Photoshop Masterclass: Mastering Composition

hello and good morning everyone good to see you here paul training gonna dive into today's master class hopefully today's fun and everybody well you're doing fantastic all that good stuff and i would love to hear from you so feel free to say hello in the chat as i fix my hair tim what's up marcia steve austin and if you're joining me from elsewhere would love to have you say hello and head over to behance.net forward slash uh adobe live um i'm here every friday and uh you should be as well so i'm glad you're here janice and jay we're gonna talk about uh i'm so so i spent the past two weeks um doing an illustrator daily creative challenges that all centered around like the sort of the fundamentals of design and that's what i want to talk about and specifically composition like how would you lay out a composition and hopefully we'll come up with something cool i'm sure we will thank you for the warm welcome good to see you here fairy and ronald uh and hello sunflower from youtube so cool let's go ahead and jump into this if we can i'm gonna share my screen really fast as as you can maybe see in a second some days there we go there it is oh there we go well fantastic so again here i am in photoshop i have some compositions up and uh i just kind of want to work on how you lay out things i want to talk about different work right and how things are laid out right so we'll take a look at real world examples just so you know um but we'll kind of just start with the fundamentals of composition uh right now so hopefully uh rocky de reyes i'm a big fan of rockies hello rocky good to have you here so this is just you know again basically a blank document um key thing we need to keep in mind when it comes to compositions like where the heck are we to post this to ooh you need to put flowers on an open globe uh you're talking to the right person because i put flowers on everything um but uh think about where it's gonna go so you'd wanna go ahead and jump out and uh not this site but you would want to i think i might have just closed it figure out where it's gonna go is it gonna go to instagram right or is it going to go to youtube is it going to go twitter it's going to go you know behance is part of your portfolio how much of the size of something is going to drive the design should this determine um the layout right so keep that in mind and that's actually what i'm going to do is i'm going to say hey you know what on instagram the post that gets the most interaction video does amazingly well but what does well for still images is this portrait size this larger size which is actually as we go in here and we'll change it image size 1080 and the it's going to be 1080 okay wait for it i'm going to go to canvas size it's going to be 1080 actually let's do this let's undo that 1080 by 13.50 so 1080 by 1350 is going to be the size so it's going to be this sort of portrait size as you can see right here i typically don't actually create it this size i go a size larger so i'll go into image size and for my canvas i'll change this to like percentage and we'll go 200 percent let's make it twice as large just so we have some flexibility because i know i want to post this on be hands and elsewhere so that's what i typically want to do is take this up to 200 click ok and then start working okay funny all right so here we are we'll just kind of start with some simple designs and i'm going to start with some like an ellipse tool for instance just kind of drag this out maybe not the ellipse tool although the rounded rectangle tool can be an ellipse as well if you want to find the perfect center of the document go to right down here new guide layout right click new guide layout and right in here i can say hey you know what give me one row and one column right and that's going to give me excuse me two rows two columns wait for it two there we go one row one column or excuse me two rows two columns gives me one vertical line and one horizontal line so now i know the exact center if i want to use that so i can always turn that on and off that's my guide so when i grab the circle and i'm going to draw it out right here there it is right here is my lovely circle that i could work with of course we want to change the color right yeah let's make a cool gradient out of it huh let's do a linear gradient and make something cool right so let's do something like that okay fantastic um so typically this situation is prob arguably the most boring arguably the most boring composition it can be very bold and in your face but your brain doesn't have to do anything it's like hey oh yeah there's a there's a big circle on a on a big rectangle right it's not that interesting right so we could still center things but if we center things we want to add some other interesting elements for your eye to go elsewhere so that's the whole goal in fact what i'm going to do is i'm going to jump out here and i'm going to replace this circle with a moon so let's do that right now let's jump out moon here we are boom lovely moon sort of right here in the center like so cool we got that or maybe it's just a planet because i don't want to restrict myself to uh the laws of uh astronomy and everything okay i don't want to stick directly to astronomy as you can see all right so we have that set up that's okay kind of boring right i could play with the color this is kind of more along the lines of what you'd get we'll throw a background in there as well so uh let's just clear that let's jump into uh my space folder if you guys don't do this you should because for most of my content i already have everything kind of cut out and put in various libraries so this if you're doing the same thing over and over again consider creating libraries where you start cutting out that stuff so i have a moon texture i have all the planets right even for all these planets by the way i oh yeah good i do have it set up that way every single planet i've already cut out right because i only want to do that once right so it's like yeah maybe i could use those planets maybe i'll take them all and drop them in here and then group them and put them in a folder right and those will just be the planets that i'm going to use later okay there we go so you build out your libraries it's going to make creating compositions much faster and grab this moon guy like so we have him we'll shrink him down and this is typically kind of how i'll start working this needs a background as well so we'll come in here and grab just a lovely space background as you can see like so you can get these off of nasa's website just just do a google search and you'll find a ton of cool uh resources as well okay all right cool basically the reason i think things don't work out well for people is they don't have a very good composition like this alone is kind of boring like what's the point right so uh think about that here's let's get this other one esg oh this is beautiful too right oh it's gorgeous right a couple things wrong with this composition before i even get into like the space guy maybe he's floating around by the way i might want to have him floating i might even want to take another um oh like this guy is cool too look at this astronaut sweet right he's pretty cool this is this arguably could be a selection nightmare because look at how much white is there but let me just do this really fast people some people don't like the magic wand i don't know how you feel janice and mia like i think there is no wrong tool just like there's no wrong thought it's just the misuse of those things right so if people are speaking in absolutes guess what they are probably wrong i i know new designers they always want to hear absolutes like tell me when to do something and give me an absolute as you get further in your career you know that isn't the case right but in general same thing for the magic wand i've heard people call it the tragic wand no it's just fine right we can come in here we could just do a point sample right tolerance is what we would play with but we would click right here and then you could see it's going to dig in on parts of this and maybe not other parts so i would drag this down tolerance of three let's see how pure white this is and it's pretty pure white let's take it down to zero zero is what does it take it down to zero guess what your tragic wand is now the magic wand just because you know how to use it correctly okay so that just really ticks me off can i just say that that thing gets to me when people are like you need to always do this do this that's not that's not the case that is not the case there's a there's a rhyme and reason for everything that's why did why did van gogh they told him oh you can't have a picture that's all blue so he painted blue boy and guess what here's a picture all blue know the know the rules or guidelines and then know when to break them so that's the big thing there okay so now that i have him selected i'll go down here i'll click right here on this layer mask as you can see i'll hold down the option key and when i click on it it's just gonna just going to do the inverse of that magic wand or the magic wand cornell let's call it that can i just say how happy i am to be here and i've only had one cup of coffee man this is a good day to be alive people i got a good night's sleep and oh the world is my oyster right there we are just selected those inside points and let's actually see what color i've just filled out with the background color that we have there we have our space man right there he is let's move that off to the side boom do your thing space man huh do your thing let's get some interesting elements in here and let's have some fun okay shrink him down uh heck let's just make him another smart object because i'm a rebel like that shrink him down he could be floating we're gonna have other graphic elements on this i'll do a command l for levels right and just kind of make this moon maybe a little bit darker i'll play with this more it needs a blue tint if i'm going to go with that background but again the composition is what we're going to work on um yeah thanks i only had one cup of coffee the tragic part is i have another coffee maybe five feet away from me that i cannot reach so that's a thing that's happening um let's add so this is this is what i'll do i'll let me kind of just work on this a little bit and uh see where it ends up okay can we do that and again i like i like doing things that um i haven't done before and just kind of like seeing how they turn out right um kind of rolling through some of these two situations happening here okay yes i'm talking about composition but i'm also talking about creating a whole a whole scene or a whole image that actually works okay the situation here is like i would i would try to have the background match the moon okay so that's why i'd go in here i would change this to levels um i would probably maybe throw a color on top of it right that's one way of doing things or the other the easy way honestly as i switch this over to be a clipping mask right we can give it this this blue and the the tough thing about this is the light is coming from this side so that means i have to go in here and i have to say hey for this uh levels and let's just get rid of this this levels right here because you guys probably would not apply it the way i would the reason i apply it directly to the object is just it's easier to work with in the long run okay so here's my levels right i'm playing with the brights and the darks right hopefully you can see that let's take this down we'll make this dark i'd go to this levels i'd hit b for brush make it a little bit larger and we'll start to remove that mask and just paint on one side the side that has the light is all i'm doing so it's really kind of hard to see you could actually see it better right in this case so that's typically what i would do to make that a little bit lighter on one side and let's continue to work just get your job do your job get it done get it done that's actually already looks a little bit better we'll go to this one we'll add a layer mask to it right we'll take down the flow here right and we'll just paint away some of that blue like so and what i could also do is actually just paint with a different color and that's why i made this initially a solid blue let's move our little astronaut guy just so he's not in the way but i want to add more light to this i'm going to go to this actual layer right here which is my blue layer right and we're going to crank this up heck to a lighter blue let's crank that up a lot there we go here's that lighter blue now actually being kind of cast should just kind of be even more on the edge but that's what i'm doing just painting that blue like right on that edge right there right that one really needs to disappear i really need to make that much harder but you get the idea okay that's all right we have our moon uh all right there we have it let's take this i typically take if i have a bunch of stuff like this that i still need to mess with i'll do a command g to group it now we have moon right in here so i'll have our moon we have this other graphic element that i might want to deal with we'll have the you know space there and then we have other elements that i was playing with right up there okay now with the moon i could take that you know shrink it down and kind of reposition it right but again i would never put something directly in the center right i'd probably put it off to the side and have something more interesting in this ah all right there there we go i need even i need even more highlights on this by the way so let's do it yeah painting those highlights look at that there we go there we are right there we go now we have that pop that we need right now we can see this is looking a little bit better there might even be some other light on this side but this is the dark side of the moon if you will okay there we go let's have fun with some symbols and everything too um cool yeah look for the brightest spot on the background hopefully i picked that i picked almost yeah hopefully i picked that good call um uh mikhail you are asking a very big long question about maya and i think you're doing some 3d master about master and maya or a visual yeah um yeah um yeah go for it i don't know what you want to hear from me uh do your best the nice thing about even what i do today is composition has a lot to do with whatever field you deal with so whether i'm dealing with 3d or even 2d as i kind of shift gears and kind of work on a 2d version right i can think about okay well what do i put in here the center right we could have we'll take somebody's face by the way hold on let's do this really fast drop her in here i make her even larger here's a case where i would probably actually yeah it's okay i would rasterize this layer i would cut out the side parts i would use my um yeah holding on the shift key i would use my magic wand tool to kind of grab all those pixels and then start to refine this another thing i could do why am i even doing that this is the fastest way to do this i show this all the time but right over here what do we want to do with this image we want to remove background so clicking right there it'll go through and it removes the background for me right so i already kind of fell back into my like old ways of doing things since i was showing you the right magic wand uh when all i need to do is remove background right from here we can still see some of those parts in the hair that we need to take care of guess what we'll go into that mask right use our lovely refine edge brush and remove clicking outside and then dragging in and we can also shift the edge we can kind of cut the edge in see what's happening there as i shift that edge inward it's going to grab more of her hair and any fuzzy edges that might be there so that's what i'm using in that case i'll decontaminate colors right down here and the last thing i want to do is just yeah let's just output it with the new layers as a layer mask just to show you the difference um here's the previous version it's pretty subtle but we actually were able to grab her hair which is awesome right so there we have her like so we can put her inside of this sphere um yeah so i've never used my uh um i've used 3d before my latest one is c4d but it just depends on like what industry you're going into uh kind of determines what package you would uh what software you would use all right we got her done make her a smart object anytime you find yourself doing uh something a lot make it a shortcut we go let's do that let's do that let's do that make this there we go now we kind of have her on the inside right and i can kind of move her around a little bit within this space right from here i would add just a couple things i think it'd be cool to do some glowing orbs around her kind of like she's dreaming like she's some uh you know um honestly somebody is thinking about a different place in time but just giving it a little bit of magic is where i would go next with this all right so let's do a new layer right in here let's take this background and start to work on this a little bit more i want to get this to the point where i'm talking more about uh composites as well so we could do something kind of like this take this a step further because i actually want this to be an even darker blue heck we could even go into black i want to do something like that okay there we have it b for brush we can sample that same color right or even a darker color and yeah i don't know if that's really working actually to be honest with ya all right sure let's do that let's add some more to this uh yes i love the gradients who doesn't love gradients huh i'll throw some gradients in there why not right gradients are just so much easier on the eyes to be uh to be honest with you in in my opinion right it does a good job of just kind of like leading the eye and just um makes everything kind of like nice and smooth i'm still going to add more to this i think i actually need to simplify the background because i'm actually not 100 sold on it i don't know if i want this background to really drive the design right so let's throw something else in there this is much better already i could tell that this is much better it is gradients because you know me but this is what we'd want to do fantastic gradients they're just so pretty let's make it so pretty right work it through this by the way what did i do here i took this i took her and i put her in a circle this is like a huge thing that you need to think about rather than having an image let's take her let's group it like an astronaut just out there floating around right like this guy he's just floating around this your brain kind of wants to ground it he's just kind of floating out there this is boring right if we take this and all we do is jump back there and throw a circle or a plane or something more interesting it's going to ground him and say hey you know what he's actually um in this area kind of floating around if you will so this is typically what i would do and i probably flip those colors right so this anytime you see a composition and i should probably go to some of mine or some out there you want to just be able to ground your pieces somehow like this one is grounded right because she's already at the base and there's some dark colors right there so it already has a place to sit because you don't want things to kind of like float around your your brain kind of wants to group things together and that's what uh this does kind of makes this nice little uniformed group right from here what i would do is i'd probably break the border depending on the size of this i would probably break the edge of this with the um with this astronaut right also with this astronaut here's something else we could do for this design which would be really fun can you tell that i'm working on like 12 different designs right now let's put that inside here right and we can make it look like this is like a portal where he is on the inside and he's kind of breaking out right so this is a perfect case where we'll take this we'll maybe have some lighter parts of it potentially we'll paint him accordingly just like we were doing before maybe we'll use levels i'm not sure what you guys use i do i do end up using levels um a lot but let's just paint on him really fast like so and we can start to paint some of these darker spots it looks nice and loose right we get it but i want to go in here and change this to say for instance color burn or something darker like that so that already looks a little bit better but i'll typically roll through these overlay soft light also works right so again that's all we're doing we're just kind of painting on top of him we're making sure the highlights are on one side and they aren't on the other it's a little dark i get it it's a little dark i would probably have a couple more layers in here um but you get the idea typically we'll have my shadow layer and then i will have my highlight and mid tone layer this is my highlight layer so we'll take again we'll sample some white and we'll go in here and we'll just paint on top won't worry too much about you know where we're painting but we do want to make sure that we're hitting uh the planes of this astronaut so grab right there like paint right there if it's going to hit his thigh that's what we want to go for even in this case i shouldn't have actually painted all of that white because it's going to flatten it out ultimately but you want to paint whether it's going to have sort of more of a splash of color even down here for the foot it probably hit the foot but it wouldn't hit his shin right so that's kind of how we want to treat this right painting like so and then we can go in and change this to like overlay for instance like that right just paint some more on his chest something like that okay cool to infinity and beyond right so there we have that yeah let's add some more uh shapes and interesting geometrics so we have in photoshop we can go down to shapes we'll start adding things and this is typically what i do when i'm making something i'll throw a lot at it and then you want to start editing down right i could use some of these elements i'm going to kind of scroll down i'll go into some of these symbols i have this uh like triangle for instance that i can bring in uh i'm not sure if i really like the rounded corners you can always make one myself if i want to maybe i will but again since this was easy to do here's this particular shape you can go in typically what you draw is you'll draw a shape make sure that it's not set to path i have this set to shape it's going to do your last used settings so i actually don't want to have a fill but i want to give it a stroke right so now it's going to have a stroke of white at three pixels as we can see right up there right you can always scrub on that three pixels and increase it uh the reason you're seeing red is because right up here excuse me pink is because we have this magenta set to three pixels which is kind of large i probably need to drop that down and now i can i kind of see that that uh that uh that color kind of showing through all right so we have that let's go in here hit p for pen i'm so glad that that also works for illustrator click click come down use that potentially as a guide i could have also edited that shape i get it but uh here's my new shape that i've just drawn all right how's everybody doing today huh throw a little glow in there yeah why not outer glow here's the case as well it's like hey i want to add outer glow to this like i don't i'm actually not seeing it unless i'm blind you're like hey where the heck is that right down here effects click right there and you're like oh oh it's not being shown outer glow now i can go ahead and add it and we can make it that uh that white or whatever we want typically with glows i actually come in and i add a couple of them right but if i go back down here i can't add another outer glow i'm like i want to because like all light sources they're all um bright in the center and then they'll be like yellow or you know they'll kind of taper off to whatever colors around it so in this case i just use a drop shadow so come in here add a drop shadow it's going to be really hard to see but for this drop shadow uh we'll crank this up and notice the distance there it is it's just working on this line right we can work on the spread and the size there we go size is what i want the spread is what you'll notice is affected after you apply size but now i'm just going to move that back we can see that it's going to give it this lovely little glow that's going to be like yellow or something like that okay so that's all i'm showing you guys might know that or you might not but again this is photoshop master class so hopefully we're teaching you some things that you don't know right so right in here i'd take that i would jump it command j boom take this to the top because this is still kind of boring right it's like still a boring composition it's getting a little bit better um but what would be really cool is if this if this edge overlapped and we're playing with depth so that's what i'm thinking right down here let's duplicate it let's drag this one to the top and for this top one this is where we're going to add a layer mask and guess what let's just invert that b for brush and we're going to paint it in [Music] x the x key will flip the color the foreground and background color so i'm usually toggling between those two uh and doing something like this cool we have that done and that's fine all right so uh more things we could do i think this actually needs more graphics but there's just different ways we can go with this so i'm going to save this one and hold on [Music] i'm back as that was saving i was able to grab my coffee i hope you don't mind uh okay malory exactly that's so weird i was just thinking about doing that perfect that's where you want to be you want to you want to go with your gut i what i usually say is like i learned a lot in art school but really art school taught me about like why i did what i did right so you you're gonna learn about the fundamentals of design you know and uh use them to your advantage but so this one's okay i'm making composition one i'm not going to do make composition 2 by the way because i'm going to go back to that other lady and work on her because i think she's going to be cooler right [Music] oh clever that'd be funny if i like left the camera and then i walked into your house and poured myself a cup of coffee that would be funny all right so we have that done i'm going back to this lovely lady because i think this shows a lot more potential as a design and this is often how all works like i'll start with something maybe i'll jump back something may or may not be working um and we'll we'll start to work on it right so we'll come in here we'll add this like that same case where we want that like overlapping business happening like so right b for brush bring it back like so there we go there we have it now i want to add like i either want to add some some more it needs more color depth to it i could maybe use some more glows but honestly this alone as i save this this alone is actually a pretty good design right notice a couple things that are happening in here when it comes to placing like an image of a person whether whichever way they're facing or if they turn a direction you want to add space for that side so there's a reason why i didn't like put her like directly in the center right we kind of i feel like she needs to be off-center and angled with more space the direction that she's looking right so just like people things need a space to go to right so don't that's why i have her just like offset a little bit right same thing with this triangle right this triangle is pretty good actually it's not even centered right we could center it let's take both of these is that my shape yep so here's here's my shape remember command h brings back my center point right and i might not have even made a perfectly centered uh there we go now we can go ahead and line that up but now since i've done that i realized that even when i drew this triangle oops i actually didn't get it right in the center but again this is a vector that i'm working with i can come down let's grab that point let's move it over pop like that um and there we have it okay because here's another thing that's happening right anytime you have uh lines be careful where they end up like we want things maybe tight but not touching i would never want to bring this clear the edge anytime you have two things that are like really close to the edge right there it's like it creates tension anytime you have two things that are like really close like that okay so just keep that in mind right so we have that that looks that looks pretty good we want to make this interesting but still uniform right i can think about taking this composition let's move that up grab these pieces pretty much everything wait for it there we go log that down because the next thing i'm going to try is i'm going to try to move her down a little bit because again she's smack dab in the center it's kind of boring let's give it like a place to go we move it down this is going to be still like a little bit more interesting and don't be afraid to give things breathing room even as i scale this down right we're giving everything just like a little bit more breathing room right the the more use of negative space tends to make things look a little bit more elegant in my opinion is the reason i use guides as opposed to using line tools so matt i wanted just to get the very center of the canvas so that's why i used guides usually i don't use guides but really when i use guides i use it just to find the center because you know what i'm not good at math i'm like i gotta figure that out half of what half of this number no let's just go ahead and split the canvas down the middle right okay so we have this maybe it's working out maybe it isn't uh let's grab some of these other elements in here we have this space background right that we could bring in and play with right so what are we doing here we're just like giving this background just making it like a look a little bit more interesting and we'll start adding things at this point and it might not work and that's okay [Music] ah cool all right marcos awesome good to have you guys here awesome need more graphics by the way if you need more graphics yeah use them because you have so many right uh latest version of photoshop the custom shape tool right right in here you have access to all these wonderful graphics so i end up using a lot of these like basic shapes and saving my own typically just so you know so that's kind of where i get my basic shapes a lot of times i will use illustrator by the way so i might create like i might try something with like a radial burst or something like that uh maybe i want to use illustrator for that there's another thing i was working on there's another thing just things adobe illustrator available on the ipad now imagine that let's just do a line uh i know this is a photoshop master class but hey let's just let's do this anyways um distort and transform we'll go down to transform because really what do i want to do if i wanted to create a burst it's really just going to be one line that's that has copies of it based on this uh this base point here and by the way like i don't know what designer doesn't use like multiple tools right so there we go it just created that second one because i'm using this transform effect i again i'm not going to be good with math but we'll do actually let's do this we'll do um [Music] 180 divided by 15. boom baby i did it 360 divided by 15 which is the degrees it's gonna now go all the way around so now we have our lovely burst isn't that nice isn't that nice everyone oh we did it we created our burst super easy copy it right go into photoshop paste it in right we'll paste it in as a smart object and now we have this like lovely burst that we can work with okay right versus black it's not going to work we're going to want to invert it right we're going to want to take this triangle and at least try that uh original glow on it so we'll hold down the option key we'll grab that effect and we'll drop it on this vector smart object burst right there okay so now we have that burst ah it's way too intense but again at least i have a starting point maybe i want to turn that off i don't know guys i need help at this point help me help me it's too much it's too difficult actually it's pretty easy right i want to change this i'm going to double click on it i'm going to go back in here because i'm realizing that this line is too thick make it uh a quarter of the size saving it let's go back in here ah much more elegant that's what i want okay add a shadow to the burst i like the burst i like the idea of adding a shadow but it's gonna muddy it it's just gonna end up muddying it so that's why i kind of wanted to do this and honestly i would even try fading out the edges right in here but we still just have one item so this is going back to composition right um you want your main uh subject kind of grab your attention and then you want to be able to find other interesting little things for your eye to wander through right let's go to um this like neptune guy right he is clearly like he's the dominant piece right all these bursts all these lines they act like arrows the arrows are all kind of like pointing to his head right so that's our focal point right that's supposed to be our focal point but it almost to be honest with you gets overwhelmed by the brightness of all these colors right so so so that keep that in mind like color is is dominating shape in this case like color and light that's what's driving this uh composition so keep that in mind but once we get sucked into it we're like whoa let's look at this oh there's all this other interesting stuff that we can kind of pan around and check out right it's like oh all these cool things and you just spend time looking at it and that's that's kind of the idea right so we have our main focal point and then we have our our places for our brain to wander now not everything needs to follow this rule right this one kind of has that too it's like she's we're gonna look at her and then we have all these other interesting little elements if anything i would push her down more so she has um uh so there's more room at the top so i'd actually kind of pull maybe pull her down a little bit more so there's like room to grow right so that's that's the idea but again there's two examples like i said i'd show you sort of working with composition okay this would be boring otherwise if i would have just split her down the middle and maybe had a flower it would be okay but i would only spend two seconds on it i've kind of added more more isn't always better but as i started adding more it's like started to make it a little bit more interesting and that's when we get into like editing oh i actually used the same woman i did not realize that i mean i did that on purpose but there's a reason that she was cut out in the library because as soon as i cut things out i like not always but i try to like i try to save them to my library uh for use later so that's hilarious okay but for her we'll do we're gonna make her a little bit more astral so we're gonna take some of these elements that we had earlier right she is the the sun moon and planet she is the cosmic goddess right that's why we're going to use all these wonderful elements that are going to be kind of floating around her head right so take all these shrink them down right these these are not smart objects they should be they should all be smart objects so let's just redo that and again define those shortcuts i got 10 minutes uh here's my sh i mash all the keys together an s for smart object boom tap oh sorry tab should go to the next tab does not in that case all right anyways i'm just making all of these smart objects because i don't want to lose their quality because chances are i might want to make one bigger than the other and i want to give myself an out because you know art and design is all about changing your mind half the time all right let's take this down to about 30 percent shrink it up a little bit more we'll do something like that okay all right we got lucky because golden ratio does help you you are right i sometimes think like you you could argue that the golden ratio you know know the rules and then break them but the golden ratio um yeah is something that um we need to keep in mind right if you want to see the golden ratio just go to your crop tool click right up here why is it not auto show overlay was it not showing i don't know why it's not showing it always show overlay why is it not showing it oh well it's showing it now anyway so right up in here with your crop tool you can go to golden ratio like so right but this is a case where like i honestly would never position something directly in the center and that's actually not what it's telling you to do it's telling you to actually put things on the offset on these these lines so just offset and that's kind of similar to what i've been doing is just placing things off no you better not crop it so there's an auto commit for the tool as well so be so watch out for that there we go i accidentally cropped it okay let's move on uh lighting looks the same so lighting is gonna come from the upper left so i'm gonna keep all these planets the way they are i'm gonna turn off the sun all of these need to be brighter as well i'm not sure which plant is which so all i'm going to do is i just use the as you can see i'm just using the command key so what look at my layers panel it's jumping from uh object or from layer to layer since i'm using the command key to select that layer it's auto select right up here so auto select bam bam bam steve you're funny it's good seeing you steve looks like an angry grapefruit on fire this is i think we're gonna have fun with this because i actually would love to have like have one of these like be the sun right and i would show you how to treat this but i would love to have a really cool bright like light source up here that would be pretty sweet that alone looks really cool like look at how cool that is already so maybe we'll hold on to the sun maybe we'll put in the background and uh maybe we will regret it later on but who knows all right let's get to work paul stop stop talking just get it done we want this to be like a halo around the head so in fact again since i'm lazy this is what i want it to be like i'll just start mocking it up right i want it to kind of go around her head like a halo like this halo it's amazing what a full night's sleep will do for your attitude people that's what i think most people need you just need a full night's sleep that's it hey you're miserable blah blah blah you wanna like no don't don't do whatever you're thinking like making these crazy changes no you just need maybe maybe you just need to go to bed john mulaney has a joke is like do my friends hate me or do i just need to go to bed your friends don't hate you you just need to go to bed right love john delaney john mulaney was in sneaks with me last year and this year we have chelsea handler so chelsea handler is going to be our guest for adobe max sneaks if you're not aware of that go to the mac site later but um it's going to be awesome uh yeah so she's it's it's all going to be online it's all free and we get to show all this cool new technology which is going to be a lot of fun okay these two look similar so i'm going to kind of flip them i like this one up here better right i'm so glad we're doing this everyone like which planet do you put in which location right i would probably put this one like over here right like that okay this one we want to show the depth maybe we'll make this one no we'll make it we'll keep it that size but we want to put it behind her head right there so that's when i'll drag this of course behind her head like that okay that's the idea all right as i get quiet you know i really am starting to think about some of these things right i'm realizing that i'm almost adding too much oh michelle's excited for max good to see uh yeah sleep is the secret to all creative endeavors oh man and just taking breaks and having fun do things that inspire you uh ah okay all right so um but now i'm kind of adding too much so this is why i go into editing oh you added all these planets that's going to be interesting maybe turn at least for now turn off some of these other elements maybe turn off those bursts right i'm not even sure if the triangle is working at this at this point right but i'd go in and i'd start to edit this content let's just group this together let's make this the astronaut that turn that off like so um and i still have this ellipse let's take this ellipse let's maybe drop that effect on it and maybe we use it instead of the triangle okay maybe maybe not again we're still working through this right so i'm editing this down i'm turning off everything i'm considering using this ellipse and erasing the parts we don't need b for brush x to put the black in the foreground paint over it right get rid of it and do something like that this is also that oh you liked the ellipse yeah okay good you you like the ellipse that i just added so let me put it behind everything by the way but this is really helpful to me too it's like if you're working on a composition and something's not right step away from it go do something else come back to it what helps me is i'm actually looking up at my output for this live stream and the fact that i'm seeing it smaller and not so large is actually helping me kind of realize what's working and what isn't because ultimately this is going to be on instagram so it's going to be like this size i could have also just shrunk it down um but uh yeah so that's all i'm doing is kind of like playing with the size so this might be gorgeous large it might some of the details and stuff might be lost uh if we shrink it down okay enough of that stop talking paul of course i don't know kind of my job howard you can always re-watch would love it if you you read what rewatched this um be awesome can i scrub back i think this needs to be thinner so we'll go with one uh one point thin line and there's a thousand more things i would do with this you know what i would actually do with this like that path this lit line ah i want to do so much to this and i don't have much time so let's get let's just stop talking let's get to work right let's make it a great day let's bring this out back up to the top b for brush paint over this that's what i would do i would make sure that the line looks like it's actually like penetrating and let's actually i should be using a hard brush a hard edged brush right hold down shift command wait is that all right no that's not right oops i just move things all over the place someday you some days you remember your shortcuts and some days you don't there we go shift uh closing bracket will change the uh uh we'll change the um brush hardness so that's all i was doing is changing the hardness all the way up but i was using the shift key to do that and now i can come in hit x right it's going to be because i just want this to be like a real solid line i would actually make it give it a bright dot right there is probably what i do as well so if i wanted to paint on that b actually no not yes new layer group bam bam so many tips option key drag that on the folder because what do i want to do i want everything i want to have more elements that are lit up the same way so now we'll have our astral lines right and we'll have these like burst things and then we have our ellipse right there okay so that's what i'd want to do is right in here b for brush make this smaller but this is where i want to have boom like that light right there see that's what i'm going for is have that kind of look like it's connecting it's off actually a little bit so we could always erase that or undo it and undo this part like that because it should probably hit right there on this layer i'm having too much fun with this so uh stay tuned just like keep an eye on my instagram the color tone of all these need to be worked on uh just that's pretty much what i did wade as i pretty much hit all the shortcuts and then eventually found the one that worked but things were flying all over the place because if you use shift command open close bracket you start shuffling the layers in their layer order so that's what i was actually doing i was like ah i got that burst b for brush make it smaller like that right so again you get how that works i could actually take all of these i want to make all of them brighter right again i would probably put them all in a folder i would go out to and we could try curves if we want to clip the curves to that layer group which happens to be the planets all right and with those curves we can go ahead and adjust their brightness right so taking that up making it darker in places if i want to but i need to make them make him the same sort of light intensity uh as it is for her right okay let me just finish this ellipse because this is really bothering me how this is set up in some parts take that down like that it's so good yeah oh yeah oops just finish it gotta finish my job zap into that one somehow like that and let's paint with the burst really fast i only have a couple more minutes oh no i'm down to my last minute ah all right uh i'm gonna finish this i'm gonna post it to instagram and all those fun places so stay tuned for that and see where it ended up and thank you so much for watching jason levine is up next so stay tuned for some video and audio magic thank you so much everyone [Music] [Music] you

Channel: Paul Trani

Views: 1,411

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Id: k9jowhON8do

Length: 56min 32sec (3392 seconds)

Published: Fri Oct 02 2020