Photoshop Masterclass: Creating Double and Triple Exposure Effects

[Music] you [Music] all right hello everyone good morning good afternoon good evening good to have you here Paul Trani hello lead designer julia van damm Mitchell everyone feel free to say hello in chat would love to hear from you my name is Paul this is Photoshop masterclass thank you so much - hey soos Ramirez ending the day the creative challenge for Photoshop also we had Tyler babban this morning so it's been a fun morning and I'm just happy that you're here okay hopefully the music is okay here a little bit of music in the background not too much but I do want to welcome Sam Peterson in the house what's up yes hey Paul aka Ryan like like hey Suz my family calls me by my middle name so which is Ryan let's kind of move on thanks so much for hanging out with me we're going to talk about double exposure effects I have a number of them up right now actually that I want to get into and I broke my keyboard actually broke one of the keys in it valdaire good to have you here it was kind of switch gears here let me know how you're doing where you're from Chad's in the house yeah did have a mic mishap I yeah I broke a cord last week but everything's been great this week and I'm excited to show you about sort of creating double triple exposure effects and applying that to your work because it's actually one it's really easy to do you've probably seen it before but there's more you can do with it so we're gonna be talking about all those sort of layering layers which is what we end up doing different ways and this is a master class so don't expect you know it's not necessarily the fundamentals by the way sort of we'll get into channels splitting an image into different channels and using those appropriately and then we'll get into some advanced blending methods if that works for you Jordan hopefully that works for you Borden and yeah thanks for hanging out let's switch gears and just take a look now that you know the agenda all right fantastic all right Jordan so this is what I mean and you could do a search I can f a couple times command zero see this full screen that's kind of what we're talking about what's a double sort of triple exposure in this case there's different versions of it these two are pretty similar right and we can do some just layering effects but we can even get into sort of splitting things up really effectively and really easily so I'm excited about this and I say we just like and dive into this if we could and again you can see right here easy enough right okay let's do this let's kick it off really wish I had a picture of someone in chat because it's always fun to use some real people so let's just take for instance this lady dramatic portrait of a young woman if that works for you okay so super easy to do okay by the way this is a master class typically I just like I often jump layers command-j my command key is the one that's kind of I have to press so hard on it but first thing we need to do is we need to extract her right and I always like talking about how to select select content and I get it everybody has different ways but the way should be determined by the image like right here she's the only subject there I could probably do select subject so I typically start with the easiest way which is going to be select subject and it's gonna be using the quick selection tool lets typically where I'll start you can see that she's selected here we get it we can go ahead and add a layer mask we can see her right there and then we'll jump in to select and mask to kind of get the hair from her head and that's all I'm doing right now again this is I would almost consider this almost the fundamentals we'll use the refine edge tool and when I say fundamentals honestly since people use Photoshop so many different ways you can be an expert in painting in Photoshop and like never never touch the text tool so you know that's kind of it just it's just so vast it's it makes it interesting if you say your Photoshop expert like what does that mean does it mean everything so that's all we're doing is we're just kind of kind of grab some of our hair with some of the the refine edge tool not literally glut grabbed her hair that's mean okay but we'll just switch back we'll click okay and by the way I often like to output to new layer with layer masks okay so that's a quick way to get that layer mask even faster than I did before so there we have that we're gonna put her on white because that's how we see a lot of these right I'm actually going to down here and I'm gonna add a solid color in the background okay when I do this this means I could resize this because chances are I might want this larger but when I resize this you know change the canvas size to five thousand thirty six hundred something like that we're always gonna have a white from edge to edge which is nice so Irina stow a nova Irina where are you from Cheers good to have you here Cheers today's drink of choice is Red Bull the coconut edition brought to you by Bret Red Bull and it's coconut berries the flavor specifically that's really good but I'm it's probably eaten away at my brain to that you know all the chemicals in it anyway so here we have her now let's go ahead and grab a secondary image okay do I usually select smart radius I do that's a good question typically if it has smart in the name I'll use it but I do use smart radius and honestly for a lot of these tools and again this shows up when I select that layer mask right over here that's when I get in the properties panel selected mask so right in here oh there we go smart radius right there actually was not selected but I just selected it right there typically I encourage you to play with all these settings again this isn't about selecting but you might have to play with these based on based on the on the subject right here this is already pretty clean we can get into something more advanced quite frankly when it comes to selections and I'm gonna show you this really fast since this is a master class let me grab another file let's grab this bear wait for it something more complex okay so that just depends on the tool like er excuse me it depends on the photo determines the tool that you're going to use for selecting take this grizzly bear for instance I could try select subject I could do this actually a couple different ways or I can even do a focus area select okay so it will get this since he's in focus it's actually going to select him based on that focus area it's automatically going to do its thing right there right oh this is like not let's crank that up did I not have that Auto that was like yeah not so much anyway that's another way I would typically try it's fascinating that it's actually grabbing that background it should not be doing that but again this is where I kind of get into more of those tools but even here select subject seems to work pretty well alright so let's move on we have our bear we have our our woman we're gonna save our file right to our that stop really fast D double exposure de let's grab some more images and I'm gonna kind of move through this as fast as possible I'll grab this image because this is what you see a lot when you do double exposures you see a lot of nature like on faces it's usually a subject matter which is gonna be a person or an animal with an environment so it's gonna be nature or buildings or something but again this is the quick way to do it we're gonna jump in here we want to clip this to her what do we do we come in here and we can kind of clip it like that right so this is our initial sort of double exposure taking that SEC this layer of this woman as I named it command J to jump it moving her on top here she is right by the way let's do a clipping mask I might want to just get pieces of her so I'll actually have it's like a layer sandwich we have the woman in the woman this one on the top this is we're gonna play the blend modes coming in here cuz we want to bring in some of her face but I actually want the rest of her to fall away so I want those bright spots to show up so what that typically means is it means the second category if you will I think if this is the first category which is all the dark colors well you know it just show the light color so try lighten that might work okay but typically I'll just kind of roll through these I'll go with maybe lighten or screen both of these are pretty good let's go with screen and then we'll start to move this image around accordingly command T rotate it kind of like that and we already have your quick and dirty double exposure alright let me know if you have any more questions feel free to let me know where you're from Tiffany from California lucky you it's only 9:30 there it's 10:30 here in beautiful Denver I want to get a little bit more advanced with this you know but it's gonna be a lot of playing with this content as I roll down I'm like okay kind of like some parts of this but not others I really love the color for hard light that's pretty cool okay but I might not like other parts or this vivid light well in that case I'd come in and I'd say hey you know what let's just go ahead and select B for brush anytime you hit the X key it's gonna flip these two colors so B for brush I'm on layer mask hit X is gonna flip those two so I'm constantly using the X key to flip between those two I'll use the shift key to change the brush size right and then I'll just the the feathering of it as well or the hardness as well by holding down shift shift huh what a day guys it's coming here make sure we have black selected and I'm just kind of removing because I know I don't need these parts right here right so in that case that's what we have we come through here kind of pick what I want not bad all right let's move on to triple exposure I've kind of done this a little bit I could actually add a little bit more to this which means adding more images in this case like that I'd say that's pretty that's pretty good let's try another image you ready for this Rosie from New Zealand are you ready what time is it in New Zealand blend modes are fantastic right we're really gonna use a lot of them but since I've erased that part I don't need now I can kind of bring her face sort of more into view but I'm gonna do something even cooler because I kind of like this background image this might work maybe I want to try something else and I actually do so I'm going to open up my libraries I'll jump out to nature I think I have are actually in here somewhere hmm let's take this branch this will be cool let's grab this branch okay and when it comes to images Christy is you want to go ahead and pick an image that does go from dark to light or has light and dark elements and right now I'm showing you two different images okay we have we've used one image again it's most of it's about picking the right image this goes from dark to light so this one's perfect for doing double exposure and I'd say this turned out pretty well so far for the time we spent on it next thing I want to do is like maybe take something that goes from dense really dense not so dense so it kind of fades out so dense to more sparse okay so now we're gonna use this image when it comes to selecting here's a case where I might do select subject right we'll see what happens it'll probably do a pretty good job because that's like I can't I just can't believe it okay so select subject it actually did not do the best I wanted it to right it didn't it didn't select everything right so maybe I'll try that initially I know it's quite frankly not going to work I'm gonna jump in here to color range color range has been in Photoshop since what for 20 years honestly it's crazy here in this case selecting the white changing the fuzziness down we can always add to it we can always work on the image but from there click ok that's what we get we're gonna mask that out if you hold down tremor are you ready for this if you hold down the option key so right now I have the background selected but no it's like that's the part I want masked out if I click on it normally you know I get I get this and that's not what I want it's undo that what I want to do is I want to hold down the option or the Alt key and now when I click on this layer mask it's going to invert my selection so it just grabs the branches so pretty much in two clicks we have exactly what we want okay what we're initially going to do is I'm gonna get your opinion on which one you like better cuz we have number one right here which is not bad so let's just take those g4 group so we have design one now we're gonna make design - let's do it work it work it work it hello tremor is there right our wrong image to do double exposure by the way there's just like with design there's no right or wrong way but there's going to be some ways that are gonna produce better results than others in fact if we go out to the browser really fast and we get inspiration out here do double exposure and we'll see all these different versions if we just do a search some are actually better than others like this one yeah muddy this one gets a little muddy I would say I really like this one with the color in it it's pretty cool and I really like this one so you see how it starts from dense too sparse that's the that's what I like personally a lot of times you want to deal with in a slide line right so you'll never necess the better images like this one here it shows an implied line we don't need we don't want his whole head to be another image that's just slapping one image on to the next it's more interesting that there are two buildings there with that gap okay so hopefully that makes sense again as opposed to say this one for instance again that's my personal opinion so we go from dark to light from dense to sparse we're gonna do that with this image in fact we're gonna roll this content back by the way so rolling this back we have this image now we have this one that we just cut out we're gonna do this the same way I have a little let's just go ahead and let's do some things there we go I do have some extra little parts in there that I don't care for that I'll have to get rid of that's just on the border after I did my inverts but let's take this and let's move on because I want to clip this inside of her right so here we have our layer mask you ready for this Christy I hope everybody gets this and I'm I'm actually gonna pull these two out because I think this design folder is gonna make things confusing let's get rid of it all together okay cuz right here it's like hey you know what I want to have a folder creating a new folder that has sort of the that's the woman this is everything in this folder is gonna be in the shape of her head right so I'm gonna select that by holding down the command key it automatically selects that layer mask when I hold down the command and click it automatically creates that selection and now I'm gonna go up here and for this folder here's it even better one I'm gonna do this even easier right I can hold down the Alt key and drag that layer mask on to this folder so if you hold down the Alt key Boop that's what I want well that's much better why because now to put this branch inside of that shape of that silhouette of that woman I just put it in that folder right and now we have that appropriately changing that rotating it you get the idea let's move on I'm gonna move through this super vast Tiffany from New Zealand how is New Zealand treating you these days huh tell me how is it the good is life good in New Zealand I'm gonna need your help in voting for your favorite image because right now I have I'm making two different designs okay I also decided I wanted to use a different woman for this particular piece okay since I'm gonna do more of a profile a side profile it's gonna work better if we're doing a dense too sparse image living horizontally same process there it is Zoop holding down the Alt key boom there it is this is what I want so check this out it's key look isn't this ah come on tremor and Christie and Tiffany and Rosie and everyone look at this already already I think this is strong why is this strong this gets into design I'm sorry we can show you Photoshop all day long but it's a lot of this implied line it's missing here right and then obviously it's right here so we can see her floor head we get the hint of a nose that's all we need to indicate that there's a person there which is fantastic right I can literally jump in and add a new let's go with a black and white adjustment layer to it and then kind of control the brightness in the darkness this already is pretty strong okay so I think already this shape is looking pretty darn good just by adding the correct photo and it going from dense to light typically what I'll do is I'll jump in and I'll add more to it because we can add maybe a little bit more action okay I actually have one number of branches as you've guessed I'll bring some of these branches in all right here's another branch that one's pretty cool what other ones do we have we can take some flowers for instance let's grab this one some different elements grabbing this one we could try some flowers in here as well so we're getting into sort of like multiple exposures taking the curve of this branch and saying hey you know what I can actually kind of swoop kind of with her head like so turn off those other ones putting that underneath to kind of blend it in a little bit more maybe something like that could potentially work and I'll start to add a couple more in here as I'm doing making sure the leaf sizes are all going to be about the same okay it's not gonna work if you're blending two images if you have one image that just has leaves that are unrealistically larger than the other fade that out a little bit taking this maybe I want to flip it the other direction flip it vertical maybe in fact let's flip it back in this case I'd probably use something like puppet warp to have this conform to her head a little bit more okay so Filipa thank you so much adding puppet warp right in here and adding in some pins and just pulling that out like so okay because again I want some of these branches to be just like a little bit more spread out cool kind of like that and my makeup making it better or worse let me know maybe I'm making it worse look at the straightedge out there all weird like it's not bad there we go didn't need much it's following that curve looks great okay so you do like this option Felipa that's great again since this this branch is inside of this folder that has the layer mask this makes it so much fun I can thicken this up all I want okay I could add more things by the way check this out we can go into since we're gonna do a double exposure maybe I don't want to use a double exposure maybe I don't want to use an image maybe I actually want to add a little bit of brushing so right in here I happen to have some brushes made that are actually leaves so I'm gonna select this I'm gonna change the color to these same greens roughly Matt and let's see what we have okay I have that leaf for instance I could use those leaves or those more like those small branches or twigs let's try this one oh this is more like it I like this one changing the color back right we want to change to maybe not that bright of a green take it down a little bit changing this color something darker as well right and I'm clicking around you can see what it's doing there I don't want to get too heavy into brushes because this is all about doing double and triple exposures was I have some other things going on there's this color dynamics that's what's making it change colors so I can do a huge hitter it's doing it's being a little too jittery in fact I want to take down the purity too so we can control that color too right actually let's take up the purity right get more variety without having me to bring in individual images this is gonna work out pretty well okay you get the idea deleting those after we've tested it maybe coming over here and I'm gonna put this brush right inside this same folder OOP see it's right there and I can come in and I can start to on that layer with a brush start clicking around and adding it making it a little thicker in spots if I want to all right get the idea good good I think less is more in this case let's turn on her face boom there she is just like we did before playing with the blend modes seeing what's going to work I'll do you one better you ready for this naka toka check this out this is master class so I do think things get complex but it's using basic tools just getting very complex with those because here we have this is the woman's face for highlights right what do I want to do this I want to put her inside of this folder but I want to clip it to thee ah no shoot I want to clip it to this tree branch right here isolated maybe clipping it to it see and now we get pieces of her as I move this around inside of that particular layer okay and still I would jump in and start to play with these blend modes I kind of like that I'm not gonna lie I think that looks pretty good we want to add more to her eyes what do we do we just kind of move this so we have her eye a little bit more into place you get the idea okay I kind of like that maybe cool cool fantastic we have that looking pretty good I would typically maybe take down the saturation or start to play with the color a little bit more but in the end honestly this might actually end up being black and white too I'm not sure that's up to you Michelle what's for dinner you Michelle is it dinner already check this out instead of using black and white I think black and white is good it adds a lot of drama okay but I want to go beyond that I typically if you know me at all I used color lookups a lot so selecting color lookup these Luntz can give whatever you're working on like a nice look like this already looks good if I had more flowers in here this would look even better okay but this might be an option for what I want to do in this case but in actuality what I wanted to do is I wanted to take it down to something like this some of these other look-up tables kind of give this a cooler look like this right here Thank You Felipe you know a CPA would look great like I think black and whites too boring I think colorful is just too much because there's just a lot of green I really like something like a sepia tone or even this futuristic bleak sounds horrible but I think is exactly what this particular image needs let's add some more to it because again we're talking and I want to talk about another technique too so I'm gonna keep moving on if I can you ready let's grab some more elements like some birds there they are let's grab some birds and throw them in there super easy to do there's my birds did I put them in the wrong I did put them in the wrong file oops Birds boom those are shortcut keys I'm using by the way I'm just using some quick shortcuts dropping that in these birds can be coming out from those branches maybe making them a little bit smaller so I don't want them to be that much of the focus of the piece and now we can have them kind of coming out and we could start to adjust this more all day long as you'd expect okay cool cool beef a brush add some more leaves out here right that's what we're doing just adding it making it a little more interesting out here maybe adding some leaves to this branch as you'd expect I think this looks pretty good and I'd say this is done does that work for you does that a split tone we could do so many things I really like how you guys are into the color of this all I really like where it's at now so we're definitely gonna keep this one Howard what's up good to see you today I think Howard is doing daily creative challenge today as well which will be up pretty soon so that's fantastic another thing I might consider is doing a gradient map let's try a gradient map here's a gradient map of course it's gonna apply this based on the darks and the lights here it's just going from the lighter green to a darker green right we get it we get it right in here if we want to add a little bit of green just to kind of add green to the mid-tones kind of or maybe the tones that are a little bit darker let's take that down I can add that right in there as well okay so now we have a hint of a flesh tone on one side and then a green for plants and everything on this side okay and again just an option okay I'm not saying it looks good I think it definitely has potential and keep in mind when you do an ad when you add these gradient maps and color lookup some different things you can actually take it to another level you can actually use blend modes with it so I want to actually have some of those highlights I can still just have this effect the dark areas so I've selecting dark in there and then we can see before before after cool Oh Eric you are the best eric is super amazed I think you're amazing Eric we're gonna group this command G we now have design number two that we've made in this segment so the first one we didn't we started out quite simply even though this is mr. class start out with this one this one again I was going to change to maybe something like a black and white which I don't even have that layer on there anymore or play with the colors a little bit more just to give it a fighting chance but it hardly has one because I think the one we just made is actually much better just like that let's drop that in there but we have design number one and then we have design number two ooh what just happened you ready for this Eric I'm gonna save my file I should be saving this a lot and drinking my Red Bull I'm gonna get so much done today Red Bull coffee combining these two together okay so we're kind of almost as a using a double or a triple exposure right we can put these two together potentially if we want to does it make it more interesting I would say Shaheed by the way since I'd see your name there my goal is to make you a master and what makes you a master is not knowing the tools but obviously like how to use them so this is a lot of like art history a lot of times what you'll do as a designer is you'll add a lot you realize oh I added too much and then you're gonna scale it back okay here I think this almost adds too much to it this is what's wrong with this this composition you're like oh one is good you know you're like two is better - isn't necessarily better cuz what's happening it's all about leading your eye where am I supposed to focus her there or there or there or there right so it's better off as individual pieces I'm gonna call this done I'm gonna save this I'm gonna move on to the next thing okay if that works for you all right all right my goal is to make you a master and we've already done a double exposure look let's let's just grab another photo at random huh shall we let's get a person cuz I think they're interesting to work with and in this case let's just grab this image that's right I'm licensing it cuz you know what you're worth it using one of my precious stock credits on this image but let's take this image and let's take it to the next level right here this is another thing you can do for this image unlocking it command J just creating a second layer we could separate her out a couple different ways we can actually play with the channels right so right in here I can say hey you know what what's up mmm I don't know it's kind of a double exposure but even if I take red let's do this let's go into let's just like distort this really fast I'm just gonna do a quick distort on this layer just to show you what happens notice how I have the red channel selected because I know there's gonna be red in her face it really made it look crazy but when I select over back to this excuse me to show the RGB or all of the colors you can see that it just distorted the red Channel so already we're getting like a sort of another exposure on top of this image okay a lot of times this is just used for like a glitch effect but consider using it even if I go in here and I say let's let's try Shir I haven't not played with Shearer in a while we're gonna pull this shear off to the side to the right on the green layer click okay now when we go to this first one we can see what happens sort of pulls that layer over and we have this it's almost like an eye chart that's what's happening it's it's messing with my head right but it does give you this double exposure work look there's you can actually have more control over this right especially if you have more images which is what I want to show you next okay so again play with channels you could manipulate the colors on those channels to make different looks you hopefully get the idea let me know yeah if you have questions as I kind of take a look at my images have you ever organized something so well you've you've lost your content you're like where did I put that stuff I organized it so well I can't I don't know it's not in the random place where I usually keep things so my miscellaneous spot it doesn't matter I'm actually gonna just go ahead and use I want to use sort of a couple pictures of the same of the same woman okay so will actually will go with her we do have a picture of her and I might have a couple of them and we'll just kind of we'll stay within this same file just to make it easier I'm gonna duplicate this layer so now we're gonna have our sort of our base layer and then we're gonna have this is the this is our split crazy channel example that we just played with the second one I want to make it just red just show me the red red colors okay so for this I'm gonna just double click on that layer right here in this blank space double click we get our layer style blending options right in here and what I can do in here is I can say go into the advanced blending since this is a master class turn off G and turn off B and I would have just the red channel clicking okay that's what it's going to show but remember I still have that base beneath it right so I could take it the red channel and now move it look we now have as you can see it's just showing the red channel underneath that's what's happening right here okay but I'm able to split that out and now I have more control over her as I move her over let's do that one more time we'll do this with green same image double click green boop there's the green Channel so red green and then there's the base let's kind of move that over as well so now you have a really trippy look yes you can use effects on individual channels which is kind of crazy isn't it a lot of people use that to select as well so even in this case I can go over to here two channels so this is what a lot of people use it for come over here and I can kind of click through and and see they see which which channel makes her like the darkest and that's going to be this blue Channel for that blue Channel I can actually click holding down the command key and clicking on that layer selects all the blue pixels in that image right so from there with that selected I can have a new layer with that layer mask there's nothing in it by the way let's put something in it ingredients there we go this is what it did it actually selected all those blue pixels right what happens when I turn that on of course that kind of looks like a layer blend mode let's invert it right we actually have selected and we would typically paint on these pixels we wouldn't really just throw a whole gradient on there I would come in here and actually just probably paint in in such a way that's kind of interesting right with some there we go let's put some fun leaves in her hair why isn't she pretty now and it's just doing it we're mostly the blue channel this keeping it sort of constrained alright cool fantastic we've done so much here right in fact I'm going to duplicate this I'm gonna group this here we have almost our triple or quadruple double or triple exposure right in here by splitting out these particular channels and just showing what we want yeah we won't get in to blend if I need a I need a good example to to show that but that will allow you to blend two pixels if they're dark or light or gray whatever the case may be it's kind of move these together let's get something a little bit more interesting in here there we go now we have our fun eye chart and three designs we've done for this as well alright just organizing everything cool alright so let's kind of click through this really fast then we can get on to some oh I need to do I'm checking the time oh good I still have time this is fantastic right in here so design three Boop let's put that in there so design one how did I kind of play with that one a little bit more design to design three you get the idea let's move on from here because there's something else I want to do let's go to this this grizzly bear okay we selected this grizzly bear earlier we need to kind of sort of work on this feathering right in here it's over fine edge I usually do I'm sorry I had smart radius unchecked by the way right down here right I don't have a remember settings turn on so I should turn on remember settings and then I could have smart radius turned on it already looks really outstanding by the way see did that is that what did it I don't know it just like looks a little bit better and I haven't even touched it yet I'll just go over some of this some of this hair let's do this one more time all right so wait for it wait for it too many layers let's do something even more unique you ready for this Joe yeah I'm not your lounge singer today let's do this let's think about this now so now that we know that yes exactly Thank You Howard yes it gets very heavy dealing with all these exposures but we can get really unique because honestly we don't necessarily have to use just images either right yeah we have images we could put a moves inside of a grizzly bear we can take birds right and put them inside something else right we get we get that whole idea I can't know there's examples in there all sorts of fun things what else is in here oh this is even cool too right I could do all my selections but think about this I'm using Photoshop Photoshop can do lots of things I can actually take this grizzly bear even though he looks mean and maybe I want to bring in see if it brought it in I'm wait for it I could bring in video and that's what I have right here so let's just bring in I've actually brought in this video of what happens to be birds so let's open up the timeline we know we already have some crazy stuff in here but think about adding motion to that right let's get rid of all these other layers cuz it's just gonna make everything confusing right getting rid of everything else simplifying this down to just the layers that we need so we have our video our grizzly bear and then our color fill so now when I look in my timeline we just have video grizzly bear colorful right but just showing you down here sure enough there's my video timeline right there I'm actually only gonna extend it as long as these birds are flying around right opening this up hitting play and we can see those birds kind of fly away so I'm so what I'm doing is I'm kind of taking this whole thought to the next level going beyond a still image and you know what actually having birds fly away like that's what I want to do now so with that done just like anything else since we saw those birds move bring this down we do a couple things typically I'll try this out like so put those birds inside there and put this grizzly bear on top like so maybe I will duplicate this layer but it's the same process it's just in this case I'm actually using a video wait for it taking out some of this content just kind of fading it out so I'm gonna fade out that edge since this is even though it's a video I can put it in a folder with a layer mask and I can start to blend out that edge as well cuz again I just want the birds to fly away I don't want this edge to be here I think the edge is really tacky give me a second all right there we go okay so I have just the Bears head there that looks good I can see right down here this is the the layer with the excuse me the layer group with the layer mask that contains the video okay so right in there and then I probably want to move this into view so I can actually see oh did the birds already fly away when you're dealing with video right in here be aware of where your marker is in the timeline because even if I start to create something new if I drop in a heart if we take a look the heart even though it's inside of there this heart will only appear at that moment in time and what you'll do is you'll accidentally scroll you're like where the heck is this heart I can't find it just look at your timeline you can see the obvious and where it is okay so adding more to this here's my grizzly bear give me a second cuz this is everything that I just taught you so it should be pretty familiar looking for something interesting looking for something interesting I'm so glad that I can preview the blend mode just by rolling over the name of it maybe something like that colorlookup adding everything we know futuristic bleak we were kind of into that earlier let's just hit play and see what happens you get the idea now we have the bear that's just mad at the birds he's like ah get on what are you doing you're waking me up too early that's what the bear is saying okay remove some of these edges and probably what I want to do is add a little bit more to this as well so give me a second everything that we've learned all this fun stuff that we've added earlier maybe we can add it here like so something like that fantastic all right everyone um I'm glad you like this idea yeah yeah how many oh good so yeah Howard asks how many people did you know that Photoshop could create animations which is a good question you know it is your gateway drug to animation if you ask me adding more branches and finishing up this piece that has video in it right it's the big thing that we've learned is honestly even with this video we need to make sure that we are using content that's going to work all right you ready for this I'm gonna dive into my brushes really like this leaf brush earlier it's gonna be this shape you can see it right here you see that shape I'm gonna go ahead and paint on this layer and this bear you can see right here is gonna start to come to life in those areas right so we'll just start to paint let's should I apply it or not interesting you like that no let's go ahead and apply that layer mask and let's be for brush wait for it wait for it there we have it we have what we want wait for it boom boom boom there it is coming to life we did this earlier but now I'm actually just painting on that parts of that bear as you could see in those spots which i think is kind of cool cool fantastic all right 11:22 I'm kind of wrapping up now I think I've done so much I've done we've done so much work in an hour again I am doing it for you hopefully you get something out of this and can really see all the work we've done in one hour I think it's pretty impressive right showing you some of the different looks in here tiling everything I can also select an image you can go to a range right down here and I want to match zoom and it's gonna match the zoom for this woman one image for all the other images all the other images aren't exactly the same size but you could see all the different versions we've done and at least some that I've done earlier and we got a lot going on so I think we've done a lot I really appreciate you Van Dam and shaheed and Howard and Hugo and Ashley and everyone yeah I mean I'm probably gonna post this one today I think out of all of them I think one's my favorite I like the potential of this one with the video why isn't this working what is going on I usually have two shortcuts one is tile and one is consolidate for some reason it is not oh yeah tile consolidate there we go had it backwards this one as we click play oh by the way we had that problem where I actually don't have that layer extending out all the way but let's click play here sorry I didn't even show the final solution but there's the birds kind of flying away in that one which is kind of cool right it's kind of neat making sure all my layers are extended that's the big thing right some of you might be doing animation in Photoshop it might be a good starting point but also we have Adobe animate we have After Effects so I think this is just gonna be your starting point if you're doing a lot of work in in Photoshop doing animation I'd like to know why but yeah that one's kind of fun as well so just keep an eye out for sorry my head's in the way keep an eye out for these final versions on Instagram because that's where I'm gonna post them ptra and I is the plan so thanks so much for watching let me know what else you want to see would love to just like help you out whatever you need just trying to help you create some magic like we did today okay we created lots of magic and hopefully you like it as well and let me know what else you want to see hit me up on social media and follow me and all that fun stuff and I'll be happy to show you more I think everybody really did like some of this like some of the layer stuff that I got into when I got into the different layer layer properties so I think I'm thinking about getting into some more of that content blend if things like that might be cool so fantastic everybody have a wonderful day I really appreciate you again we've covered a lot and I just thank you for hanging out with me Lee designer stay tuned we got more coming up just click on that schedule tab and you'll see everything that's happening but at this point I think it's proper that I just let you go and say thank you and let me know if you need anything else be happy to help thanks so much everybody say yeah back [Music]

Channel: Adobe Creative Cloud

Views: 7,160

Keywords: Adobe Creative Cloud, Creative Cloud, Adobe CC, Adobe Cloud, Adobe creative suite, #MakeAdobeCC, photoshop tutorial, tutorial, adobe photoshop, adobe, photoshop tutorials, select and mask, photo editing, learn photoshop, select in photoshop, hair photoshop, layer mask, selections, adobe photoshop cc, photoshop masking tutorial, masks, photoshop masking, Double Expsoure

Id: LbyYN6D6Ar0

Length: 57min 26sec (3446 seconds)

Published: Fri Sep 13 2019