename it Door.
And let's rename Frame Left Copy 2 to
| | 00:22 |
just Frame.
So with the Door layer active, let's go
| | 00:27 |
to Image Adjustments and Curves.
We can start by darkening this up by
| | 00:32 |
dragging on the mid-point, and let's make
it a bit browner by taking out from of
| | 00:36 |
the blue channel.
And that's rather better, that looks more
| | 00:42 |
like a door that's been knocking around
for awhile.
| | 00:47 |
I might just take out a little bit of
green as well so it can boost the red
| | 00:50 |
appearance of this door.
That looks good.
| | 00:53 |
Okay, now what we want to do is to apply
that same adjustment to the frame.
| | 00:59 |
Well, I can't remember exactly where I
dragged those curves to, but we don't
| | 01:02 |
have to.
If we hold down Alt on a PC, Option on a
| | 01:06 |
Mac, and choose the same adjustment
again, Image Adjustments Curves, then
| | 01:10 |
when it opens up it comes loaded with the
previously used settings, and that's just
| | 01:14 |
what we want here.
Now, because the shortcut for Curves is
| | 01:22 |
Cmd+M on a Mac, Ctrl+M on a PC, we
can use that shortcut, holding down that
| | 01:26 |
modifier key, as well.
So when I switch to the data rail, I can
| | 01:31 |
use Option+Cmd+M on a Mac, Alt+Ctrl
+ M on a PC, and it loads it with the
| | 01:35 |
previous settings.
And we can do the same thing for the
| | 01:40 |
skirting board.
And there it is with a newly colored door.
| | 01:45 |
Whenever we use a Photoshop Adjustment
dialog, you can repeat the settings by
| | 01:49 |
holding Option on the Mac,and Alt on the
PC.
| | 01:53 |
This is a very useful trick.
| | 01:57 |
| | Collapse this transcript |
|
|
3. Drawing the WallpaperCreating the wallpaper pattern| 00:02 |
To make our wallpaper, we'll start by
drawing a small piece of the design, and
| | 00:05 |
we'll draw this in black, directly on the
background layer.
| | 00:08 |
So let's switch to the Background.
With a brush tool, we'll select a Small
| | 00:12 |
Hard Edged Brush, and we can press the D
key, to set the foreground color to black.
| | 00:17 |
And let's zoom in to 100%.
What we're doing here is we're going to
| | 00:22 |
imagine a rectangular area in which we'll
draw the first part of our design.
| | 00:27 |
So let's start off with a little Curly
Cue and we can bring that over the top
| | 00:31 |
and make this kind of ear shape.
And let's refine it, to give it from
| | 00:37 |
wider sections, that go along with a
narrower main section.
| | 00:42 |
We can make the brush smaller, using the
Square Bracket keys.
| | 00:46 |
The left bracket makes it smaller, and
the right bracket makes it bigger again.
| | 00:51 |
Let's continue to the final design.
We can add some more little Wiggles and
| | 00:56 |
Curly Cue's to it.
What we're trying to do here is to
| | 01:00 |
simulate the kind of design we would've
seen on Anaglypta wallpaper in the 1930s.
| | 01:05 |
This is a very popular style for
wallpaper in those days, and it'll make
| | 01:08 |
the illustration look that much more
convincing.
| | 01:13 |
Now there's absolutely no need to produce
anything even remotely similar to the
| | 01:16 |
design that I'm doing here.
All we want is an Organic Shape that
| | 01:23 |
looks like it could form the basis for
our wallpaper.
| | 01:32 |
But take your time over this.
Make it interesting, make it
| | 01:35 |
entertaining, and we'll get a nice,
Attractive-looking design.
| | 01:41 |
The only important to try and remember to
make it all fit within this imagined
| | 01:45 |
rectangle that goes around the whole
thing.
| | 01:49 |
So there's the first part of our design.
Let's now switch to the Marquee tool and
| | 01:55 |
make a selection that goes almost but not
quite as far as the right-hand edge.
| | 02:03 |
If we switch to the Move tool we can hold
down Alt on a PC, Option on a Mac to Drag
| | 02:07 |
a copy of this.
And if we hold the Shift key, we'll Drag
| | 02:11 |
that copy horizontally.
Now let's Flip this copy horizontally,
| | 02:17 |
Transform and Flip horizontal.
And let's Drag it back, again with the
| | 02:23 |
Shift key held down to make a move
horizontally, so that it overlaps the original.
| | 02:29 |
And there we have the beginnings of our
design.
| | 02:32 |
So let's select the top half of this,
again I'm not going to go all the way to
| | 02:35 |
the bottom and do the same thing.
Switch to the Move tool, Drag a copy, and
| | 02:41 |
this time we'll Flip it vertically and
move it up into place.
| | 02:47 |
And now we can deselect.
So that is the basic element of our
| | 02:52 |
wallpaper, and what we want to do now is
to make it fill the whole space.
| | 02:59 |
And perhaps the easiest way to do this is
to make a pattern from it.
| | 03:03 |
So we can use the Marquee tool to select
a piece of our wallpaper.
| | 03:09 |
And again, we want to go not quite to the
very edges, because we want it to overlap
| | 03:13 |
itself in the same way as our segment
we've already made overlapped.
| | 03:17 |
And once we have this area selected, we
can now go to the Edit menu, and we can
| | 03:23 |
choose Define Pattern.
And we can call this pattern, Wallpaper.
| | 03:33 |
Now let's zoom out.
Let's make a selection on the left of the
| | 03:39 |
door, and on the right of the door, and
we can hold the Shift key down, to add
| | 03:42 |
the new selection to the old one.
Let's make a new layer, and call it WallpaperSOUND.
| | 03:52 |
We can now choose Edit, and Fill.
And we can choose to fill this, with a pattern.
| | 04:00 |
And the pattern we'll choose is our
custom pattern, the one we just made.
| | 04:03 |
The Wallpaper so we can click OK.
And there is all our space filled with
| | 04:09 |
that Wallpaper.
It's the symmetry that makes our drawn
| | 04:14 |
design look like a convincing piece of
Wallpaper.
| | 04:18 |
And this is the key to making our drawing
really come to life.
| | 04:22 |
| | Collapse this transcript |
| Embossing and coloring the wallpaper| 00:00 |
We've drawn our symmetrical wallpaper
pattern.
| | 00:03 |
And now, we need to make it look like
real wallpaper.
| | 00:07 |
We can begin this process by using the
Emboss filter.
| | 00:10 |
Let's Zoom In on it.
And we can choose Filter, Stylize and Emboss.
| | 00:18 |
And here's the dialog we get.
So, let's bring the height down to 2
| | 00:22 |
pixels and the amount, we can take right
down.
| | 00:27 |
And as you see, as we lower it, we get a
much more subtle effect.
| | 00:31 |
Let's bring this right down to about 30%.
And this is the kind of effect we want,
| | 00:36 |
quite a subtle embossing effect.
So, let's say OK to this.
| | 00:42 |
And we can deselect.
Next, we want to color the wallpaper.
| | 00:47 |
And we can do this easily using the Hue
and Saturation dialog.
| | 00:51 |
So, we go to Image, Adjustments, and Hue
and Saturation.
| | 00:56 |
Or we could use the shortcut Cmd+U on a
Mac, Ctrl+U on a PC.
| | 01:02 |
Because this is gray, if we simply drag
the hue slider, nothing happens.
| | 01:05 |
There's no color in there for it to work
with.
| | 01:08 |
Instead, we must first press the
colorized button and that allows us to
| | 01:13 |
tint our wallpaper.
The default is to tint it red, and that's
| | 01:17 |
a color I like.
Let's increase the saturation.
| | 01:20 |
And we'll also decrease the brightness.
And we'll take that down to around minus 45.
| | 01:31 |
And that gives us a nice effect.
Let's click OK to that.
| | 01:35 |
And then Zoom Out till they can see the
entire image.
| | 01:38 |
With the wallpaper in Boston colored,
it's looking much more like a real piece
| | 01:41 |
of Anaglypta.
Note though, that for the emboss
| | 01:45 |
procedure to work, it needs the
background as part of the layer.
| | 01:49 |
If we've drawn on our design on the new
empty layer, the Emboss filter couldn't
| | 01:54 |
do its job.
| | 01:56 |
| | Collapse this transcript |
| Aging and staining the wallpaper| 00:00 |
Our wallpaper looks enough like the real
thing now that we've embossed and colored it.
| | 00:05 |
But it still isn't looking like
convincing wallpaper, and that's because
| | 00:08 |
it looks just too new.
So, let's add some stains over the top.
| | 00:13 |
We'll make a new layer and we'll call
this stains.
| | 00:16 |
We'll set the mode of this layer to hard
light.
| | 00:20 |
And that means that anything we paint on
here, we'll be able to see the wallpaper
| | 00:24 |
behind it.
And we're going to check use previous layer
| | 00:27 |
to create tripping mask so that the
stains only appear where they overlap the
| | 00:32 |
wallpaper layer behind.
Let's zoom in a little.
| | 00:37 |
We'll switch to the brush tool and we'll
use a largish soft-edged brush.
| | 00:43 |
Let's pick a dark brown as our foreground
color.
| | 00:47 |
And now we can paint some stains onto
this paper.
| | 00:50 |
And you can see that because were at hard
light mode, we're getting quite a nice
| | 00:55 |
stain effect.
Now we don't want to be too regular about this.
| | 00:59 |
We just want the sense of some, perhaps
dripping coming down from this data rail.
| | 01:06 |
And a few random patches of stain.
And we'll repeat that on the other side.
| | 01:17 |
Now the brown is not bad.
Let's try adding a little of the dark
| | 01:22 |
gray color instead and we can put a
little bit of this in.
| | 01:27 |
Now I'm using a pressure sensitive tablet
here so the harder I press the darker it
| | 01:31 |
comes out.
If you're using a regular mouse, you'll
| | 01:36 |
want to lower the opacity here, maybe to
around about 50 percent, so you don't get
| | 01:39 |
too strong a result.
And remember, you can always change the
| | 01:44 |
opacity using the number keys, five for
50 percent, seven for 70 percent and so on.
| | 01:49 |
We'll put a little more dark stain on
this side, make the brush bigger and put
| | 01:54 |
a little bit more stain on the side here.
Because the stains layer uses the
| | 02:02 |
wallpaper as a clipping mask, we can only
see the effect where it overlaps that wallpaper.
| | 02:12 |
A few more dark stains and perhaps some
more shading down the side of the
| | 02:18 |
doorway, and there's our stained
wallpaper.
| | 02:23 |
It's looking very much better.
It makes it feel old and warm, and that's
| | 02:28 |
the effect we want to get here.
| | 02:32 |
| | Collapse this transcript |
| Tearing the wallpaper| 00:02 |
The stains make the wallpaper look old.
Let's now make it look tatty, by tearing
| | 00:05 |
some holes in it.
Rather than actually ripping the
| | 00:09 |
wallpaper, lets make a layer mask for it,
by using Layer, Layer Mask, and Reveal All.
| | 00:15 |
Now with the layer mask, anywhere we
paint in black will hide the layer when
| | 00:21 |
we paint in white, it reveals the layer
again.
| | 00:27 |
So we want to make some vertical
selections first to mark the drawings
| | 00:30 |
between the pieces of wallpaper.
Let's zoom in a little, it can be quite
| | 00:35 |
hard to make a vertical selection of just
one pixel wide with the Marquee tool, it
| | 00:39 |
keeps on wanting to go wider.
So instead, we can use a Single Column
| | 00:44 |
Marquee tool, and that's nested below the
regular Marquee.
| | 00:48 |
Let's mark a column here.
I'll hide the edges, and on the layer
| | 00:52 |
mask, we can press Option Delete on a
Mac, Alt Delete on a PC, to fill with a
| | 00:56 |
foreground color.
And that makes our first slide.
| | 01:00 |
Let's zoom out again.
We can put another one in here and
| | 01:05 |
another one in here.
And let's pan across, and put a final one
| | 01:11 |
over on the side, and we can deselect.
And what that does is it makes drawings
| | 01:16 |
between the separate pieces of wallpaper.
And that's really all it takes to make
| | 01:22 |
the effect of this wallpaper having been
put up in proper wallpaper rolls.
| | 01:27 |
Okay, let's now make this a little bit
tattier.
| | 01:31 |
We'll go up to 100%, and let's make a bit
of a tear.
| | 01:35 |
And then pen tool is the best way to do
this.
| | 01:38 |
I'm going to click some way up that hold
we made, click again at the top.
| | 01:43 |
And then pull out and make a very small
curve.
| | 01:47 |
We can turn that into a selection by
pressing Command Enter on a Mac control
| | 01:51 |
and to a PC.
And now we can fill that black with our
| | 01:55 |
layer mask.
And that makes a nice little gap in our wallpaper.
| | 02:01 |
Let's make a bigger gap down here.
We can do this with Lasso tool.
| | 02:05 |
We can simply drag and start to wiggle
our way across.
| | 02:09 |
I'll pull it right over where it meets
the skirting board.
| | 02:14 |
Let's bring that back to the bottom of our
original wallpaper gap, and now we can
| | 02:19 |
fill that with black, and that's also now
hidden, on the layer mask.
| | 02:26 |
There's our first chunk, lets do another
small one, at the top here, and that's
| | 02:34 |
quite good.
For the next step, we need to provide an
| | 02:40 |
edge to this piece of paper.
So let's make a new layer, and we can
| | 02:44 |
call this wallpaper edge.
And once again, we've got used previous
| | 02:49 |
layer to create clipping mask checked,
and that means anything we do on this
| | 02:53 |
layer will only be visible where it
overlaps our wallpaper beneath.
| | 02:59 |
Here we're going to change the Brush tool
and use a Hard Edged Brush, and I'm going
| | 03:04 |
to paint on here in a pale brown.
And as I paint, I'm roughly but
| | 03:10 |
deliberately, inaccurately following the
line of this wallpaper.
| | 03:18 |
And that gives the sense of the backing
of the paper where the front has been
| | 03:22 |
torn off.
And let's do the same thing for this tear
| | 03:25 |
at the top.
And you can see I've gone over the edge,
| | 03:32 |
well that's easy to fix.
We can use the Eraser tool to simply take
| | 03:36 |
that out, and we'll do the same down
here.
| | 03:41 |
To make the affect a little stronger, we
can switch to the Burn tool, let's set
| | 03:47 |
this to 100%.
And let's just darken up directly beneath
| | 03:54 |
the wallpaper face.
And that makes this just a little bit
| | 04:00 |
more convincing and gives a more
3-dimensional feel to it, and we'll do
| | 04:04 |
the same thing on this side.
Now, this looks a little artificial and
| | 04:17 |
that's because it just needs some flat
tones in here and the easiest way to make
| | 04:20 |
this look more realistic is to add a
little noise.
| | 04:24 |
Let's go to Filter, Noise and Add Noise.
We'll add a very small amount of Gaussian
| | 04:30 |
Noise here, maybe as small as 3%, just
enough to put a little bit of texture
| | 04:35 |
into this paper.
And we can click Okay.
| | 04:40 |
Adding the stains and tears certainly
helps to make the wallpaper look old and tatty.
| | 04:45 |
Much more in keeping with the seedy
nature of our privatized hallway.
| | 04:51 |
| | Collapse this transcript |
| Lath and plaster| 00:00 |
Now that we've torn some holes in the
wallpaper, we need to create the interior
| | 00:04 |
of the wall behind it.
In this age of building, the wall would
| | 00:09 |
most probably be made of lath and
plaster, in other words, thin strips of
| | 00:13 |
wood with plaster in between.
So let's begin by making a backing for
| | 00:18 |
the whole section of the wall.
We'll zoom out so we can see the whole wall.
| | 00:24 |
Now it's the last thing we did with the
Marquee tool was to make these vertical strips.
| | 00:31 |
It'll be still set to make a single
column marquee.
| | 00:35 |
So let's set this back to the regular
rectangular marquee tool.
| | 00:41 |
I'm going to make a selection that goes the
entire width of this wall.
| | 00:46 |
Go to the Background Layer and now make a
New Layer.
| | 00:49 |
And we'll call this inside wall.
We want to fill this with a dark random pattern.
| | 01:00 |
Let's zoom in so we can see how this
works.
| | 01:05 |
Let's at the foreground color, the
midbrown, swap over so that now becomes
| | 01:09 |
the background color, and now I can set
the foreground color again to a darker brown.
| | 01:17 |
And we can choose Filter, Render, and
Clouds to fill our area with a random texture.
| | 01:27 |
And that's the kind of fill we want.
It's a bit too smooth so let's add a
| | 01:34 |
little noise, maybe a bit more than we
had before, that's okay.
| | 01:44 |
And now let's blur that noise to soften
it, using Filter, Blur and Gaussian Blur.
| | 01:56 |
And that is quite a nice plaster effect,
I'm happy with that.
| | 02:01 |
Maybe make it a little bit less blur and
we can click Okay.
| | 02:06 |
And there's the beginning of our wall.
Now, we want to get a horizontal lath in here.
| | 02:14 |
And as we said before, they're made of
wood.
| | 02:15 |
Well, here's our wood texture.
So let's make some vertical selections
| | 02:23 |
out of this.
There's our first selection, and we want
| | 02:28 |
a whole row of these, the same width.
So how do we do that?
| | 02:32 |
Well, having made the first selection, we
can switch into quick mask by pressing
| | 02:36 |
the Q key or by pressing the Icon at the
bottom of the toolbar.
| | 02:41 |
Everything that's red in here is
unselected, everything that's transparent
| | 02:43 |
is the selected area.
Let's make another selection around our
| | 02:46 |
clear area.
And we can make a copy of this by
| | 02:50 |
switching to the Move tool, holding down
Alt on a PC or option on a Mac and
| | 02:58 |
nudging it using the Cursor Keys.
And if we add the Shift Key, it'll nudge
| | 03:09 |
it by ten pixels at a time.
That's ten pixels, I'm going to release
| | 03:15 |
the Alt Key, so we just nudge this, and
that's nudged a total of five times.
| | 03:24 |
Let's do that again, Shift and Alt to
make the first copy, release the Alt Key,
| | 03:30 |
and knot it four more times.
And again Shift and Alt, release the Alt
| | 03:41 |
Key and again, and that's enough.
An easy way to make a string of verticals.
| | 03:55 |
Let's leave Quick Mask by pressing Q or
pressing the button again and there's our selection.
| | 04:00 |
We can now grab this with the Move tool
and drag it into our document.
| | 04:07 |
And we can just see it down there.
These want to be horizontal, so we can go
| | 04:12 |
into free transform and hold the Shift
Key as we rotate it and there go a lot.
| | 04:20 |
Now we need a couple more at the bottom.
So it's easy to make a selection out of
| | 04:27 |
here the bottom four, switch to the Move
tool, and hold ALT as we drag to make our
| | 04:34 |
copies and we can deselect.
Now lets darken this up a bit so that it
| | 04:42 |
stands out from our plaster background.
And we can do that most easily using the
| | 04:50 |
curves dialog.
That's quite good, and now that we've
| | 04:58 |
darkened it we can see, actually, this
slight unevenness between these 3
| | 05:04 |
(INAUDIBLE)
That's easy to fix, we can grab those and
| | 05:14 |
just move them down by I and the same for
the bottom one.
| | 05:27 |
Now these are still looking a bit too
regular.
| | 05:30 |
We want to break some chunks out of
these.
| | 05:33 |
Let's add a layer mask.
And once again we can paint on this mask
| | 05:42 |
in black to hide parts of this layer.
And as we do this, you can see we can
| | 05:49 |
break away little bits of these laths
just to make them look that much more old
| | 05:54 |
and tatty.
And it'll all contribute to the effect we
| | 05:59 |
want to get.
Now that we've done that, let's go back
| | 06:05 |
to the main layer so off the layer mask.
Maybe darken it up a little more and
| | 06:14 |
let's complete the effect by adding a
shadow behind it.
| | 06:19 |
The simplest way to do this is simply to
use the Layer Styles Dialogue and choose
| | 06:24 |
Drop Shadow.
And in fact, the default settings work so
| | 06:28 |
well, I'm going to leave it just like
that.
| | 06:31 |
What I would like though, is a shadow
cast by the wallpaper onto these lats.
| | 06:39 |
So let's make another New Layer, and
we'll call this one Luf Shadow.
| | 06:45 |
We can simple use the Brush tool, with a
large Soft Edge Brush.
| | 06:53 |
Black as our foreground color, and we can
paint our shadow on top here.
| | 07:00 |
Now again, because I'm using a tablet I'm
able to paint at a lower opacity simply
| | 07:05 |
by varying the pressure.
If you're using a mouse lower the opacity
| | 07:13 |
of the brush first, that worked rather
nicely down there.
| | 07:22 |
Let's take a copy of these laths.
I'll switch to the move tool and hold the
| | 07:29 |
Alt Key down as I copy of them.
And move them up to our, other piece of
| | 07:35 |
torn away wallpaper, up in the top here.
And once again, we can switch back to the
| | 07:43 |
Shadow Layer, and use the Brush tool to
paint in a bit of shadow under this.
| | 07:51 |
Now at this point, I'm looking at this
torn away piece of wallpaper, and I'm
| | 07:54 |
thinking that could use some darkening up
a bit.
| | 07:58 |
So I'll switch to it, it's called
Wallpaper Edge.
| | 08:01 |
And I'll use the Burn tool just to add a
little bit more darkness.
| | 08:08 |
On to this it doesn't look quite so
bright against those loves and the same
| | 08:14 |
again, up in this corner.
Let's zoom out, and there's our torn piece
| | 08:20 |
of wood the love plaster packing really
makes sense in those holes in the
| | 08:24 |
wallpaper now.
It's a much stronger effect and
| | 08:30 |
contributes lot of the feeling of
tattiness that we want in this image.
| | 08:36 |
| | Collapse this transcript |
| The back wall| 00:02 |
Let's now make the upper part of the
wallpaper.
| | 00:05 |
This is easily done with a random texture
which we can generate with a Clouds filter.
| | 00:10 |
We'll make a new layer and we'll call it
Upper wall.
| | 00:17 |
We can use the Marquee tool to make a
selection of the whole of this upper wall area.
| | 00:24 |
And just for neatness, let's remove the
area behind this door.
| | 00:27 |
And we can do that by holding the Alt key
down, that will remove any new selection
| | 00:32 |
from the old one.
And now we can trace our new area with
| | 00:37 |
the marquee.
When we release the button, that area is removed.
| | 00:42 |
From our selection.
As I said, we use the Clouds filter and
| | 00:47 |
the choice of colors is significant here.
Let's set a lightish brown as our
| | 00:54 |
foreground color.
Swap these over so that becomes the
| | 00:58 |
background, and now set a slightly darker
brown as being our new foreground color.
| | 01:05 |
And you can see these two browns are
very similar.
| | 01:08 |
When we use Filter, Render, and Clouds.
This is the effect that we get.
| | 01:16 |
And we can deselect.
The clouds produces this rather
| | 01:21 |
attractive random texture.
At that wood looks good here, when we
| | 01:25 |
zoom in on it however, it's a little bit
too smooth.
| | 01:29 |
Connect with the same technique we used
earlier of adding a little bit of noise,
| | 01:35 |
add less than that, about five percent
and a little bit of blur.
| | 01:48 |
And that just softens it, so we get a
little bit more texture within that
| | 01:53 |
random texture.
Now, once again, we want to make the
| | 01:58 |
joins in this wallpaper.
But they don't want to be obvious as the
| | 02:05 |
splits we made in the paper underneath.
So let's make a Rectangular selection and
| | 02:15 |
hide those edges.
This is where the Selection is.
| | 02:22 |
If we use the Burn tool, we can darken up
this selected area, but I'm doing it in a
| | 02:29 |
very patchy way.
So, rather than running it smoothly up
| | 02:34 |
and down, I'm only darkening it in a
random way and that made it look much
| | 02:38 |
more convincing.
Let's switch the Move tool, and as we
| | 02:44 |
move it along, we can now see that the
cursor changes when we get over our selection.
| | 02:50 |
And we can drag that over further to the
right.
| | 02:57 |
We'll use the burn tool again to darken
up this part of it.
| | 03:03 |
And repeat the process.
Now let's reveal those edges again and
| | 03:08 |
zoom out.
We want this to be fairly even.
| | 03:12 |
Let's move that across.
We can use the cursor keys to do this.
| | 03:17 |
Hide the edges and use the Burn tool
again.
| | 03:20 |
Let's show those edges, switch to the
Marquee tool, and drag it once more, hide
| | 03:30 |
the edges, and use the Burn tool once
more.
| | 03:41 |
And repeat the process, show the edges,
Marquee tool, and drag it.
| | 03:47 |
And as I drag, I'm trying to move it, so
it's more or less equal spacing between
| | 03:54 |
all of these.
Bit more shading up there.
| | 04:00 |
Let's move this along.
A bit more shading and I'm not bothering
| | 04:07 |
to hide the edges for these tiny bits.
Moving it along and this should be the
| | 04:17 |
last one.
If you deselect accidentally like I just
| | 04:23 |
did, simply press the Undo key and your
selection will come back again.
| | 04:30 |
And now, let's hide the edges and I'll
use the Burn tool to put in our stripe
| | 04:35 |
down here.
And what this does is is it makes the
| | 04:42 |
joins in the lining paper on the wall and
just makes the wall a little bit tattier.
| | 04:48 |
Now, let's make it tattier still by
putting in a bit of a split in the wallpaper.
| | 04:55 |
I'll do it with a Pen tool, so I'll click
high up on one of those splits.
| | 05:02 |
Hold the Shift key to draw a horizontal
line, and click further down, and then
| | 05:08 |
pull this out and draw a slight curve,
and we can just about see it on here.
| | 05:19 |
When I hit Command and Enter on a Mac,
Control and Enter on a PC to make this
| | 05:24 |
into a selection, we can now hide those
edges and use the Burn tool.
| | 05:29 |
Once again, to darken this all up.It's
similar to the photos we used when we
| | 05:34 |
were darkening up a slit in the
wallpaper.
| | 05:40 |
This time, let's darken it more at the
top and bottom, so we get more of a sense
| | 05:44 |
of seeing through this wallpaper.
And just as a little extra let's inverse
| | 05:50 |
our selection so everything else is
selected.
| | 05:55 |
I'm going to hide those edges and go to a
very, very, very small version of this tool.
| | 06:03 |
Even though I've got the Burn tool
active, you'll remember, we can get the
| | 06:06 |
Dodge tool by holding the Alt key down.
And now I'm going to paint.
| | 06:12 |
That's too strong, let's lower the
exposure.
| | 06:17 |
I'm going to paint.
A very faint edge all the way down here,
| | 06:21 |
and that gives the sense of a little bit
of brightening on the inside of that wallpaper.
| | 06:32 |
I've got some I didn't want at the
bottom, but I can just paint over that
| | 06:36 |
and darken it.
And it doesn't look perfect, well,that's fine.
| | 06:42 |
It's not supposed to look perfect.
Let's deselect and zoom out.
| | 06:49 |
So the Clouds filter does a very good job
of making our rear wall texture.
| | 06:54 |
But it's those slight gaps and tears that
really make it look like old, painted paper.
| | 07:00 |
| | Collapse this transcript |
| The floor| 00:02 |
To complete the background, let's make a
wooden floor.
| | 00:05 |
Of course, we can do this using the piece
of wood texture we made right at the beginning.
| | 00:11 |
So, here's our piece of wood.
Am I going to make some vertical
| | 00:15 |
selections in this using the Marquee
tool?
| | 00:20 |
Now, cuz these are going to be rough
planks, there's no need to make them
| | 00:23 |
exactly all the same.
To make the second one, we hold down the
| | 00:27 |
Shift key, and that means any selection
we make will be added to our original selection.
| | 00:35 |
There's a second, and let's make a third.
So now, let's make a new layer out of those.
| | 00:48 |
And let's apply a drop shadow to this so
it casts a shadow on the background so we
| | 00:52 |
can see the difference between the new
layer and the old one.
| | 00:58 |
Well, this shadow's coming out entirely
on one side.
| | 01:00 |
Let's change the angle so it comes
directly down.
| | 01:06 |
We can increase the size and the spread,
and that's all we need to make our planks.
| | 01:14 |
Now the trouble is, we've got the same
grain running through all of them.
| | 01:18 |
We can fix that by taking our new layer,
and flipping it vertically.
| | 01:24 |
Now, the grain doesn't much up, and it's
much more convincing.
| | 01:31 |
So, there are three new planks on top of
the background.
| | 01:35 |
Let's make a selection of that whole
thing and make a merged copy.
| | 01:40 |
We can choose Edit > Copy Merged of this
whole piece.
| | 01:45 |
And we go back into our image.
We can paste, and there's the word we
| | 01:51 |
just made.
So let's rotate it round, 90 degrees, and
| | 01:56 |
move it to the bottom.
Now, to get some perspective on this, we
| | 02:03 |
need to zoom out.
We're going to Free Transform again, and
| | 02:09 |
let's make this narrower and stretch it
out so it fills the entire width.
| | 02:18 |
Now, we're not going to see much of it on
this particular image, but let's see how
| | 02:23 |
it's done anyway.
To make this door look like it's in
| | 02:27 |
perspective, we hold Shift+Option+Cmd
on a Mac, Shift+Alt+Ctrl on a PC.
| | 02:33 |
And now, we can grab one of these bottom
corner handles and as we drag it sideways.
| | 02:38 |
It adds perspective to these planks.
And there's our wooden floor.
| | 02:46 |
Let's use curves to darken this up.
And that looks fine.
| | 02:52 |
Now, we can't see much of the wooden
floor texture here, but it's good to know
| | 02:57 |
we went to the trouble of making it
properly, anyway.
| | 03:02 |
| | Collapse this transcript |
|
|
4. The WindowDrawing the inner window shape| 00:02 |
We're going to add the effect of the
window, seen through the glass of our door.
| | 00:05 |
First, we'll need to draw the window
shape, and because this is a 1930's
| | 00:10 |
hallway, we'll need a typical 1930's
window.
| | 00:15 |
So let's Zoom in to our window area.
We'll choose a pale blue, and now we'll
| | 00:24 |
start off with the Elliptical Marquee
tool.
| | 00:29 |
As we Drag from corner to corner, we make
the marquee bigger.
| | 00:34 |
If we hold the Shift key down, we
constrain this to a perfect circle.
| | 00:43 |
That's fine.
Of course, we'll need to make a new layer
| | 00:46 |
to work on, and we'll call this one
window shape.
| | 00:51 |
So on this layer, we can now fill the
selection with blue, and we can fill any
| | 00:57 |
selection with a foreground color, by
pressing Alt+Delete on a PC,
| | 01:01 |
Option+Delete on a Mac.
And we can deselect.
| | 01:08 |
Let's switch to the regular Marquee tool.
And we want to draw a marquee that starts
| | 01:14 |
exactly halfway down the circle, and
extends to the full width of the circle.
| | 01:24 |
Like that.
Now you can see I've missed the edge of
| | 01:28 |
it slightly, that doesn't matter, I'll
show you how to fix that.
| | 01:32 |
Let's fill this with our foreground color
and hide the edges.
| | 01:37 |
It's still selected to we can switch to
the Move tool.
| | 01:42 |
And hold the Alt key on the PC, Option on
a Mac, as we hit the arrow keys and that
| | 01:46 |
will nudge a copy of our selection over
to the side.
| | 01:52 |
And in this case, nudging it three times,
brought it right out to the side of our circle.
| | 01:59 |
Much easier to do it this way, than to
try and spend several times, having a go
| | 02:02 |
at reaching the edge of that circle with
a Marquee tool.
| | 02:06 |
And let's Deselect.
We'll use the Marquee tool again, to
| | 02:11 |
select a line just at the bottom of the
semi circle, so halfway down the circle.
| | 02:22 |
And we'll delete.
If we move the cursor over the selection,
| | 02:28 |
the Icon changes, and that mean we can
move that selection down.
| | 02:34 |
So let's do that.
And Delete.
| | 02:38 |
And let's move it down again.
And Delete once more.
| | 02:46 |
And that has made the glazing bars on our
new window.
| | 02:50 |
Let's take a vertical selection, the same
width, and Delete and move that over and
| | 02:57 |
make another vertical selection.
And Delete again.
| | 03:08 |
Now at this point, we can see that our
two horizontal selections aren't exactly
| | 03:12 |
the same height.
So the top part of this window is taller
| | 03:17 |
than the piece below.
Well, we can easily fix that.
| | 03:23 |
We can simply make a selection at the
bottom of the window and drag it up.
| | 03:30 |
And that's the problem fixed.
I rather like the fact, that the middle
| | 03:34 |
pane is slightly wider than the two on
the outside.
| | 03:39 |
Now let's make an ark to go in the top
piece of the window.
| | 03:43 |
We'll go back to the elliptical marquee
and we want to draw this, so it fills the
| | 03:48 |
full width of these bars.
So if we position our cursor on the left
| | 03:54 |
hand edge of this vertical bar, we can
drag.
| | 03:58 |
Add the shift key to make it a perfect
circle.
| | 04:01 |
And keep dragging, until we hit the right
hand edge.
| | 04:05 |
And now we can release the Mask button.
We want to remove a section from within
| | 04:11 |
this circle, so we get a border, that's
exactly the same thickness, as these
| | 04:16 |
glazing bars.
How on Earth do we do this?
| | 04:21 |
It's going to be tricky to do it by drawing
a smaller circle.
| | 04:24 |
So we need to delete a smaller circle
from within this.
| | 04:28 |
Let's Zoom in so we can see it more
clearly.
| | 04:32 |
We'll hold the Alt key down before we
start to draw.
| | 04:35 |
And that will remove the new selection
from the old one.
| | 04:38 |
We'll move the cursor so it's above the
right-hand edge, of this vertical bar,
| | 04:45 |
and start the drag.
Hold the Shift key now, and we can
| | 04:50 |
release the Alt key, so that we're
drawing a perfect circle, and bring it
| | 04:56 |
down to that right-hand edge over there.
Now before we release the mouse button,
| | 05:03 |
we can see that the new circle, in no way
lines up with the original.
| | 05:07 |
Well that's okay, if we hold the
Spacebar, we can move this around while
| | 05:11 |
we're still drawing it.
And in fact, we can move any selection
| | 05:16 |
around in this way.
We can release the Spacebar, release the
| | 05:20 |
button, and now we've successfully
removed the inner circle from the outer one.
| | 05:27 |
We only want to use the top-half of this
circle, so let's remove the bottom-half.
| | 05:33 |
We can switch to the rectangular Marquee
tool.
| | 05:35 |
And to subtract a new selection from the
old one, we remember we hold the Alt key
| | 05:40 |
on a PC, Option on a Mac, and simply
select the area we don't want.
| | 05:45 |
Now that's removed from it.
We can Drag this up into the upper circle
| | 05:52 |
and Delete.
And now that's removed, from our window construction.
| | 05:59 |
Finally, let's put in some more glazing
bars at the top.
| | 06:03 |
We'll draw a rectangular selection at the
top, going straight up, and Delete.
| | 06:10 |
We want to rotate this selection by 45
degrees.
| | 06:15 |
And we can do that using Select >
Transform Selection.
| | 06:22 |
If we hold the Shift key down as we drag,
it constrains our movement to 15 degree increments.
| | 06:28 |
And that makes it easy to get at 45
degrees.
| | 06:32 |
So, we can Drag this out, and hit Enter.
There's our selection.
| | 06:37 |
We can Delete it.
We can go into Transform Selection once more.
| | 06:45 |
Rotate it again.
Move it over into place.
| | 06:50 |
Hit Enter to apply the transformation.
And then Delete once more.
| | 06:56 |
And there's our window shape.
Drawing this relatively simple shape was
| | 07:02 |
actually a surprisingly complex business.
But it's worth it, and it will look good
| | 07:09 |
in the final image.
| | 07:12 |
| | Collapse this transcript |
| Adding the figure| 00:02 |
Let's now draw a sinister figure lying in
wait for our private eye.
| | 00:06 |
We'll start by moving the window over to
the side, and let's in fact drag it right
| | 00:12 |
to the bottom of the layer stack.
Now let's make a new layer for our
| | 00:21 |
sinister figure.
And we'll call it Sinister Figure.
| | 00:29 |
So, we're going to have to paint this
free-hand, there is no other way around it.
| | 00:35 |
So let's take it slowly, take a deep
breath, we'll make a start.
| | 00:39 |
We'll switch to the Brush tool, and
choose a small, hard-edged brush.
| | 00:44 |
And let's pick brown as our foreground
color.
| | 00:49 |
So let's think about the figure.
Well, first of all, he ought to be
| | 00:52 |
holding a gun.
So let's draw a gun.
| | 01:00 |
There's the barrel.
Let's have a little piece sticking out
| | 01:06 |
the end, and use a smaller brush to make
the sight on the top.
| | 01:11 |
The gun can go back over his hand and
then come down.
| | 01:19 |
There's the finger guard.
And now lets make the brush size a bit
| | 01:23 |
bigger, and draw the hand that's holding
this gun, with fingers.
| | 01:32 |
Okay, that's not bad so far.
We'll bring the hand down, and we'll draw
| | 01:39 |
a coat sleeve that comes up rather than
larger than the list, lets fill all the
| | 01:49 |
sleeve area with brown and the easiest
way to do this is to use the magic want tool.
| | 02:06 |
We'll click inside the blank area.
Now if we were simply to film with a
| | 02:12 |
foreground color, let's hide the edges,
we could see it leaves a wide rim and
| | 02:17 |
that's because of the way that the
painting tool antialiases.
| | 02:24 |
So let's undo that.
But what we need to do instead is once we
| | 02:28 |
made that selection, go to select, modify
and expand.
| | 02:35 |
And we can expand last selection by say,
four pixels.
| | 02:40 |
Now that's it's bigger we can fill with
the foreground color and we know it's
| | 02:43 |
going to cover the edge, they'll be none
of those white marks.
| | 02:48 |
So let's now draw in the back of guns, so
it looks a bit more convincing and bring
| | 02:53 |
the hand down a little bit.
I'm going to move this over to the side,
| | 02:58 |
and actually make it rather bigger.
So our figure is just coming in from the
| | 03:08 |
side of this picture.
And lets rotate it round a bit.
| | 03:13 |
I like the way the gun overlaps the
window slightly.
| | 03:19 |
Let's now draw the figure of the man
himself.
| | 03:21 |
So back to the brush tool, make it rather
bigger again, and lets draw in his profile.
| | 03:30 |
Well, we can assume he'd be wearing a
hat, so we can draw in the brim of a hat,
| | 03:36 |
and then we can draw in The top of the
hat like this.
| | 03:44 |
We need a face for him, so that might
come down as forward like this.
| | 03:52 |
Nose coming in like this.
Bit of a mouth.
| | 03:55 |
And the chin.
And then he can just disappear off to the side.
| | 04:00 |
I am going to can easily paint him all of
this area to complete our solvate that's
| | 04:08 |
added bit to the bottom, now the hands
still look a little small in comparison
| | 04:15 |
with his head, so what I'm going to do is
select just the hand and the arm, remove
| | 04:23 |
his head from that, hide those edges, and
make it bigger again.
| | 04:36 |
And that looks okay.
Let's use the Brush tool once more.
| | 04:40 |
Just to bring his, brim of his hat down
so it meets his head, in a lot of a
| | 04:47 |
better way.
And that'll do for our sinister figure.
| | 04:53 |
Now drawing a silhouette really isn't
difficult, you just need to take it
| | 04:57 |
slowly and undo any mistakes as you go
along.
| | 05:02 |
| | Collapse this transcript |
| Creating the glass texture| 00:02 |
That figure in the window will make much
more sense if we give the impression that
| | 00:05 |
they're being viewed through frosted
glass.
| | 00:08 |
We can use the glass filter to create
this effect, but first let's add a background.
| | 00:15 |
We'll make a selection the right size,
we'll make a New Layer and call it, In
| | 00:20 |
Window Background and lets Fill this with
the dull grey color.
| | 00:27 |
Now, this has come out in front of our
figure and our window so lets drag it
| | 00:32 |
behind the two of them.
Now that window now looks much too garish.
| | 00:40 |
So, let's select it, and use the Curves
dialog to brighten that up.
| | 00:49 |
That's looking better.
We can take all three of these elements
| | 00:55 |
and make a New Layer Group from them by
using New Group from Layers.
| | 01:01 |
And we'll call it, In window.
Now what I want to do is to add some
| | 01:08 |
filter to this group, so the first thing
I want to do is to make a copy of it,
| | 01:17 |
Duplicate Group, and we can merge this
copy.
| | 01:27 |
If we use Cmd+E on a Mac, Ctrl+E on
Windows, we merge that group to let hide
| | 01:35 |
the original.
Now, first of all, before we apply the
| | 01:41 |
glass filter, we have to soften this
entire thing.
| | 01:46 |
So let's use Filter > Blur > Gaussian
Blur.
| | 01:50 |
And lastly we want quite a lot of Blur on
this.
| | 01:55 |
We're going to go for something like six and
a half pixels.
| | 02:01 |
Which seems excessive, but it will really
help the glass texture work.
| | 02:05 |
Let's say okay to that, and now we can
use Filter > Distort > Glass.
| | 02:17 |
And there is our rippling glass effect.
Now we can play around with the settings
| | 02:23 |
here as much as we want.
We could increase the amount of
| | 02:26 |
Distortion or increase the Smoothness.
I want the Smoothness value quite low,
| | 02:31 |
but quite a lot of Distortion here.
Let's take it down though, so we can
| | 02:37 |
still see the effect of the figure with
the gun, clearly showing through.
| | 02:44 |
And you can see what's happened here as
we have good Distortion on the window and
| | 02:48 |
on the figure, but this background looks
completely plain.
| | 02:52 |
There's no texture in there for the
filter to work with.
| | 02:57 |
We'll say OK to that.
And now we'll undo it.
| | 03:04 |
Let's select this background and we can do
that easily with a Magic Wand tool, and
| | 03:10 |
use the Burn tool with a larger brush.
Just to add a little bit of shading in
| | 03:17 |
here, and it really doesn't matter what
kind of shading we add.
| | 03:21 |
We just want a bit of a random texture,
and we're also holding the Alt key down
| | 03:26 |
here to use the Dodge tool temporarily,
and let's deselect.
| | 03:32 |
When we now run the glass filter again
because I have some texture to work with
| | 03:36 |
in that background it's producing a much
better effect on there.
| | 03:42 |
And let's zoom out and see how this is
looking.
| | 03:44 |
Okay.
Well, there's our window.
| | 03:49 |
It should look rather more lit up than
this.
| | 03:52 |
We're going to have a dark hallway.
So we want a bright window showing through.
| | 03:58 |
Let's color this window using the Curves
Adjustment.
| | 04:06 |
We could simply brighten it, but that
looks a bit pale and washed out.
| | 04:10 |
Instead, let's add some yellow to it, so
it looks more like it's lit by artificial light.
| | 04:17 |
Well this is tricky.
We don't have a yellow channel to work with.
| | 04:21 |
What we're going to have to do instead is
synthesize yellow by adding some red from
| | 04:26 |
the red channel.
And then some green from the green channel.
| | 04:33 |
And there's our yellow effect.
Better add a little bit more red to warm
| | 04:38 |
that up slightly.
And there's our brightened window, that's
| | 04:45 |
working much better.
Now, to complete the window effect, let's
| | 04:51 |
add some vertical stripes to this.
As if it were the kind of glass you used
| | 04:57 |
to see in old films that's made of
several vertical strips.
| | 05:02 |
Let's make a New Layer.
We'll call it Vertical Stripes and we'll
| | 05:14 |
make a Narrow Vertical selection.
What I'm going to do now is use the
| | 05:22 |
Gradient tool set to foreground to
transparent.
| | 05:32 |
Which is this second icon, and I'm going
to set the colors to their default black
| | 05:35 |
and white.
Now where we drag with the Gradient it
| | 05:40 |
will only Fill this area, but we want it
to be directly across rather than at an angle.
| | 05:46 |
To do this we hold the Shift key down,
and now we can make a purely horizontal
| | 05:50 |
gradient and that's what we want.
To want to repeat this all the way along,
| | 05:56 |
and we can do that very easily with the
Move tool selected.
| | 05:59 |
If we were to hold down the Cmd key on a
Mac and Ctrl key on a PC, and nudge it,
| | 06:03 |
with the cursor keys, we'd move it by one
pixel.
| | 06:08 |
If we hold Cmd and Shift on a MAC, Ctrl
and Shift on a PC, and hit it with the
| | 06:12 |
cursor keys we'll move it by ten pixels.
If we hold Cmd, Shift, and Option on a
| | 06:19 |
Mac, Ctrl, Shift, and Alt on a PC then we
can move a copy of it by 10 pixels.
| | 06:26 |
And each time we press the Right arrow
key on our keyboard we move it by another
| | 06:31 |
10 pixels.
And this is a very simple and quick way
| | 06:36 |
to create a series of strips of this
graduated tone.
| | 06:40 |
And I'm going to keep going a bit further
past the window and deselect.
| | 06:46 |
Now it'll move the whole lot over to the
left slightly, and let's lower the
| | 06:51 |
opacity of this.
Well, we'll start bringing it down.
| | 06:56 |
66%, still too strong.
33%, still too strong.
| | 07:03 |
Let's bring it right down to around 15%.
I like the way this looks.
| | 07:09 |
And this is giving us the sense of
looking through glass made of vertical
| | 07:14 |
strips that's also rippled.
This completes our glass texture.
| | 07:19 |
And the recoloring means it fits in well
with the overall color of the scene.
| | 07:26 |
| | Collapse this transcript |
|
|
5. Finishing the DoorMaking the base plate and the keyhole| 00:02 |
It's time to make the door furniture.
We'll start with the door handle, and
| | 00:05 |
we'll draw it much larger than we need
to, simply so we can see what we're doing
| | 00:09 |
that much better.
So let's move over to the side and we'll
| | 00:14 |
make a new layer, and we'll call this one
Base plate.
| | 00:23 |
And lets bring it right to the top of the
layer stack, just to keep things simple
| | 00:27 |
for us.
We'll make a selection using the
| | 00:32 |
Rectangular Marquee tool, and lets fill
this with a mid gray.
| | 00:41 |
We select the grey and as always to fill
a selection with a foreground color, we
| | 00:46 |
use Alt+Delete on a PC, Option+Delete on
a Mac, and we can deselect.
| | 00:53 |
Now let's add some very basic shading to
this, using the Burn tool.
| | 01:01 |
With a low opacity, still set to 40%,
let's drag diagonally across the top, and
| | 01:06 |
across the bottom.
And let's now hold Alt on a PC, Option on
| | 01:12 |
a MAC, to get the Dodge tool temporarily.
And that is a good basis on which to work.
| | 01:20 |
It could be that straight because it's a
bit too bright, we can reduce the
| | 01:24 |
intensity of it by using the fade Cmd,
after every brush stroke, after every
| | 01:28 |
filter we can use this, to reduce the
strength of the last used effect.
| | 01:34 |
And that looks good.
Now we want to add the bevel around the edge.
| | 01:40 |
We'll first load this as a selection, by
holding Cmd to the MAC Ctrl on the PC and
| | 01:44 |
clicking on its Thumbnail with the Layers
panel.
| | 01:49 |
And there's our selection.
Now to make the whole selection tightly
| | 01:52 |
small looking this, we could use the
Marquee tool and draw a smaller one, but
| | 01:56 |
it will be hard to make it symmetrical.
Here's a better way.
| | 02:02 |
If we go into Quick mask, we can use Free
Transform, and it'll automatically
| | 02:08 |
activate the selected area.
We can now hold the Alt key on a PC,
| | 02:13 |
Option key on a Mac, to transform it from
the center.
| | 02:18 |
And as we drag it in, we can see that
it's moving symmetrically.
| | 02:22 |
That's fine.
We can hit the Enter key to apply that transformation.
| | 02:27 |
And now leave Quick Mask.
So there is our smaller selection.
| | 02:32 |
We want to work on the outside of this,
so let's invert the selection.
| | 02:41 |
We'll hide the edges, and now let's use
the Burn tool to darken up the right and
| | 02:48 |
bottom edges of this.
We now want to work on the top and left
| | 02:54 |
edges, so let's use our Lasso tool to
limit our selection to just that.
| | 03:01 |
Now to limit a selection, to the area
that's included by a new selection, we
| | 03:06 |
first hold down Option+Shift on a Mac,
Alt+Shift on a PC.
| | 03:13 |
And you can see we now got little X Icon
and that shows us where going to produce
| | 03:16 |
an intersection.
We can start dragging, and now that we've
| | 03:20 |
done that we can release both those keys.
We can press Option on a Mac, Alt on a PC
| | 03:26 |
again to trace around this corner just in
the same way we did when we were drawing
| | 03:30 |
the door frame.
And back, and across this corner, and now
| | 03:36 |
we can release the keys.
The new selection has intersected with
| | 03:41 |
the old one and that's the result.
Let's hide the edges, and once again we
| | 03:47 |
can use the Burn tool.
Or rather this time I'm going to hold
| | 03:51 |
down the Alt key on a PC, Option on a
Mac, so I get the Dodge tool and now we
| | 03:55 |
can brighten up that side.
To make the top a little brighter, lets
| | 04:02 |
show our selection again, and we'll use
the Lasso tool in exactly the same way,
| | 04:09 |
to select just the top.
Hide the edges, and brighten that up.
| | 04:17 |
And now we can deselect.
So that's the beginning of our faceplate.
| | 04:25 |
It'll be better if we have a slight bevel
right on the inside, and here's a way to
| | 04:30 |
do that.
Let's load this as a selection again.
| | 04:35 |
Go into Quick mask, and shrink it, until
we get back to the selection we had earlier.
| | 04:41 |
Left in the middle there.
And now we can leave Quick mask.
| | 04:45 |
Now with that selected, lets set white as
our foreground color, and add a stroke to this.
| | 04:53 |
We'll hide the edges first.
We go Edit, and Stroke, and we'll add a
| | 04:58 |
two pixel stroke, but at a low opacity.
Let's try about 30%.
| | 05:08 |
And there it is.
And that gives quite a nice impression of
| | 05:12 |
a slightly rounded edge on the interior
of this bevel.
| | 05:16 |
It makes it just that little bit more
convincing.
| | 05:19 |
We'll deselect.
Okay let's now draw the keyhole.
| | 05:23 |
So I'll make a new layer and we'll call
this one keyhole, and this is easy to draw.
| | 05:29 |
We'll start with the elliptical marquee
tool and we'll draw a circle, set the
| | 05:34 |
default colors to black and white and
fill that with black.
| | 05:40 |
Well now lets switch to the Rectangular
Marquee tool, draw in the piece that
| | 05:46 |
hangs down in our keyhole, and fill that
with black as well.
| | 05:52 |
And lets move it down into place.
Now to make it look like it's recessed
| | 05:57 |
into the door, we can do this easily with
a bevel, so we'll choose that as one of
| | 06:03 |
our layer styles.
This defaults to an inner bevel, and here
| | 06:09 |
we want an outer bevel, so let's change
it.
| | 06:14 |
Let's head the direction to down, and
there it goes.
| | 06:20 |
Now what we actually want is a harder
bevel than we got there, and we can do
| | 06:25 |
that, by increasing the depth and there
is our stronger bevel, and that works
| | 06:30 |
quite well for us.
So let's say Okay and make this whole
| | 06:38 |
keyhole, slightly smaller.
So that's the base plate of the door
| | 06:45 |
handle complete.
Although we tend to think of layer styles
| | 06:50 |
as being better for graphic images than
photographic ones, it's proved to be an
| | 06:54 |
easy and effective way to add the bevel
to our keyhole.
| | 06:59 |
| | Collapse this transcript |
| Drawing the screws and the doorknob| 00:00 |
With the Baseplate complete, we can
finish off the handle by drawing in the
| | 00:05 |
screws, and the doorknob.
Let's use the Elliptical Marquee tool, and
| | 00:12 |
make a new, small circular selection.
And we'll call this one, screwhole.
| | 00:19 |
What we're making here, is the hole the
screw will recessed into to.
| | 00:25 |
Let's take a mid grey again, and fill
with that color, and now we can Deselect.
| | 00:33 |
We'll add an Inner Bevel to this, as a
Layer Style.
| | 00:42 |
So we set the style to Inner Bevel, the
direction to down, so it appears recessed.
| | 00:47 |
And in fact, we can just Accept the other
default settings, that's fine.
| | 00:54 |
Now to make the screw itself.
Let's duplicate this screwhole and call
| | 01:00 |
this one Screw.
Now let's make this slightly smaller.
| | 01:05 |
And we can do that using Feet Font Form
and holding down the Out key, Option key
| | 01:11 |
on a Mac to scale from the center and the
Shift key to keep it proportional.
| | 01:19 |
We only want it slightly smaller, and
there it is.
| | 01:23 |
Now, we can't really see it, 'cuz it has
the same Bevel as the hole beneath it.
| | 01:27 |
So let's open this up, and now change the
direction of this to up.
| | 01:33 |
And there is our screw.
To get it truly rounded, all we have to
| | 01:37 |
do is increase the size slightly.
And that's much better.
| | 01:45 |
We can say OK.
Now let's switch to the Screw Hole layer
| | 01:49 |
and make copies of this.
We can Select it, switch to the Move
| | 01:53 |
tool, and to make a copy of anything on a
layer.
| | 01:58 |
We hold Alt on a PC, Option on a Mac, and
we Drag and then hold Shift as well to
| | 02:04 |
move it horizontally.
Let's switch to the Regular Marquee tool
| | 02:11 |
andUNKNOWN take both of those a make a
new copy at the bottom.
| | 02:16 |
We'll do the same with the screw.
Select it, Drag a copy, Select both, and
| | 02:27 |
Drag a copy.
And you may have noticed, I didn't
| | 02:34 |
actually switch to the Move tool before
dragging those.
| | 02:40 |
That's because if you hold the Cmd key on
a Mac, Ctrl key on a PC, you get the Move
| | 02:44 |
tool temporarily, when any other tool is
selected.
| | 02:49 |
So, to make these into Screws we need to
put some screw headlines through them.
| | 02:55 |
And the easiest way to do this is to use
the Eraser tool.
| | 02:59 |
Will go for a very small Eraser.
And it's a Hard Edged Eraser.
| | 03:07 |
We can use the Eraser tool, and just draw
straight through the middle, of one of
| | 03:12 |
these screws.
And that erases it.
| | 03:15 |
And the Bevel that we've made, applies
itself now to the erased part as well.
| | 03:20 |
So we getUNKNOWN effect.
We can do this to all the other Screws as well.
| | 03:26 |
And if we draw through them with the
eraser tool at slightly different angles
| | 03:30 |
we're going to get a much more realistic
effect than if they were all the same.
| | 03:36 |
So this one is too similar to that.
Let's undo it.
| | 03:40 |
And try it again, maybe straight down.
Now we can make the Screw effect slightly
| | 03:46 |
more pronounced if we want.
By going back to our Bevel and Emboss
| | 03:52 |
Dialogue, and increasing the depth.
And that looks good to me.
| | 03:59 |
Let's now draw the Doorknob.
We'll make a new layer and call it Doorknob.
| | 04:05 |
We'll use Elliptical Marquee tool to make
a circular selection, and we'll make it
| | 04:12 |
slightly wider than our baseplate.
Like this.
| | 04:18 |
And we'll fill, with a mid gray.
That is the beginning of our Doorknob.
| | 04:22 |
We need to add Shading to it, and we need
to add Gloss to it.
| | 04:37 |
And that will make it look much more
realistic.
| | 04:41 |
Let's use the Burn tool I'm
going toINAUDIBLE the Exposure here up to 100%.
| | 04:46 |
And we'll start by painting in a shadow
along the bottom right side and that's
| | 04:51 |
because the light is going to come from
the upper left.
| | 04:59 |
Now let's hold down the Option key on a
Mac, Alt on a PC, to turn the Burn tool
| | 05:05 |
temporarily into the Dodge tool and we
can add a highlight in the upper left here.
| | 05:16 |
We'll strengthen the shading slightly,
along the bottom.
| | 05:20 |
And just to make it look more like Brass,
it helps if we reduce the size of the brush.
| | 05:27 |
And use the Dodge tool, so in this case,
that's the Burn tool with the Option or
| | 05:32 |
Alt key held down.
And just brighten up, the underside of it.
| | 05:41 |
And that gives it the look as if it's
reflecting the brighter door plate underneath.
| | 05:46 |
And just add slightly to the impression
of it being a metallic object.
| | 05:53 |
We'll need to add a little shadow behind
it, and we can easily do that with a
| | 05:58 |
Layer Style.
So let's make this quite a big shadow,
| | 06:04 |
and move it further away.
So that it all sits below the Doorknob.
| | 06:14 |
And that's quite good.
Notice how the shine underneath here.
| | 06:19 |
Gives you that extra metallic look.
What I want to do now, is to put all of
| | 06:24 |
these elements into one group.
So I'll select the Doorknob, the Screw,
| | 06:30 |
and Screw hole, the Keyhole, and the
Baseplate, by Shift clicking on them, in
| | 06:36 |
the Layers panel.
And we can choose New Group from layers.
| | 06:43 |
And let's duplicate this group, and on
the duplicate we can merge the whole
| | 06:50 |
group together.
I've used the short cut Cmd e, Ctrl e on
| | 06:55 |
a PC, we could of course have chosen it
from the bottom of the layers panel.
| | 07:01 |
Okay, now let's turn that into Brass.
We'll open the curves adjustment and
| | 07:09 |
because there's now a single layer, a
curve will only effect this layer.
| | 07:17 |
So, for a Brassy effect, we need to add
some Red.
| | 07:20 |
And we could add some Green, but it might
be better if we take out some Blue instead.
| | 07:29 |
'Kay we'll switch to the Blue channel,
click on the Curve and Drag this down.
| | 07:35 |
Now, that's quite a good color for Brass,
but we need to make it much stronger than this.
| | 07:42 |
So let's go to the composite RGB channel,
click in the middle of the Curve and Drag
| | 07:48 |
this down.
And as we do so we get an effect much
| | 07:53 |
closer to old Brass.
We can increase the contrast slightly.
| | 07:58 |
Not quite that much.
And that's quite a nice effect.
| | 08:05 |
It's always best to draw new picture
elements in gray, and then add any
| | 08:10 |
coloring later.
That way, we can be sure that the color
| | 08:14 |
that we add won't interfere with any
color that might be already present in
| | 08:18 |
the objects.
| | 08:21 |
| | Collapse this transcript |
| Making the hinges| 00:00 |
We've completed drawing our doorknob, so
now let's shrink it down and place it on
| | 00:10 |
the door.
We'll zoom in and we have to make it
| | 00:16 |
quite small to fit on this narrow door
panel.
| | 00:20 |
And that looks good.
Now it's in place.
| | 00:23 |
I think the whole thing is a bit too
strong in color.
| | 00:27 |
Let's use the Hue and Saturation
dialog.
| | 00:29 |
Have to take that down a bit so it looks
slightly older.
| | 00:34 |
Good.
Now, let's draw those hinges.
| | 00:40 |
Now, we want the hinges to match the door
handle in color and in tone.
| | 00:46 |
And in fact, we don't need to go to the
trouble of drawing them.
| | 00:51 |
We've already got a piece here, we can
use.
| | 00:54 |
We'll use the Elliptical Marquee tool to
make a selection of this door knob.
| | 00:59 |
And let's copy that to a new layer.
We'll bring it out here.
| | 01:07 |
And once again, we'll make the hinge much
bigger than we actually want to use it.
| | 01:16 |
So that's the top of the hinge.
Let's use the Regular Marquee tool to
| | 01:22 |
take a thin slice through the middle of
it, and I'm going to copy that down.
| | 01:29 |
There it is.
I've hidden it.
| | 01:31 |
It's still selected.
We'll switch to the Move tool and we can
| | 01:34 |
extrude this downward by making multiple
copies of it.
| | 01:38 |
We can hold Alt on a PC, Option on a MAC
and hold down the Down arrow on our
| | 01:44 |
keyboard to keep stretching this
downwards and we can make it as long as
| | 01:49 |
we like.
That'll do.
| | 01:54 |
Now, let's use the Dodge tool and make it
smaller.
| | 01:59 |
And we'll draw a brighter piece just at
the top of this.
| | 02:06 |
So when we select it, switch to the Move
tool and hold the Alt key on a PC, Option
| | 02:11 |
on a Mac to drag it down.
We move a copy of it, and that piece we
| | 02:18 |
brightened up now forms a divider between
all these hinge parts.
| | 02:25 |
And one more.
Rotate one more copy and on this one,
| | 02:30 |
we'll remove the bottom.
So we'll use the Marquee tool just to
| | 02:38 |
Deselect it.
There it is.
| | 02:45 |
Let's take all of these pieces and make
it slightly smaller using Free Transform.
| | 02:54 |
Okay that looks good.
And I wanted to make a copy of our
| | 03:00 |
original brass ball.
Let's move it down to the bottom.
| | 03:07 |
Now, this is all on one layer at the
moment, so let's take our middle piece
| | 03:12 |
and drag it up so it goes on top of the
brass ball.
| | 03:19 |
And we can use the Arrow keys to nudge it
into place.
| | 03:21 |
That's the ball at the top of this old
fashioned hinge.
| | 03:27 |
Let's now select all of this, and bring it
down to meet the other brass ball.
| | 03:32 |
And there it is.
We can Deselect.
| | 03:36 |
Now lets take the entire hinge assembly,
and put it in place on the side of the door.
| | 03:41 |
And now we can make it much smaller.
So one at the top of the door.
| | 03:49 |
Let's zoom out.
Select all and hold the Alt key down to
| | 03:55 |
make a copy.
One at the middle of the door.
| | 04:04 |
And one down at the bottom.
And then Deselect.
| | 04:11 |
They look quite good.
They're all a little bit bright.
| | 04:13 |
So let's use the curves dialog just to
darken them up slightly.
| | 04:27 |
And those are the hinges complete.
Using a piece of the doorknob to make the
| | 04:32 |
hinges saved us quite a lot of time.
We should always try and repurpose our
| | 04:38 |
existing artwork whenever we can.
| | 04:42 |
| | Collapse this transcript |
| Painting the lettering| 00:00 |
Let's complete the door, by adding some
lettering painted onto the glass, in true
| | 00:05 |
private eye style.
We'll use the type tool, and we'll start
| | 00:11 |
with a name, and we'll call him Sam Spud.
And the font that I've used here, is
| | 00:18 |
called Alexandria FLF.
It's a freeware font, widely available
| | 00:23 |
and it's the kind of slab serif that was
very popular in the 1930s.
| | 00:27 |
Now you want to curve this around on the
top of the door and the easiest way to do
| | 00:34 |
that is to use text warp.
The style we want is an arc.
| | 00:44 |
And in fact, the default settings, with a
bend of 50%, is absolutely fine.
| | 00:49 |
So we'll just say okay to that.
Let's move this down a bit.
| | 00:56 |
Now we want to make this lettering look
shiny, as if it's gold.
| | 01:01 |
And we also want to have an outline to
it.
| | 01:05 |
And we can do all of this using layer
styles.
| | 01:09 |
So, let's begin by adding an inner bevel,
and that's how we start off.
| | 01:16 |
To make it shinier, we can use a gloss
contour.
| | 01:20 |
Let's go for this double peak.
And if we say you want to that to be anti
| | 01:26 |
alias, by checking this box, it'll be
somewhat smoother.
| | 01:30 |
Now we want to brighten it up, so lets
add a color overlay, and we'll change the
| | 01:37 |
color to a kind of gold.
So to do this, we first of all drag up
| | 01:44 |
and down on this color slider 'til we
find a color that we like the look of.
| | 01:51 |
That's okay, it's a bit too strong, but
now we can tone that down a bit, like this.
| | 01:58 |
Now that we can see our bevel more
clearly, we can see it actually looks too raised.
| | 02:05 |
It's looks like it's 3D lettering stuck
on the top, rather than gold leaf, so we
| | 02:08 |
need to tone that down a bit.
Let's go back to our bevel and emboss and
| | 02:13 |
take the depth down.
And that looks rather better we can even
| | 02:21 |
lay the sides down a little bit as well
and that looks rather good.
| | 02:25 |
Finally, we want the outline outside the
lettering so let's go to stroke it
| | 02:30 |
defaults to having a black stroke we can
make it slightly thicker than this if we like.
| | 02:40 |
And there's out lettering as if painted
on the door.
| | 02:43 |
So let's say okay to that.
I'll bring that down a bit.
| | 02:49 |
Let's put a sub head underneath that, and
our subtitle will be private, let's say defective.
| | 02:59 |
Because I don't think somehow think that
Sam Spud is a very good private detective.
| | 03:04 |
We need to tighten up the leading on
this, so we can select all, and the
| | 03:08 |
shortcut for adjusting leading is to hold
Alt on a PC, Option on a Mac, and use the
| | 03:13 |
up and down cursor keys on the keyboard.
And there it is.
| | 03:21 |
We want this to have the same painted
effected as the wording Sam Spud, so we
| | 03:26 |
can click on the effects on this layer,
hold down ALT on the PC, option on a Mac,
| | 03:31 |
and just drag that on top.
And there we have it applied.
| | 03:40 |
Let's make this layer slightly smaller
and maybe space it out.
| | 03:45 |
So, click within the lettering, select
All, and just as a shortcut for adjusting
| | 03:50 |
the lettering was to hold down optional
out and use the up and down arrow keys.
| | 03:57 |
For adjusting the spacing, you hold
Option or ALT and use the left and right
| | 03:59 |
arrow keys.
And let's space that out nicely, and
| | 04:04 |
there is our finished lettering.
The advantage of adding the text effect
| | 04:12 |
to layered styles is that the text
remains live.
| | 04:17 |
We could go back to it at any time and
change the words or the font.
| | 04:24 |
| | Collapse this transcript |
|
|
6. Adding the Lamp and the SwitchDrawing the light switch| 00:02 |
The light switch appears to be a fairly
complex object, but it's easily drawn
| | 00:05 |
with a little shading.
Once again, we'll draw it larger than we
| | 00:10 |
need it, so you can see what's going on
better.
| | 00:15 |
We'll start with Elliptical Marquee tool
and draw a circle.
| | 00:19 |
Let's make a new layer and call it Light
Switch, and let's fill this with a mid-gray.
| | 00:30 |
We'll select the gray and fill with a
foreground color using Alt+Delete on a
| | 00:35 |
PC, Option-Delete on a Mac.
Now, it's still selected and we want to
| | 00:41 |
treat the rim.
Let's modify the selection and contract
| | 00:47 |
it by 6 pixels.
We now have the inner part of the switch selected.
| | 00:55 |
Let's inverse that selection, so, the
outer part is selected and hide those edges.
| | 01:03 |
And we'll use the Burn tool to add some
shading on the bottom, and use a Dodge
| | 01:11 |
tool to add a highlight on the top.
So that's the outer part.
| | 01:22 |
Let's now inverse that selection again,
so now the inner part is selected once
| | 01:29 |
more and we'll hide the edges.
So once again, we'll use the Burn tool to
| | 01:36 |
add our shading on here, darkening the
outside, and adding a little highlight at
| | 01:42 |
the top left.
Once again, we'll use the Dodge tool to
| | 01:48 |
add a very faint highlight at the bottom
and on the right.
| | 01:55 |
Now, to make this look shiny, we'll try
this, Deselect.
| | 02:00 |
We'll use the Elliptical Marquee tool to
make a new selection, slightly smaller
| | 02:09 |
than the original end over light switch.
And now, we'll subtract a smaller circle
| | 02:18 |
from within this.
So we'll hold down Alt on a PC, Option on
| | 02:23 |
a Mac to remove the new selection from
the old one and we'll draw a smaller
| | 02:29 |
selection inside there.
By removing that, we're left with a small crescent.
| | 02:38 |
We can use the Burn tool to add a little
shine to that.
| | 02:43 |
Now, that's much too strong.
So let's Fade this to make it much less
| | 02:50 |
strong, and that's the kind of effect
that we want.
| | 02:57 |
Now, for the inner ring.
We want it to be concentric with the outer.
| | 03:05 |
So, let's load that as a selection,
Command on a Mac, Ctrl on a PC, and click
| | 03:09 |
on the Thumbnail.
And now, we can go into Quick Mask and
| | 03:16 |
use Free Transform to make this smaller,
and that's a good size.
| | 03:27 |
We can leave Quick Mask, and now, let's
make a new layer, fill it with our gray,
| | 03:39 |
and use Layer styles.
(INAUDIBLE) add an Inner Bevel to this.
| | 03:49 |
And we want the direction here to be
down.
| | 03:56 |
Okay, let's go into Quick Mask again,
make this selection smaller again, and
| | 04:07 |
exit Quick Mask.
We can now delete this inner selection,
| | 04:16 |
from the outer one, and deselect, and
there is our ring.
| | 04:22 |
Looking at it now, I think we want that
actually raised (UNKNOWN), so let's
| | 04:26 |
change the Bevel, to set the mode of this
to Up rather than Down, and there's our ring.
| | 04:34 |
We want an inner part of the switch, and
the easiest way to make that is to
| | 04:39 |
duplicate the outer.
Let's select our light switch and use
| | 04:45 |
Command+J on a Mac, Ctrl+J on a PC to
duplicate that layer.
| | 04:50 |
And then we can use Free Transform to
simply shrink that down remarkably easy.
| | 04:57 |
Now, to make the switch itself.
We'll make a rectangular selection rather
| | 05:04 |
smaller than the area we've got here and
let's make a New Layer.
| | 05:13 |
We'll use the Brush tool, the Soft Edge
Brush and sample a color out of the
| | 05:21 |
switch itself.
And let's drag this switch above the
| | 05:27 |
inner range.
We'll hide the edges.
| | 05:30 |
And we'll just paint this, so that it
fades away down into the inner part of
| | 05:35 |
the switch.
Finally, we want to make the top of this
| | 05:40 |
switch, so we'll select the top of it,
and use the Dodge tool to brighten that
| | 05:47 |
up a bit.
And if we want to, we could go into Free
| | 05:53 |
Transform and bend this in slightly for a
little bit of a perspective event and we
| | 06:00 |
can Deselect.
Now, we want to add a couple of screws to this.
| | 06:09 |
We've seen how to add screws.
We did it earlier with the door knob.
| | 06:12 |
And in fact, there's no reason to draw
them again.
| | 06:15 |
We can simply take the screws we drew on
that doorknob.
| | 06:18 |
Before we merged that whole doorknob, we
put all the layers into a separate group.
| | 06:27 |
So let's open this up and let's merge the
screw with the screw hole layers.
| | 06:35 |
And now, we can select the top two of
these, and make a new layer from them,
| | 06:42 |
and we'll move this right to the top.
And now we can hide our door handle
| | 06:50 |
original again.
There are the screws we drew.
| | 06:55 |
Let's drag these across and put them in
place onto our light switch, one at the
| | 07:03 |
top and one at the bottom, and we'll call
this layer, screws.
| | 07:12 |
We'll make another copy of that which
we'll use later, but now, we'll hide it.
| | 07:19 |
So we can take the screws, the switch,
the inner ring, and the light switch
| | 07:24 |
layers, and make a new group from them.
Now, let's duplicate this group.
| | 07:42 |
Now, let's add the piece that comes out
of the top.
| | 07:47 |
We'll use the Marquee tool, to draw a top
onto this, make a new layer, and we can
| | 07:56 |
call it trunking, and fill with gray.
Let's use the Elliptical Marquee tool to
| | 08:07 |
make an elliptical selection out of this
the same width as our gray rectangle and
| | 08:15 |
drag that out of the top.
And let's make another elliptical
| | 08:23 |
selection of the bottom and delete it.
We can now add a little shading to this
| | 08:30 |
using the Dodge and Burn tools till that
appears to come out of the top.
| | 08:40 |
And you can see I haven't got our
elliptical selection quite correct there.
| | 08:44 |
And let's try this again.
And move it, so it's more centered.
| | 08:52 |
That's better.
Now, let's merge this entire group and
| | 08:58 |
reduce it down, and we'll put it on the
wall next to the door.
| | 09:07 |
Finally, we need to tint it.
We could do this with Levels or with
| | 09:12 |
Curves, but let's use Color Balance to
add a little red and a little yellow to it.
| | 09:19 |
While the color's not bad, it could do
with being darker, so maybe we'll use
| | 09:26 |
Curves after all just to darken this up.
And there's our (UNKNOWN) light, light switch.
| | 09:35 |
As always, we draw this light switch as
we draw our other objects in gray, so
| | 09:42 |
that we can add some coloring afterwards.
| | 09:49 |
| | Collapse this transcript |
| Adding the trunking| 00:02 |
To create the trunking, all we need is a
shaded pipe coming out of the top of the switch.
| | 00:07 |
So let's make a new layer.
Move it behind the Light Switch Layer,
| | 00:11 |
and now draw a rectangle.
And we'll draw it just narrower than the
| | 00:16 |
piece coming out of the top of the
switch.
| | 00:19 |
And the full height up to the top of our
image.
| | 00:23 |
We'll sample a color from out of the wall
and fill with that color.
| | 00:30 |
It looks a little too narrow, so let's
use free transform to make it a little
| | 00:36 |
bit wider.
We can add some shading to this.
| | 00:41 |
Using the Dodge tool and the Burn tool.
We'll use the burn tool to draw some
| | 00:45 |
shading up the side.
And the Dodge tool set to a low exposure
| | 00:50 |
to draw a highlight down the other side.
Now that's much too strong, so let's fade
| | 00:56 |
that once again and bring it down to the
level with which we wanted.
| | 01:03 |
And that works well.
Now for the Clips.
| | 01:09 |
We can switch to the Shapes tool with a
round edged rectangle.
| | 01:14 |
We'll make sure this is drawing a Pen
Path and we'll Drag it out to make a lot
| | 01:19 |
end shape.
We'll turn that into a selection.
| | 01:23 |
And make a new layer.
And fill it with the same foreground
| | 01:28 |
color and Deselect.
We can use the Dodge and Burn tools to
| | 01:32 |
add some shading to this.
A little dark shading along the bottom
| | 01:36 |
and around the right-hand edge.
And a little light shading with the Dodge
| | 01:42 |
tool along the right-hand side and across
the top.
| | 01:46 |
And let's move that closer to the center.
We can add the screws to this in the same
| | 01:51 |
way as we made the screws to go on the
door handle.
| | 01:55 |
Alternatively, because we copied those
screws, we can simply move those into
| | 02:00 |
place now.
We'll make them smaller and put one on
| | 02:05 |
the left and one on the right.
And Deselect.
| | 02:12 |
Now, we need to make these the same color
as the Cliff underneath.
| | 02:16 |
And the easiest way to do this, is to
change the mode of this layer from Normal
| | 02:20 |
to Luminosity to now it only affects the
brightness and darkness and not the color.
| | 02:26 |
That's a little strong, so let's reduce
the Opacity of these screws.
| | 02:31 |
That looks quite good.
We can take it down further.
| | 02:35 |
That's better, and now let's merge the
screws down into the Clip.
| | 02:41 |
Perhaps now one layer.
Let's add some shading to this Clip using
| | 02:46 |
the Burn tool.
Which has a low Opacity, about 40%, and
| | 02:50 |
we can paint in darker on this side and
use the Dodge tool to make it lighter on
| | 02:55 |
the other side.
And that is all it takes to give the
| | 03:01 |
impression, of this Clip, bending over
the pipe.
| | 03:05 |
Let's take a copy of the Clip, higher up
the wall, and now return to the pipe
| | 03:10 |
layer, and use the Burn tool, to add a
little shadow beneath the Clip, and a
| | 03:16 |
smaller shadow above.
Little shadow where it goes into the switch.
| | 03:24 |
And we'll do the same of the upper part
of the Clip.
| | 03:31 |
It's surprising that we give the
impression of the Clips wrapping over the
| | 03:35 |
top of the trunking using shading alone.
But that's how easy it is to fool the eye
| | 03:41 |
with Photoshop.
| | 03:43 |
| | Collapse this transcript |
| Adding the shadow| 00:02 |
Let's add a shadow to our light switch.
The easiest way to do this is simply to
| | 00:06 |
paint it in place.
We'll make a new layer and call it switch shadow.
| | 00:14 |
Let's zoom out so we can see the whole
height of it.
| | 00:18 |
We'll start with a vertical.
We'll use the Brush tool and select a
| | 00:22 |
fairly small brush, maybe smaller than
that, with black as the foreground color.
| | 00:29 |
And we'll just paint straight down from
the top of the switch.
| | 00:34 |
Now let's use a bigger brush to paint the
shadow of the switch itself.
| | 00:38 |
And because it's lit from the side, this
shadow needs to be slightly elongated.
| | 00:45 |
We'll also use a very small brush and
paint a very fine shadow underneath these
| | 00:50 |
clips, one on the bottom and another at
the top.
| | 00:54 |
And let's extend that drop shadow right
to the top of the artwork.
| | 00:57 |
And that's obviously much to strong, but
we can make it less strong and more
| | 01:02 |
appropriate by lowering the Opacity of
the layer.
| | 01:06 |
If we drag this down to around about 65%,
that's quite a good looking shadow.
| | 01:12 |
We can see what we're doing easily when
we paint the shadow in black.
| | 01:17 |
Reducing the Opacity then allows us to
see the wall behind it.
| | 01:23 |
| | Collapse this transcript |
| Making the lamp| 00:02 |
Here's the full illustration so far.
We're going to place a bowl lamp on the
| | 00:06 |
wall next to this door.
And to do this, we first need to create
| | 00:09 |
the right shape for the lamp.
So, let's Zoom in, and make a new layer.
| | 00:21 |
And we'll move it to the top of the layer
stack.
| | 00:26 |
We'll use the elliptical Marquee tool to
draw out a perfect circle and that will
| | 00:32 |
form the bottom of the lamp.
We want a curve on the top of the lamp
| | 00:39 |
bowl and the best way we can do this is
to make a new selection that intersects
| | 00:45 |
with the old one.
Now, if we were to hold the Alt key down,
| | 00:52 |
that's Option on a Mac, (UNKNOWN)
selection, it would be subtracted from
| | 00:57 |
the old selection.
If we were to hold the Shift key, that
| | 01:01 |
would add the new selection to the old
one.
| | 01:05 |
If we hold Shift and Alt or Shift and
Option together, we get a new selection
| | 01:09 |
that intersects with the old one.
So, we can draw a shape like this, and
| | 01:16 |
when we release the mouse button, the
intersection produces this bowl shape.
| | 01:26 |
Let's select a bright color from the
background, and fill with that color.
| | 01:33 |
We'll use the Burn tool to add some
shading underneath the lamp and the Dodge
| | 01:42 |
tool, to add just a little shading inside
it.
| | 01:51 |
Now, let's make a new layer and we'll
call this one lightglow and move it
| | 01:58 |
behind the lamp.
Let's now use the Brush tool with white
| | 02:04 |
to paint in just a little bit of glow
coming out of the top.
| | 02:11 |
Using two elliptical selections to
intersect each other is the easiest way
| | 02:15 |
to create the bowl shape.
The shading on the lamp simply makes it
| | 02:22 |
more realistic.
| | 02:25 |
| | Collapse this transcript |
| Adding the glass elements| 00:02 |
To allow some light to spill out of the
bottom of this lamp, we can make it look
| | 00:05 |
more like a typical 1930s light by adding
some gloss projections beneath it.
| | 00:11 |
So, here's how it's done.
We'll make a new layer and we'll call
| | 00:15 |
this gloss.
We'll go to the Shapes tool, making sure
| | 00:20 |
that pen palette is selected for the type
of shape and we'll use the round corners rectangles.
| | 00:32 |
We'll draw our first one, that's bigger
than we need, so when we switch to the
| | 00:37 |
Pen tool, you can select this and make it
smaller using Free Transform.
| | 00:45 |
And let's move it down.
Let's copy this to make three
| | 00:51 |
projections, and turn it into a
selection.
| | 01:01 |
And now, let's fill that selection with a
mid-gray, and we'll bring the glass in
| | 01:07 |
front of the lamp.
Now, we need to add a little shading
| | 01:13 |
using Dodge and Burn.
So, I'll use a very small brush and put a
| | 01:17 |
little shading just around the edge.
It's important not to make this too even
| | 01:23 |
and just to randomize it slightly.
That shading will form the basis for the
| | 01:29 |
plastic wrap and we'll do that next.
So, we'll go to Filter > Artistic > and
| | 01:36 |
Plastic Wrap.
And you can see what happens.
| | 01:43 |
That looks fine to me, let us accept it.
And the Plastic Wrap filter makes these
| | 01:49 |
little bits of gray plastic turn into
more like glass sticking out of the bottom.
| | 01:58 |
Let's add a little bit more shading at
the top of them and let's tint them using
| | 02:04 |
Color Balance to add a bit of green
little bit of cyan to make them look more glossy.
| | 02:17 |
Plastic Wrap is a perfect filter for
wrapping these in plastic, but it's also
| | 02:23 |
an ideal way to make shiny object of all
kinds.
| | 02:27 |
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7. Light and ShadePainting the shadow| 00:00 |
All the main elements in our hallway are
now complete.
| | 00:05 |
But the whole scene looks dull and flat,
and that's because we haven't added the
| | 00:09 |
lighting yet.
It's a vital component of any Montage,
| | 00:12 |
all the more so in this case, where we
have two very visible light sources.
| | 00:17 |
Let's make a new layer, and call it
Shadow.
| | 00:22 |
And as you can see it's right at the top
of the Layer Stack.
| | 00:27 |
Now we could simply paint shadows on here
but as this is going to be such a shaded
| | 00:31 |
scene, there's a better way to approach
it.
| | 00:34 |
Let's fill this layer with a very dark
gray.
| | 00:39 |
We can sample that from our Swatches
panel.
| | 00:43 |
And that's filled.
When we change the mode of this layer
| | 00:47 |
from normal to hard light, we can just
about see through it to the scene below.
| | 00:53 |
And this will form the darkest part of
our shadows.
| | 00:56 |
Now, let's paint our light into here by
adding a Layer Mask.
| | 01:01 |
So we can go to Layer, Layer Mask and
Reveal All.
| | 01:07 |
The first place we want to illuminate is
obviously this window in the door.
| | 01:11 |
So let's scroll down, find the door and
load it as a selection.
| | 01:17 |
We can do that by holding Cmd on a Mac,
Ctrl on a PC and clicking on the Thumbnail.
| | 01:24 |
Note that we're still working on the
Layer Mask with a Shadow Layer.
| | 01:29 |
That's the door selected, what we want is
the window, so we need to first inverse
| | 01:34 |
that selection.
Now with everything except the door
| | 01:39 |
selected to limit our selection to just
that window.
| | 01:43 |
We'll use the Marquee tool.
Hold down Shift and Option on a Mac,
| | 01:47 |
Shift and Alt on a PC.
And Drag loosely around that window, and
| | 01:53 |
that'll create an intersection between
the old selection and the new one.
| | 01:59 |
Now, on the Shadow Layer, we can simply
fill that with black.
| | 02:03 |
And Deselect.
Well, there's our door, lit up, and
| | 02:08 |
already, we've got a real focus to this
scene.
| | 02:11 |
That looking much better.
Now, let's see if we can light up that lamp.
| | 02:17 |
We'll switch to the Brush tool, paint in
black.
| | 02:20 |
And used a Soft Edge Brush at the 100%
Opacity to paint, outwards from the edges
| | 02:30 |
of the bowl.
We should try and get this symmetrical so
| | 02:37 |
it goes the same way on both sides.
Now, so far, that doesn't look very realistic.
| | 02:47 |
And that's because the edge of the bowl
is casting the shadow over here.
| | 02:51 |
And that shadow will be tighter, closer
to the bowl, and looser further away.
| | 02:58 |
We can fix that by painting in white.
And when we paint in white.
| | 03:03 |
We reveal the layer again if we paint on
the Layer Mask.
| | 03:08 |
And so we reveal more of the shadow.
Let's lower our Opacity to 50% and now
| | 03:13 |
start to paint this back in.
And I'm painting it more as I get further
| | 03:20 |
away from the lamp.
And the same on this side.
| | 03:27 |
And that produces a mostly feathered
effect as we move away from the light source.
| | 03:33 |
Let's make the brush smaller and now
paint out light up to those quarters.
| | 03:41 |
The light from the bowl illuminates the
top edge of the hallway.
| | 03:44 |
And softening the edge progressively as
it gets further away from the light
| | 03:48 |
source, adds more of a sense of realism.
So far, so good.
| | 03:55 |
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| Adding the light rays| 00:02 |
Let's add some light rays from those
glass projections at the bottom.
| | 00:06 |
We could do this at the same way that
we've made the light bulb above but
| | 00:09 |
here's a rather more sophisticated
method.
| | 00:13 |
We'll begin by zooming in on those glass
projections.
| | 00:19 |
Let's use the Marquee tool to draw a
straight line coming down out of the
| | 00:25 |
first one and we'll take it all the way
to the bottom.
| | 00:32 |
We'll now enter Quick Mask mode by
pressing the icon at the bottom of the
| | 00:35 |
toolbar, we could just press letter Q on
the keyboard.
| | 00:40 |
And that is what's now selected.
We'll make a copy of this by selecting it
| | 00:46 |
again within Quick Mask, clicking to the
Move tool and holding the Alt key on a
| | 00:52 |
PC, Option key on a Mac as we drag this
again.
| | 01:00 |
And drag it once more to line up with our
three projections.
| | 01:03 |
Now while we are in Quick Mask mode, we
can use any of the filters or painting
| | 01:10 |
tools, so let's blur those edges.
I want to use Filter > Blur > Gaussian Blur.
| | 01:20 |
And let's apply a blur of roundabout 6
pixels to this.
| | 01:27 |
That looks good.
So these rays now are going to be going
| | 01:31 |
straight down.
What we want is for them to radiate out
| | 01:34 |
from the bottom of the glass projections.
So let's zoom out again until we can see
| | 01:41 |
the bottom of the rays.
We're going to Free Transform and to make
| | 01:46 |
a perspective transformation, we can hold
Shift+Option command on a Mac, Shift+
| | 01:52 |
Alt+Ctrl on a PC, grab one of these
bottom corner handles.
| | 01:59 |
And drag sideways.
And that makes this perspective distortion.
| | 02:08 |
When we hit the Enter key, what happened
now as we distorted that, you can see
| | 02:13 |
that the blur, it gets increasingly more
the further away from the light it goes.
| | 02:20 |
Let's go out of quick mask.
And now back on the Shadow layer, we can
| | 02:28 |
go to it's mask and fill that area with
black.
| | 02:33 |
And filling it with black on the mask
will hide the shadow.
| | 02:36 |
And Deselect.
Well that's rather a nice effect and I do
| | 02:44 |
like the way that the blur gets stronger
as it moves further away from the light source.
| | 02:50 |
It gets a little too strong actually.
You wouldn't expect those glass
| | 02:54 |
projections to cast such a strong light.
So let's switch to the Brush tool.
| | 03:00 |
There's a large brush, again at just 50%
capacity, and paint in white at the
| | 03:05 |
bottom here.
We're painting in white on the mask
| | 03:10 |
reveals the layer again.
Another words, it reveals more of the shadow.
| | 03:15 |
Let's start zooming.
Use a smaller brush, and paint out just
| | 03:23 |
at the top, perhaps at 100% opacity, so
it appears to come out of those light
| | 03:30 |
projects, a little more clearly.
The ability to use filters and
| | 03:38 |
distortions within quick mask, allows us
to create incredible effects, easily.
| | 03:43 |
It would have been very tricky to draw
these light beams in any other way.
| | 03:49 |
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| Additional lighting elements| 00:00 |
The lamp is now casting beams of light
both up and down, but is this enough?
| | 00:07 |
Let's paint in a few extra light patches,
to add more illumination to the scene.
| | 00:14 |
Let's have a look at the lamp itself.
I don't like the way the light's spilled
| | 00:18 |
over the front of the bowl, so lets paint
that out, on the layer mask.
| | 00:22 |
In other words we'll use white to paint
the shadow back in.
| | 00:27 |
That works better.
Now these three class projections will of
| | 00:33 |
course be lit up, so let's paint the
shadow out on here by painting in black
| | 00:39 |
on the mask, one.
two, three.
| | 00:45 |
And that's much stronger.
Let's now have a look at this window in
| | 00:49 |
the door.
Well, it duly illuminated as it should
| | 00:52 |
be, but of course the light should be
spilling out of the edges slightly and
| | 00:57 |
lighting up the wood around the edge.
So let's paint it out on here.
| | 01:05 |
We can hold the shift key down as we drag
with soft brush both along the top, down
| | 01:14 |
both sides and along the bottom.
And that looks much more realistic.
| | 01:25 |
Let's move down to the base of the door,
and see if we can get some light spilling
| | 01:29 |
out underneath the door.
Now, to do that we have to make sure that
| | 01:33 |
the light doesn't come over the door or
the frame itself.
| | 01:37 |
So let's scroll down, load the door as a
selection, Command, Mac, control, PC and
| | 01:42 |
click on the door's thumbnail.
Below that is a selection.
| | 01:48 |
Add the shift key to add the frame as a
selection by clicking on its thumbnail.
| | 01:55 |
Now both of those are selected.
Let's inverse that selection so that
| | 01:58 |
everything except the door and the frame
are selected and let's hide that selection.
| | 02:05 |
Now, we're still working on the layer
mask for the shadow layer.
| | 02:11 |
So we can make our brush size bigger.
And paint out the shadow underneath this door.
| | 02:19 |
And that works much better.
We could also do with a shadow down the
| | 02:30 |
side of the door frame.
So let's deselect that and make a new layer.
| | 02:38 |
And we'll make that new layer below the
frame and below the door, but above the dado.
| | 02:44 |
And we'll call this door shadow.
We'll use the brush tool with black, a
| | 02:51 |
soft edged brush and then run it all the
way down the side of the door.
| | 02:59 |
And we can erase it at the bottom where
it went over the edge.
| | 03:04 |
Of course that's too strong, so let's
lower the opacity of this whole layer,
| | 03:08 |
down to about 50%.
And that's the kind of shadow we need.
| | 03:13 |
In fact, the crystal light is slightly
below the door, we could have a bit of
| | 03:17 |
shadow above it as well, and we can paint
that on the same layer.
| | 03:21 |
So, there's our image, and this is now
correctly lit by both the lamp, and by
| | 03:28 |
the window in the door.
But we can ignore, to some extent, the
| | 03:34 |
original light sources in the scene.
We have made the light come from them correctly.
| | 03:41 |
Let's add a little bit more light.
So, we'll go back to our shadow layer,
| | 03:46 |
select the mask again and use a large,
softedge brush.
| | 03:52 |
And let's once more use this at 50%
capacity.
| | 03:55 |
And now, I'm just going to paint out some
patches of shadow.
| | 03:59 |
To let some of the wall show through.
Little bit here, little bit over the
| | 04:02 |
other side.
A bit on the door itself and because it
| | 04:06 |
took so long to make this light switch,
let's have that a bit more visible.
| | 04:16 |
And that looks very much better.
Let's look at this full size.
| | 04:22 |
While it's important to recognize the
existence of light sources within the
| | 04:26 |
scene, we shouldn't adhere too rigidly to
them.
| | 04:29 |
In this case, adding a few more patches
of light greatly improves the whole
| | 04:35 |
composition and that after all, is what
working in Photoshop is all about.
| | 04:43 |
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