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In this movie, we're going to introduce the daisy into the larger composition, we're going to refine its edges, and we're going to add some finishing touches, so the flower looks at home in its new environment. I'm going to switch back to my Rectangular Marquee tool, which I can get by pressing the M key. And then I'm going to click on the background item here at the bottom of the Layers panel, so that when I bring the flower in it'll appear directly above the background. Now I'll switch back to the Masked daisy image, and I'll right-click inside the image window and choose Duplicate Layer.
And I'll switch the Document to Brightly shining moon.psd and I'll click OK. Now I'll switch back to that image and you can see that the flower is in place. But I want to slightly adjust its positioning. So I'm going to zoom out here and I'll go up to the Edit menu and choose the Free Transform command. And the reason I'm doing this is not because I want to rotate the flower or scale it or anything like that. What I want to do is reposition it and Free Transform can be very useful for that purpose because you have numerical coordinate controls.
Notice up here in the Options bar, we have this Reference point indicator. Currently it's set to the center. Meaning the numerical coordinates are measured from the center point. I'm going to switch it to the upper left corner by clicking in that upper left point right there, and I'm going to click on X to select the X value and I'm going to change it to -150 pixels, then I'll tab to Y and change it to -70 pixels. And then I'll press the Enter key or the Return key on the Mac a couple of times in order to accept that change. And that just happens to be the position where I want the daisy to land.
If you zoom in, you might notice we have some slightly rough edges here and there. So it's probably worth cleaning up these edges using Refine Edge. But instead of cleaning up the selection outline, we need to clean up the layer mask. So click on the Layer Mask thumbnail over here inside the Layers panel and then go on to the Select menu and choose the Refine Mask command. It's the same function. It just goes by a different name. Now your View should be automatically set to On Layers, so we can see how the flower interacts with its background.
But if you prefer, you could change it to On White or On Black or one of the other ones, just to get an additional sense on what's going on. I'm going to leave it set to On Layers and I'm going to crank up that Radius value again just to see what ends up happening. And you can see that Photoshop is having a tendency to grow the selection outward a little bit. So I don't want to take that value too high. I'm going to take it down to 10 pixels. And I'm going to tab my way down to the Shift Edge value and choke this edge to negative 25% once again, just to move the edge in.
And we'll get a little bit of interaction as you can see here between the background and the petals of the flower. All right, now I'll click OK in order to accept that change and I'll zoom back out. Even though the edges are in a good shape at this point, they may look a little bit rough here and there, but once again, if you zoom in to 100%, things should look a lot better. Anyway, I'm going to zoom back out so I could keep an eye in the entire composition. Now I look at this flower and I think, all right, here's the flower against the background. I don't believe for a second it actually belongs here.
So we need to integrate it into the scene. And the simplest integration tools tend to be layer effects. So I'm going to drop down to the FX icon and choose Inner Glow so that we have a little bit of glow on the inside edges of those petals. And the default settings end up working great. So we have this pale yellow, Opacity is set to 75%, Blend Mode is set to Screen, Size is set to 5 pixels, that's just fine. Now I'm going to click on Color Overlay. And what I want be able to do is lift the color from the image, but I'm not going to be able to because my layer mask is active.
If I click on the Color Swatch and then click inside the image window, notice I end up lifting black outside the flower or white inside the flower and that's because my layer mask is selected. So I'll just go ahead click OK for now, click OK again, and I'll just go ahead and click on the full color thumbnail for the layer to make it active. And now we'll edit the Color Overlay Effect by double-clicking on it. That will bring up the Layer Style dialog box once again. Click on the white swatch and move your cursor outside into the image window and click.
And this time, assuming you click in the sky, you should lift the shade of blue. I'm going to raise that Hue value to 220 degrees. I'm going to take the Saturation value up to 65%. And I'll take the Brightness value all the way to 100% and click OK. And then I'm going to change the Blend Mode so that we have a little bit of interaction between the blue and the flower from Normal to Overlay, and we end up achieving this effect here. Now I'll click OK and what we have is an integrated flower, I think.
It's awfully bright and cheerful, however. I'd rather have something of a brooding flower in the foreground and I want it to be a little darker suggesting that it's not catching the light. So I'm going to add a Brightness/Contrast Adjustment layer by pressing and holding the Alt key or the Opt key on the Mac and then clicking in the black white icon at the bottom of the Layers panel and choosing Brightness/Contrast. And I'll go ahead and call this Layer deepen, and again, turn on Use Previous Layer to Create Clipping Mask, so that we affect just the flower layer and not the background. Now I'll click OK.
Now here's another great way to use Adjustment layers. In addition to changing their values, you can also change their blend modes. So if I switch from Normal to the main darkening mode which is Multiply, it's as if I'm using the image to darken itself. And we end up getting this rich orange colors as well as these dark shadows toward the center of the flower. Now I'm going to select the Brightness value and I'm going to dial it down to -25 to darken the flower even further. And now I'll hide the Properties panel because after all, I'm done.
So I'll go ahead and press Shift+F in order to switch to the Full Screen mode and zoom in as well. And that's our final, fairly other-worldly composition thanks to the power of Photoshop's geometric free form and automated selection tools.
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