Hi, welcome back to another very exciting Copycat Wednesday
here at the PhotoshopTrainingChannel.com.
My name is Jesus Ramirez. Thank you so much for joining me today. I know it's not Wednesday,
but I still wanted to get an episode out for you this week. And today we're going to recreate
the Arkansas movie poster in Photoshop. It's a really cool movie poster, and I think it'll
teach us a lot about clipping mask, link layers, and the Camera Raw filter. And if you want
to follow along with me, then make sure you download the asset files. I'm placing a link
below in the description under tutorial images. Why don't we jump right into the tutorial.
These are the images that I'm going to work with. We're going to use this document to
create the poster. Notice that I have a white background and a logo. You can use whatever
logo you want. It could be a text file, a pixel layer, or a vector graphic. As long
as you have a logo, that's all you need. In this case we're going to use a similar logo,
as to the one found in the original movie poster. I also have this portrait of this
man and I have two portraits that we're going to use in the composite, and finally I have
this photo of a car. So, let's start with the car first, and what
I'm going to do is make a selection. I need to select everything but the sky.
And you can just use the quick selection tool for that.
With the quick selection tool active, you can use the right bracket key on the keyboard
to make a larger brush, and just paint over
the bottom part of the photo. Make sure that you get the car as well.
The selection doesn't need to be perfect, as long as it's good enough, you should be fine.
And what you need to do now, is simply click on the Layer Mask icon to create a Layer Mask,
and always name your layers. I'll call this layer, "Car."
And I'll right-click and convert it into a smart object,
so that you can apply none destructive adjustments,
distortions, filters and transformations. Then I'm going to select the move tool. Click-and-drag
the layer into my working document and release. Photoshop will place the layer in that document
and I can now press Ctrl T on Windows, Command T to transform. If you don't see the transformation
handles, you can press Ctrl 0, Command 0 on the Mac, to zoom out and see the transformation
handles. This is called the Bird's Eye View. Once again that's Ctrl 0 on Windows, Command
0, on the Mac. And then you can click-and-drag on these corner
handles to scale the image in. And use that same keyboard shortcut, Ctrl 0, Command 0,
to zoom back in. And what I'm going to do now is right click, and flip the image horizontally.
And I'll click-and-drag it and place it down here, and scale up like so. And I'm just making
sure that I get the car and the ground into position. So, right about here, this seems
to be like a good spot. I'll click on the check mark to commit the changes. And what
I'll do now is change the background color. So, I'll just create a solid color fill adjustment
layer. And from here I'll select the color that is just off red and I'll press OK.
Just to keep my layers panel clean, I'll right click on the Layer Mask and delete it, and
I'll just call this "Red background." And since I don't really need this original background,
I'm just going to select it and tap on the backspace key. That's the delete key on the
Mac, to get rid of that background layer. I'm just trying to keep my layers panel as
clean as possible. What I'll do now is, select the car layer, and create a solid color fill.
I'll make it black and I'll clip it to the layer below by press Ctrl Alt G, Command Option
G on the Mac. Just to make the car completely black. And this is not really affecting the
logo. It's also black, that's why it looks the same.
But let's forget about that and just look at this bottom part. What I'll do now is zoom
in, and if you look at the original poster, you can actually see the tail light of the
car. So, I'm going to try to bring that out. So, I'll select the brush tool and I'll paint
with black to hide the black pixels. There it is, and I can tap on the X key on the keyboard,
to swap my foreground and background color. And I can paint with white to reveal the effects.
So, I'm just going to paint the effect back in. Tap the X key one more time, and just
click on that area, just one time, like so. And then I can use the density slider in the
properties panel, with the Layer Mask selected, sort of as an opacity for that Layer Mask.
If I bring it down to zero you'll notice that, that completely disappear and I can adjust
it accordingly. So, I can bring it out just a little bit. And I can do the same thing
on other areas of the car as well. You can see some of the details in the car in the
original poster and that's what I'm trying to replicate here. Also, something that didn't
do before that I'm noticing that is an issue is, that the edges are very jagged on my mask.
To fix that, I can double click on the car smart object. It opens it up in a new tab,
and what I can do is double click on the layer to bring up the select and mask workspace.
From here, I can smooth the layers by dragging the smooth slider to the right and that smooths
the edges on my mask, and I can increase the contrast to make them sharper. In some cases,
you will need to select the brush tool and then paint in detail that was hidden, and
when you're done, you can just press OK. Close that tab and make sure you click on the yes
button to save, and Photoshop will update that composite, and that looks much, much
better. I'll double click on the hand tool to fit the image to screen. And what I'll
do now is work on the two portraits. I'll close the car document, because I don't need
it anymore. And I'll just start with man number one. And what I'll do is, click on this lock
icon, so that I can get the background removal button in the properties panel.
So, there is no remove background button. But as soon as I click on this lock, you'll
see the quick action called remove background. I'm going to click on that, to remove the
background using artificial intelligence machine learning technology, known as Adobe Sensei.
And then I can click on the Layer Mask and click on select the mask, and we can adjust
the mask accordingly. In this case Photoshop did a really good job, so I'm just going to
smooth it a bit, and contract it a bit, and press OK. And we probably won't need much
more than this. I'll now right click and covert this layer into a smart object, I'll call
it "Man one." And with the move tool select that I'm going to click-and-drag him into
our working document, and make sure that he is outside of that clipping mask.
Notice that he's clipped, so I'll press Ctrl Alt G on Windows, Command Option G on the
Mac, to remove that clip. And then press Ctrl T on Windows, Command T on the Mac, to transform.
I can't see the transformation handle, so I'll go into the Bird's Eye View by pressing
Ctrl 0, Command 0 on the Mac, and that zooms out, so that we can see the transformation
handles and I can scale them down of course. So, I'm going to scale them down as best as
I can, and I'm doing a very rough job right now. I may need to move this a little later
on, but for now, this is going to be good enough. I'll double click on the hand tool
to fit the image to screen, and what I'll do now is turn him into black and white. Add
a little more contrast and add a few shadows. One of the easiest ways to do that, is by
going into the filter menu, and selecting the Camera Raw filter. And from here, we're
going to make this into a black and white image. So, above the basic panel, you'll see
your profile. You can simply select a monochrome profile, like so, and that makes it into black
and white. Another thing that you can do is simply click on this B&W button and that does
the same thing. And then you can adjust your image accordingly. You can make the highlights
a little darker. Maybe the shadows as well, just to add a bit more contrast, obviously
drag the contrast slider to the right. And then in this case, I'll add texture by dragging
the texture slider to the right. A little bit of clarity which is contrast in edge pixels.
And another thing that you can do is go into that black and white mixer and from here either
brighten, or darken the original colors and the image. For example, I can make the reds
brighter or darker. See how that's effecting his lips and other areas of his face? So,
adjust it accordingly. The oranges, and then the other colors in the image. There's probably
not going to be too many greens, a few aquas, not many aquas, a little bit of blue. So,
maybe I'll make his sweater just a little bit darker. So, that there's some contrast
and just adjust the sliders accordingly. Then I'm going to press OK, and that applies the
Camera Raw filter to my smart object. For now, I'm going to collapse it by clicking
on this icon, just to have more room in the layers panel.
What I'll do now is go into the man number two layer, and do the same thing. Unlock the
layer, remove the background. Just for the sake of time, I'm not going to fine tune the
mask, but feel free to do so in your own project. Then right click on the layer and convert
it into a smart object. I'll call the smart object "Man number two." And I'll press the
V key on the keyboard to select the move tool, and I'll click-and-drag him into our working
document. I'll press Ctrl T to transform, Command T on the Mac, and then Ctrl 0 on Windows,
Command 0 on the Mac, to zoom out. And I can click-and-drag on the corner handles to scale
the image, right about here. And I'll click on the check mark to commit the changes. I'll
double click on the hand tool to fit the image to screen. And what I'll do is, I'll place
the man number two layer below the man number one layer. And just to make things easier
for us, I'm going to take the Camera Raw adjustments from man number one, and copy them into man
number two. And it's very easy to do. All you need to
do is expand the smart object. Hold on Alt on Windows, Option on the Mac, and click-and-drag
the smart object onto the second layer, and Photoshop will apply it automatically. It
looks really, really good. What I'm going to do now is edit the Camera Raw adjustment,
just to add a little more drama to the image. I'm going to add some shadows, and I'll start
with man number one. And I'll double click on the Camera Raw label to bring up the Camera
Raw filter. And from here, I can simply select the adjustment brush, and I can paint in my
adjustments. I'm going to make the brush size a bit larger, like so. You could also use
the bracket keys on the keyboard and I'm just going to paint on the right side of his face,
like so. You really can't see anything, because my
mask is disabled, but that's okay. I'm just going to bring the exposure down and you can
see that shadow that is being added to that area. And I can adjust my highlights, I can
make them darker. Also make my shadows a bit darker and if need be, you can continue painting
on the rest of the portrait. So, that's what I'm doing just adding a shadow onto his face.
I'll press OK, and you can see how the changes are applied to my working document, and I
can do the same thing on this layer below. I can expand the smart object, double click
on the Camera Raw filter label, it brings up the photo and I can go back into the adjustment
brush. And in this case, I'll just decrease the exposure a little bit, so that I can actually
see what I'm painting on. See that? See how you can see now what areas I'm painting on
because of the adjustment? And then you can continue adjusting the image.
Making it darker. Adjusting the highlights. The shadows. Whatever you want. And you can
press OK, when you're done. And you can see now how we made both portraits more dramatic.
I'll collapse both smart objects in the layers panel, to have more room to work with. What
I'll do now is, work with my logo layer, which is down here. And I'm going to click-and-drag
that logo layer right here, below man number two. And what I'll do is select man number
two, hold shift, and click on man number one, to select both layers. And I'll press Ctrl
G on Windows, Command G on the Mac, to duplicate those. I want to place those right down here
above the red background. So, what I'll do is, I'll just use the keyboard
shortcut. Instead of dragging, you can make it easier on yourself just by pressing the
Ctrl key and the left bracket key, on the keyboard. That's Command left bracket key
on the keyboard, on the Mac. And notice how they're just moving down the layers panel
all the way to the bottom, and I went too far. Notice how I place both layers way at
the bottom. I actually want them above the red background. So, I can press Ctrl and the
right bracket key, to move those two up. And that's exactly where I want them. Next, I'm
going to select both of these layers. So, I'll hold shift and click on both to select
them, and then I'll press Ctrl Alt G, Command Option G on the Mac, to create a clipping
mask around the logo. And if I come down to these two layers and disable them, you can
see the effect that we got. We got that really, really, cool effect. And
what I'm going to do now is, go back to these two layers here at the bottom, and I'm going
to put them into a group. And I'll call this, "Bottom faces." And I'll put them inside of
that group. Select them, and drag them into the group, and now they're inside. And you
can see the indentation here, which shows you that they're inside of the group. And
with the group selected, I'm going to change the blending mode from pass through to luminosity.
And then I'll change the opacity to 25%. And I'll open the group, select the man one copy,
and then select the man one original layer, by holding Ctrl and clicking. Both layers
are now selected and I'm going to click on the chain link icon here, to link those two
layers together. And the reason that you want to do that is, so that, if you select one
of the layers, it automatically selects the second one, and you can move them accordingly.
See that? See how I'm moving them at the same time?
And creates the effect that you see there.
And it doesn't matter which one I select,
if I scroll down I can select the man number one copy, and press Ctrl T, Command T to transform,
and I can scale and it will transform both layers at the same time. So, I can make this
layer larger, like so, and click on the check mark to commit the changes. If the color comes
back on the image, this is just a redraw error that Photoshop has. If I go to the man number
one copy, you'll see that the color is showing in the thumbnail. But if I disable the Camera
Raw filter and enable it again, the black and white effect comes back. I'm not really
sure what the issue is with that, but that's something that I've encountered when working
with link layers and smart objects in doing this whole thing. But you can see the quick
solution to that glitch. But anyway, what you want to do now is do
the same thing with man number two. Select man number two, hold Ctrl, Command on the
Mac, and click on the man number two copy, and click on the chain link icon, and with
the move tool selected, you can place them anywhere that you want. I'll place his chin
here at the bottom of the S. Click on the pivot point. If you don't see the pivot point,
you can enable it by clicking on this icon and place that here. And then you can hold
shift and Alt to scale from that point. See that? See how I'm scaling from that point?
And just keep adjusting the layer until you find a good spot for it. You can zoom out
and scale it even further. When you're happy with your result, you can click on the check
mark to commit the changes. And when you get your composite to this point, all you need
to do is fine tune the layers. You can scale them. Move them around. Adjust
the black and white Camera Raw adjustments. Anything that you need to get your image to
look the way that you want it to. This is my final result, and I didn't do anything
that I didn't show in the tutorial. All I did is took a few minutes to fine tune the
adjustments that I've already made, and you saw how I made all of them. I would also like
to let you know that I recently started a new TikTok account, where I do one minute
Photoshop tutorials. You can check it out if you like. Link below in the description.
I've already gotten over 80,000 subscribers in just one week. So, thank you guys so much
for that, for those of you that watch both my YouTube channel and now my TikTok account.
And if you haven't subscribed to the Photoshop training channel here on YouTube, make sure
that you do that now by clicking on the subscribe button, and also the notification buttons.
So, that you get notified whenever I post a new tutorial.
Thank you again for joining me on another Copycat Wednesday, not on a Wednesday.
But, I really hope that you enjoy the tips and techniques that I showed in this video.
Thank you so much for watching. I'll talk to you again in the next Photoshop tutorial.