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In this movie, I'll finish off the artwork, almost as if I was adding a coat of varnish, by blending in a couple of photographic images. Whenever you're introducing a new layer, it's going to appear directly in front of the active layer. I want the new layer to appear in front of paper back, so I'll go ahead and select that layer first, then I'll switch to the grunge stucco image. And notice that I've switched back to the Rectangular Marquee tool, which you can get it anytime by pressing the M key. And now, I'll right-click inside the image and choose Duplicate Layer.
Inside the dialog box, I'll change the document to Dark green wall.psd and then I'll click OK. Now let's switch back to the composition. And you can see that the stucco layer has been added. I'll go ahead and rename that layer grunge. But the problem is that it covers up the entire composition. I want it to appear exclusively inside the paper back layer so I once again need to create a clipping mask, but this time I'll show you how to do it in a different way. Instead of choosing the command, you can press the Alt key or the Option key on the Mac and click on the horizontal line between grunge and paper back and that automatically converts that layer to a clipping mask.
If you want to unclip the layer, you just Alt click or Option click on that horizontal line again. Anyway, I want the clipping mask so I'll Alt click or Option click it the third time in this case. Now I want to create an interaction between the layers, so I will once again apply that same darkening blend mode, Multiply. And we end up with this effect which doesn't look nearly so graphic as before. So you can see without that layer if I turn it off, the artwork looks fairly cartoony. Now if I turn the layer back on, it looks more integrated into the scene.
Now I want the next layer to appear in front of swirls so I'll go ahead and click on that swirls layer to make it active. Then I'll switch over to the Yosemite fog image, right-click inside of it, choose Duplicate layer. Same thing, I'm going to change the document to Dark green wall and then click OK. And now I'll switch back to my composition and you can see that we've got a photographic image inside of a frame. And so the great thing about this is we have a layered composition that is flexible enough to accommodate any change we might want to make.
So I could if I want to, just leave this photograph set inside the frame as you it here or I could integrate it into the scene. So I'll start by renaming the layer. I'll call it yosemite, and then I'm going to change its Blend mode to one we haven't seen so far. I'll click on Normal and choose the second mode in the Contrast group which is Soft Light. And we end up almost losing the layer entirely, but let me show you the difference here. If I turn this layer off, then we don't have any of those highlights, and if I turn the layer on, it's almost as if we have a series of random reflective highlights on the surface on the artwork.
All right, now I'm going to manually dial in the Zoom value of 40%, which works well for this screen, and press the F key a couple of times in order to switch to the Full Screen mode. And that is our final composition, the result of eight independent layers working together here inside Photoshop.
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