4 Cutout Elements - SCAI021

Hey there and welcome back. We got a really great section for you. In this section, we're going to show you how to cut a product out of its background, how to place it into a new background, and how to take a texture or pattern or design and put it on that product and warp it so everything looks good. Of course, we're going to be doing the shadows and the highlights, not only of the product itself, but show you how to cast realistic shadows and reflections on the environment. We got a really cool section for you. Let's Here we are in Photoshop. You can see here are the sample images. We have all three of these sample images. If you haven't already done so, you can open those. They're in section three for sample images. Then here is our final result. This is what we're going to be creating. You can see we're going to be cutting this bottle out. We're going to be placing this texture pattern illustration on top of it. We're going to be adding these realistic highlights. There we go. In the shadows, we're going to show you how to create this reflection and the shadow. Then, of course, composite the bottle into the new environment. Really, really exciting. Let's go ahead and minimize that for now. The first thing we're going to do, you can see we've got three separate JPEGs. The first thing we're going to do is we're going to be cutting this bottle out. Let's go ahead and hit F for full screen and zoom in to our bottle. There are a lot of ways you can cut things out like this. You can go up here to select and then down here to subject. A lot of times, this will do a decent job finding your subject. In this case, it did okay. It definitely selected a lot of the grass and things like that. It does better with people. Because we have pretty hard edges here for our bottle, what we're going to do is actually just use the pen tool. Let's hit Ctrl or Command D to deselect. Let's show you how to use the pen tool. We're going to go ahead and start by zooming in here. We'll just start up in the corner. You don't have to get this absolutely perfect. You can spend time. There's tiny little ridges here. You can cut out each of those ridges if you want to. It's going to take a little bit more time. That's definitely up to you. I'll show you how to do it. Let's hit P for the pen tool and go ahead and get started. We're just going to click here on the very top. There we go. Click there. Then we're going to find this place right down here and click and then drag to make a little bit of a curve. There we go. Now, the whole goal with the pen tool is to create as few points as possible. You want to find the beginning of a curve and the end of a curve and then basically create a point at the beginning and point at the end. We clicked and dragged there. That's going to create a little curve. Now, I'm going to change direction. Anytime you want to change direction and make a little corner, you're going to hold Alt or Option, which is going to turn your cursor here. You can see it's just going to turn the cursor into an upset on V. Alt or Option. This is going to allow you to click and drag to change that. You want to put it in the direction of your new curve. We've got our new curve. It comes out and then back down around there. We're just going to click here and then drag out there. If you want to adjust any of these, you can hold the Control or Command key and just grab them and pull them and move them how you want to. Now, you can see we have a point there. We have an anchor point that's pulling it down in this direction. Then from here, basically all the way down, almost all the way to the bottom here until right about here, that's basically just one curve. Let me just zoom out so you can see it here. Here, one curve all the way there and then there. Then right here on the bottom, it changes direction and goes in. If I just create a point here, let's click here and click and drag. There we go. Then I can hold Control or Command and just pull this up in a way. There we go. Something like that. That looks pretty good. Then if I zoom in here, I can hold Control or Command and pull that out there. Then maybe I'll just adjust this to make sure it looks good there. All right. You can see from here, the top all the way to the bottom, that's just one point. One point here at the top, that square thing, and then one point here at the bottom. All right. Let's go ahead and zoom in. Now, we're just going to click here. There we go. I'm going to hold Alt or Option and we'll just click and drag this right up to about there. You can see it follows that curve. Okay. Let's have that curve out just a little bit there just to give it a little bit more depth. Kind of come down here. That looks pretty straight to me. I'm not going to make it a separate point for that. I'm just going to click and drag that down there. Click and drag this here. You can see I'm just finding this is the curve here. We're finding the beginning and the end of the curve. There we go. This is one curve here going from there all the way to here. Then it changes direction and we have another curve. Let's just click and drag here. There we go. Hold Ctrl or Command and click and drag there. Okay. Hold Ctrl or Command. Kind of shorten that edge up there a little bit and then bring that up there. There we go. Ctrl or Command. There we go. We're going to come all the way up here, just like we did on the other side. We're just going to try to mirror pretty much what we did on the other side. You can hold Ctrl or Command and move these things around at any time if you need to. There we go. Alt or Option if you need to do a change in direction. We're going to just click and drag that up there and then hold Ctrl or Command. If you want to change in direction with a corner, Alt or Option. If you just want to move any of these anchor points, Ctrl or Command. That's the secret to the pen tool. All right. Let's go down here and make sure that this looks good. Just kind of bring this out a little bit there. Fantastic. All right. Already looking pretty good. You can make adjustments to this at any time, obviously. Again, we have a point here and then this curve goes all the way up here to the very top, right? We just want to just kind of click and drag here. Boom. Make sure that curve goes all the way up to the very top there. Fantastic. Then that kind of goes out there. Very nice. Then we're just going to bring this up and bring it across there. Okay. Looking pretty good. That kind of bulged out on that side. On this side, it just had a slightly different behavior. You can hit Ctrl or Command H to hide your section, hide your selection temporarily. If you wanted to do that little bulge out thing, we could do that. We could just hold Alt or Option, kind of bulge that out there a little bit if we want to. There we go. Yeah, that looks okay. Fantastic. All right. Now it comes time for these little ridges. I'll show you how to do it. It's not going to take that long, honestly. All right. Sometimes when you zoom into Photoshop, you have these little pixel grids. I don't like seeing those. Let's go to View and then down to Show and then where it says Pixel Grid, I'm just going to turn that off. I don't want to see those. All right. Let's just click here and drag out in this direction. All right. Hold Alt or Option and there you go. Bring this on. All right. For each of these, just hold Alt or Option and bring that straight up and then click here. There we go. Drag. Alt or Option, bring it straight up and then click here and drag. Alt or Option, bring that straight up, click here and drag. It's kind of the secret. Just hold Alt or Option because we're just doing angle changes, right? That's all it is. Angle changes and curves. Alt or Option, bring it straight up. There we go. There we go. Click and drag to make that curve. Alt or Option, click that straight up. Click and drag to make that curve. This is the most tedious part of this video, by the way. If you're like, oh, this is taking a while. Don't worry. Most of this video is going to move much faster than this. All right. There we go. You don't have to do this. You could literally just do this a straight line. I mean, I'm zoomed in at a thousand percent right now, so it might not even be visible in the final. I just want to show you how to do this stuff. That's my goal, just show you how to do it. There we go. Alt or Option, kind of bring this up there. Alt or Option, bring that up there. All right. Cool. Well, we're just going to speed this video up real quick. Boom. And then we'll be done. All right. And there we go. So you can see we've made a pen path that pretty much covers the entirety of our shape and we are ready to go. So now that we have our pen path, we're going to turn this into a vector mask. We've done this before. Basically, it's a really great way to cut an object out of the background if you've used the pen tool, because then you can update the pen path at any time. Like if I need to make it a little bit larger or smaller, just change my points, I can do that and it'll automatically update on the object. Okay. So let's go ahead and well, before we do that, I just want to take one second. Let's create a new layer here. I'm going to hit B for the brush tool and we're just going to take a look at the lighting. So we're going to just see that we have our object here and then the shadow on the right hand side and then it's kind of falling in that direction. So this is the way of light. The light direction is coming from the left and kind of from the front. That's really important because when we go to make our composite, we want to make sure that we match the lighting direction. Okay. So I just wanted to talk about the lighting real quick. All right. Let's hit P for the pen tool. I'm going to right click here and we're going to go to where it says, create a vector mask. There we go. Let's make sure we're on the correct layer. There we go. Background, right, click and create vector mask. Perfect. That looks good. And we're good to go. Let's hit F for full screen a couple of times and go ahead and zoom out. So now we're ready to start our composite. So we're going to use our move tool and we're just going to click and drag from this image right over here to that image. Fantastic. And we're actually done with that. We can minimize it for now. Let's hit F for full screen and we can see this. I'll save that one else. I'll save that bottle as a PSD. Well, actually no need because you'll get this PSD, which will have the vector mask in it. All right. And let's see if those tiny little marks make a difference. Yeah. Hey, look at that. All that time and energy. It actually does look good. Okay, great. So first thing we want to do is see if it's the right size or not. And it's a little bit too large. So let's hit control or command T. We're just going to scale this down. Now, because I brought in the entire image, when I hit control or command T, it's not just scaling in this, you know, this bottle, it's going to scale in the entire image. So we're just going to kind of scale that down a little bit. A quick little tip there, by the way, if you don't want to like zoom out and move, like, okay, sometimes you have to like zoom out and then move it and then move it and then go over here. If you don't want to do all that, here's what I actually like to do. Hit control or command T. Okay. There we go. Control or command T. And then you find your little control point right here. Okay. If that's not active, just click on this little checkbox up here on the very top left. And you can put the control point wherever you want it, like, you know, bottom left, middle left, center of the image. Okay. So what you can do is you can just click that and then just drag it to like the bottom of your object right there. I just clicked and dragged it, put it right there. And then you can go up here where it says width and height, make sure they're chain linked together. You can just hover over the W or the H and then click and drag left and right. See, just click and drag left to right. And it's going to scale it around this point. So you can kind of get a good idea there. I can even zoom out while I do this and kind of see about what size this needs to be. All right. And hit enter and we'll just move that over to the left. Just using my left and right arrows to do this. All right. That looks pretty good. So this is a decent start. Now, remember, I'm going to hold shift and click on this layer mask so we can see the original image again. Remember the shadow is going off to the right hand side of the original image. Well, let's go ahead and take a look at the background image here. We'll just analyze the light direction. You can kind of see it's a 3D render, right? But you can see we have the light source here. Let's just change our colors so we can actually see it. There we go. One second here. There we go. So you can see the light source here is on the right side of the image and you can see there are shadows on the left side, which is the opposite of this, right? Not a big deal. You'll just take this image. You can hold shift to enable or disable that vector mask at any time. There we go. So we can see the original. Let me just do the original shadow for the bottle was going this way. The shadow in our background is going that way, right? So they're, they're reversed. So all you have to do is not a big deal. Just go to your bottle and hit control or command T right click and then go down all the way. It says flip horizontal or you could flip your background too. It doesn't really matter either way. You just want to make sure that you get that correct. Like first, you know, that's the first thing in line, get, get that correct and you're good to go. Okay. So this is looking pretty good as a start. Now we are going to make a shadow for this bottle. We're going to make a reflection and it's going to look really good. Keep in mind, we still have our vector mask enabled. So if I need to, at any point, I mean, we did a pretty good job cutting that out, but if I needed to, let's go over here, click on this. I hit P for the pen tool, control or command, click on this. And then look at this. I could just change my layer mask or my vector mask at any time. Like if I wanted it to go in or out, or if I just didn't do that well the first time. Okay. So the vector mask carries over from one document to another, and I can, I can just update my vector mask at any time if I need to. Okay. So already we're looking pretty good. We matched the lighting direction. That's huge. Just make sure you do that first. It's going to make a huge difference whether it looks good or not. And the easiest way to do that is like, which direction is the shadow going? Okay. So we're looking good there. The next thing we're going to do is go ahead and bring in our label. So we have this label here. We have this as a romantic collection. We have this little icon, and then we have this beautiful little design there. Okay. So with the design, now you can do this in a few different ways, but basically this is just a JPEG. Earlier we showed you how to convert a JPEG into a PSD with layers and everything. In this case, this is just a design. We're going to take it just as it is. Okay. So let's go ahead and grab our marquee tool. We're going to click and drag this marquee right around there. So I'm just kind of making sure I select this entire thing, and we're going to use the move tool and click and drag this, boom, right over top of this image. Okay. Fantastic. So let's just make sure we're nice and organized here. So there we go. We have our design here. Let's just double click and call this design SIGN. Perfect. And then I want to, before I do anything to this, you can see how it's nice and large, which is fantastic. I want to make this a smart object because I'm going to be transforming this and warping it and all kinds of stuff. Anytime I'm going to be doing any type of filters, like a blur filter, a transform, a liquify, a warp, like a noise filter, anything like that. It's always a good idea. Sometimes you've been transforming. It's always a good idea to make it a smart object first. That way you can undo it at any time. Okay. So how do you make this a smart object? A couple of ways. Go to layer down here to smart object and convert to smart object. Okay. Or you can just right click on this layer and go down to where it says convert to smart object. There we go. And you get this little icon that lets you know it's a smart object. Okay. So the next thing we want to do is I want to make this visible basically only where my bottle is visible. And because we already used a vector mask to cut out our bottle, it's really easy. All I have to do is make this layer a clipping mask. So we're going to right click on this layer and go all the way down to where it says create clipping mask. Boom. Click on there. So as a clipping mask, it's basically only going to be visible where the underlying layer is visible. Okay. It literally points to the layer that defines the visibility. Okay. I can still move this around and have fun with it and things like that, but that's basically what we're going to be doing in just a second. Now, before we go ahead and clip this, I want to just make this a little bit bigger and we're going to, we're going to unclip this. We're going to scale it a little bit and then we're going to be using our liquify tool. Okay. So I just wanted to show you how do you get it on your bottle? Just a clipping mask. Once you cut one thing out in Photoshop, don't keep making layer masks and layer masks and layer masks. You just don't need to. Clipping mask, just clip it directly to that object you cut out and then it just does all your work for you. Okay. Now let's unclip this for now. Right click here, we're going to scroll down and say release clipping mask. Okay. Option command G or alt control G is the keyboard shortcut for clipping mask, by the way. Okay. First thing we want to do when we get something about the size, you know, to match the scale, just change the opacity of it. We want to lower the opacity. So quick, easy way to lower the opacity of a layer. First hit V for the move tool. Okay. We're going to use the move tool because other tools have opacity, like the brush tool has opacity built into it. You can change the opacity of the brush. The move tool, there's no such thing as opacity. Okay. So when you, you, when you're on your move tool, V for the move tool, you just hit one through zero on your keyboard. Like if I hit five right now, it's going to change the layer that I'm on. Opacity is automatically just going to go to 50%. Okay. So zero is a hundred. One is 10%, four is 40%, 88 is 80%. You can even hit like five, five real quick and it'll be 55%. Okay. Much faster than going over here and then typing in a number or dragging the slider or anything like that. Okay. So again, keyboard shortcut V for the move tool. Okay. And then whatever layer you're on, just hit the number on it. I hit number six and it goes to 60% opacity. All right. That's just the quick, quickest, easy way to do it. Controller command T for transform. Let's go ahead and scale that using the width and height right here. Just make that a little bit smaller. Okay. There we go. The height, I don't need it to be like, I don't need to like to start stretching this or anything like that. So controller command T, let's go ahead and make that smaller there. I just want, you know, generally the edge of the design to come, you know, to right about there. But this area here, there we go. We're going to start to squish. We'll just make this a little bit larger. So it'll, it'll make this teaching point a little bit better and then put our birds about the place we want them to be. All right. That looks great. And let's hit enter there. Fantastic. Okay. So now we have our design about where it wants to be. Keep in mind that let's make this invisible. This bottle curves around, right? It's, you know, like at the bottom, it's pretty much like an ellipse, right? It's, it's pretty much round, but at the top it's skinny, it's squished, squished. So it's, it doesn't have a uniform like shape to it here. Right. So I wouldn't just go to like command T right click and go to warp and then go over here and then do like an arch, right? Like this doesn't make any sense. Like a uniform arch doesn't make any sense. Maybe it's like a starting place. This what we really want to do is use the liquify tool. Okay. So the liquify tool, super, super cool. So what we're going to do is go to filter. We're going to go down here to liquify, and I'm going to show you the secret to using the liquify tool in this way. All right. Let's go ahead and just bring this up right to about there. Fantastic. And let's just go ahead and close up everything to start off with. Okay. The first secret here is here in your view options right here, view options on the right hand side, where it says show backdrop, make sure that's checked. Okay. You want to make sure you check that. And then where it says use, we're just going to put a layer one, right? There we go. Because that's going to be the actual bottle. Now we can change the opacity here and you want to make sure your mode is set to behind. Okay. So what it's going to do, let's just zoom in here a little bit so you can see here. All right. It's going to take the layer that I'm currently on, which is the design layer, right? You can see the design. Okay. And then it's going to use layer one, which is the bottle layer. Okay. And that's going to put it behind the layer that I'm actually liquifying. Okay. So I can see my liquify layer. I've got layer one behind it and I can control the opacity of layer one. So I just want to do something like this so I can actually see what I'm doing. Okay. And now we're to use the forward warp tool up here on the top left. So I can go ahead and close this and then just go to our brush tool options. Okay. So our brush tool options, first thing we want to do is just make our brush large. So let's just use our close bracket to make that brush nice and large. There we go. And then I don't need my pressure to be very high. We'll just start with a pressure of like, I don't know, we'll just go to like 10 or something like that. Okay. And then the next thing is we're just going to click and drag from the right to the left. You know what? Let's just bring our pressure up a little bit more. Okay. Because I want to squish this design in. I want to squish it in because, you know, when a design curves around the edge of an object like this, it, you know, it's going to be squished at the edge. It's going to look like it's actually containing more than a design squished at the edge. So that's kind of what we're going to be doing here with the forward warp tool. We're just going to push it. We're going to push it starting at the edge. Okay. We're going to go from the edge and push it out. Okay. Let's just do the show view a little bit more so you can see. Okay. So we're kind of pushing it from the edge. So I want to give it that like super bunched up look here at the edge of my actual bottle. That's my goal. Okay. And we're just going to do it like less here at the top, but here on the bottle. Okay. You don't want to start here in the middle and do this. You don't want to start here and do that. Okay. You want to start out here and start compressing those pixels, compress them in, you know, there we go. And now you can see it's starting to just push more pixels in. There we go. And make it actually look like it's got that wrap effect. Okay. That it's actually starting to wrap around that bottle. You can see that effect there. Okay. Let's hold the space bar down and move up here and we'll do the same thing here. There we go. I don't need to go as strong here at the top. Remember, because the top doesn't have as much of a wrap around effect. You know, that's just not, that's not the case. Okay. And then here at the top there, well, I don't know, we have those little ridges. Honestly, I don't know if you wanted to, you could kind of do some stuff like this. I don't know if you wanted to make your, well, if you want to make your life a little bit more tedious, you could do this. Why not? I'll show you how to do it. Just bring your pressure up and then we'll just try, there we go. Bring our size down. You always want the size of your brush to match the size of the, there we go, to match the size of the object that you're trying to, you know, do this on. So I'm trying to basically like have the print follow these little ridges here up at the top. So it means I'm just clicking and dragging up and I've got the brush is like the same size as all these little ridges. I went ahead and used the pen tool to do this. So why not just, you know, continue with this madness and do this with the Liquify tool. One of these details where if you did this for a client, you would certainly hope they would notice, but there's no chance that they would. Right? We're like, do you even know? It's been an hour and a half of my life clicking and dragging up ridges. You have no concept of what it's like to do this. Maybe like we don't care, but good job on the composite. Looks good. All right. Or maybe you get a client that says, ah, I appreciate all that liquefying you did on those ridges. It looks so good. Okay. That actually does look good. Cool. All right. So we did all that looking pretty good and all this down here looks pretty good. I'm actually just going to do the same thing because here on the very bottom, it's kind of does like this a little bit, right? So we're just going to kind of do the same. I'm just going to kind of go from the bottom and squish it up just a little bit to make it look like it's kind of curving around there. There we go. Just kind of compressing that information right there at the edge. Okay. Now this looks pretty good. So I want to show you guys a couple of like little tricks while I'm here inside of the, uh, inside of this tool. Okay. Some of my favorite things. Okay. One of this is this brush reconstruct options over here. You can hit reconstruct here and then you get a little slider here. You can actually just like change this, like go back from your original all the way over here and decide like how far or, you know, how little or how less you want to actually make this, uh, thing happen. Okay. So you can kind of see the effect that we've made there. All right. I don't need to do it here. I just want to show you that because I don't think most people know about that. And it's like, so actually really, really cool. All right. So let's go in and hit. Okay. There it's going to just shrink it in exactly like how we want it to right now. Here's the other wonderful thing because we made this a smart object first. Okay. I have this liquify down here. So if I want to, at any point in time, I can just double click right here where it says liquify, just double click right there. And I'm back in the liquify dialogue. And then I could go to my brush reconstruct. I could change this out. If I wanted to, I can, you know, use my forward warp tool. I can warp this around if I want to. I can do anything like that at any time. Okay. And I can even go with my like history brush here and paint it back to where it was originally. This is kind of like the reconstruct here. Let's just turn the, this turn that off. This is kind of like the reconstruct, uh, turn off the backdrop. This is kind of like the reconstruct, but you can paint where it does. Okay. That's this tool right up here on the top left. Okay. It just allows you to paint it back. It's like a paintable undo. It's really cool, but let's just hit cancel. I don't need to do that. I just wanted to show you because we made it a smart object, we can then go and then redo our liquify at any time. So now let's go ahead and clip this. Remember this design, we want to be clipped to our bottle, right? So you can hit option command G alt control G. There we go. Or you can right click and go down to where it says create or release clipping mask. That's the thing. It's a clipping mask. It's going to point directly down to this layer. Really cool, right? And you can see, yeah, it has that effect. It looks pretty nice in the center and here towards the edges. It really does look like it's wrapping around. Like you're seeing a wrap of information, which is fantastic. All right. The next thing we're going to do, we're just going to zoom here at the bottom. Okay. Uh, we're just going to make this layer invisible real quick and hit P for the pen tool. All right. And then we're just going to click and drag out in this direction here. There we go. Click and drag out in that direction. Hold control or command kind of bring that there. And then something like that looks pretty good. Okay. Uh, what I'm doing here is just going to separate the cap, right? Uh, there we go. Just kind of click and drag out there and test. Oops. There we go. Okay. Cause I just don't need that to be visible. Uh, you know, I don't want this part to be visible, right? So I have my pen. I'm going to right click here. Let's go to our layer, right? Click. And we're going to go to create factor mask on this. And then I think I can invert this mess. No, I can't invert the vector mass. Can I? All right. I'll just do the other way around that. I'll hit undo a couple of times instead of drawing it around the bottom. I'll just draw it around the top. Okay. There we go. It's not that big of a deal actually. There we go. I'll just throw it around the top, make that visible. All right. And then here with my pen tool, right click and go to create factor mask. There we go. I use layer masks way more than I use vector masks, but you know, when in Rome, right? Okay, cool. So now we have a very nice clean edge there on the bottom as well that matches. Everything is like beautifully cut out. We have our, you know, our edge work is, is fantastic. And we'll just bring our opacity all the way up to 100%. Looking really good. So we've got our design, you know, looking like it follows all of the little things. We did a lot of work with those ridges up there. The design looks like it wraps around. Fantastic. Now our next step is going to be highlights and shadows on this bottle because there are none. It's flat. It looks very, very flat. So how do we take the highlights and shadows, shadows, and apply them on the bottle? Well, we can just do that by copying the original highlights and shadows from the original bottle. That's always the best way to do it. So here's how we do it. We hold control or command and click here on the vector mask for this bottle, right? Just click here on the vector mask for the bottle. There we go. And then go to the bottle itself and hit control or command J. Okay. And we'll just bring that to the very top. All right. Fantastic. So basically we just duplicated that. You can see, there we go. It's a, it's just a duplicate. All right. And then we have this, which came on clipped. We just need to clip it again. All right. So again, we have our design. Let's just close this. You can, you have this little arrow you can open and close to open up your smart objects or smart filters at any time. Okay. So we have our original bottle. We have our design. That's a smart object with a vector mask that we wrapped around it. And then we have, this is going to be our shadow layer. So let's go ahead and click on that. We'll just double call this, double click on that and call it our shadow layer. Okay. Shadow layer, we're going to change this from normal down to multiply. Okay. That's going to be a multiply layer, which is just going to darken it. Now on this, we want the same vector mask on this shadow. All right. I'm going to hit option command G to make sure it clips too, but then I only want it to be visible here on the label. So I'm going to hold alt or option and click and drag the vector mask. Right. Cause I, I don't want it to be visible there. So without the vector mask, the shadow affects the entire bottle with the vector mask. It's just going to do right up here. All right. So here we go. There's our before and there's the after. You can see the shadow definitely helps makes it look a lot more realistic. Now we're just going to duplicate this. Hit control or command J to duplicate it. Option command G. Let's flip that again. Double click on this and we'll call this highlight. There we go. And we'll just change this blending mode from normal. We're going to change to screen. Multiply makes things darker. Screen makes things lighter. Okay. Now when I changed it to screen, it got really, really light, right? Because as we can see, the original bottle is quite light. So when I set that to a screen blending mode, it made it really, really light. Okay. So what I wouldn't do for this layer for this highlight layer is I only want it to be visible just in the brightest areas of this layer. Okay. And to do that, we're going to be using a tool called blend if, which allows you to control the visibility of a layer based on light values. So you can make the light areas visible, or you can make the dark areas visible. Now, the cool thing is you can do this for a layer, but you can also do it based on the underlying layers information. Really powerful tool. Here's how you get to it. Just double click right here on this gray area, boop, boop, and you get your layer style dialogue. Okay. Let's just bring this up a little bit. Layer style dialogue. You can also go to FX and then down to blending options. Either way will work. Okay. So here in blending options, the default screen right here, you have blend if, and you have these two sliders. You might've seen them before. If you've been watching Fleur for a while, you've seen me use these before because I love them. Okay. So what we're going to do is we have this highlight layer, right? But I don't want the entire layer to be visible. I just want the brightest areas of the highlights to be visible. So I'm going to go to where it says current layer, and we're going to click and drag from the left to the right. And it's going to hide the shadow areas of the current layer. So let's just keep going. Keep going, keep going, keep going. There we go. And you can see it's starting to hide the shadow areas. There we go. And I just have the highlights now, right? It looks all crinkly because these sliders by default, it's just one slider, but it's actually two sliders that need to be separated. So here's the trick. Hold alt or option, alt slash option, and click and drag them. And it separates about it to two. And then you have feathering, and then you can start to bring this in and get some beautiful, beautiful effects here. So you can see, I'm just kind of clicking. I still have my two little sliders, and you can see, I can move them both independently, and it changes the visibility based on the layer. Again, what this is doing is it's hiding the dark parts of this layer. And because the layer is set to a screen blend mode, it's just going to show up the brights anyway. So I'm telling it to only show up the really bright areas of this layer. Okay. So I'm going to just take that and move it to the right a little bit. We're going to take this one and move this to the right a little bit. And there we go. And all of a sudden I've got highlights on my bottle. Let's hit okay. There we go. I can turn this off and on. Look at this. This nice part, because it's from my actual bottle, right? All right. What's, what's going on here? Why can't I see that? There we go. It's just a rendering error. Okay. So look Now it's paying off, isn't it? All this little hard work we did with the pen tool and with these little gaps and stuff like that. All of these highlights here are showing up over top of my design. Okay. Over my design. And even this highlight here is showing up over my design here. And there we go. You can see it's looking really, really good. Makes a huge, huge difference in overall believability. Now, of course I can just do this again. All right. So let's hit control or command J option, command G to duplicate this. I'm going to just call this highlight. Oh two. Okay. Double click here. And then I'm going to say this one. I just want it to be just the brightest of the highlights. Okay. Cause I, I want to like really drive it home. Okay. So hit okay there. And then it's just taking the brightest of the highlights there and making those even more visible. Okay. Here we go. Perfect. And shadows. I can do the same thing with shadows. Now this layer, I just didn't even mess with it at all. I just put all the shadows a hundred percent visible. Okay. Let's double click on this layer. And this time I'm going to go from the right to the left. So I'm going to say maybe some of the highlight area, just leave that alone. Here we go. That looks a little bit better. I'm gonna hit control or command J again. We're just going to call this shadow. Oh two. Okay. And then this time I'm going to say really just make it just the shadow areas. You know, I don't want to see, I don't want it affecting most of it. I just really want that affecting just the shadow areas and hit. Okay. There we go. So you can see, I can kind of enhance those shadows even more as, as I want to. There we go. And then this shadow, I just feel like maybe it's a little bit too strong. Let's use our keyboard shortcuts. Okay. Change the opacity of the layer V for the move tool. And then let's hit five. That'd be 50%, six, 60%. Yeah. Around 50% look pretty good. All right. So these are looking pretty good now, right? We have our highlights over top of our design. Everything is looking pretty good. I gotta say, I'm, I'm generally pretty, pretty happy with how this is looking. Okay. The next thing I want to do is I want to bring in the design over top of our little birds there. Okay. So let's go ahead and hit F for full screen. We're going to get out of full screen a little bit. Okay. And then we're going to take this romantic collection. I'm just go something like that. Okay. Just making a selection right around there, around the romantic, around the romantic collection. Okay. And then we're going to hit control or command J. I want this to be perfectly centered in this document. And because we have just a background layer let's just show you how to do it. It won't be that, it won't be that hard. Okay. Cool. So if you want to just like take this text, it'll just go to select and then color range. And then I'm just going to grab this text there and bring your fuzziness up and hit. Okay. And then on your background hit control or command J. Right. So then it's just this text on a, on a blank layer, which looks good. Okay. And then B for the brush tool, let's go ahead and grab this background color. I'll go to layer. We'll go to a new fill layer. We'll go to solid color and it'll automatically fill with the layer with the color I just sampled. So let's hit okay there. Okay. And then on this layer, remember that's where we did select color range. I'm just going to make a selection around here. Shift command I to inverse my selection and then just hit delete. So that's just the romantic collection there. And then here on my layer mass, let's just do something like that. Shift command I then hit delete to invert that. Okay. So basically what I did there is I took this background layer. Okay. And I separated it out into a solid color, fill layer, and then the romantic collection on top of that. Why did I do that? Well, it's because now I can hold control or command and click on my color fill layer. And then I can go to my layer one. We'll just call this romantic collection. And then I can use my move tool and then I can go to my align. So I can align it vertically and horizontally. So we're going to make sure it's perfectly aligned inside of my rectangle. Otherwise I would just kind of be guessing with my rectangle about like, is this perfectly aligned in there? But now I know it is because I use my alignment tools. All right. There we go. And I'm just going to group those together. Let's hit control or command D to deselect. There we go. So now what we're going to do is just double click. We'll just call this, well, actually, I don't know if I'm going to keep this in a group because I'm going to clip this as well. Let's just go ahead and put this in here. All right. This is our romantic collection F4 full screen. So this romantic collection, you can see it just placed it right in the middle of all these clipping masks. So we don't necessarily want that. Okay. Right. We don't want that. So here's what we're going to do. We're going to do a couple of things. One first thing I'm going to do is I'm going to take this group and just bring it all the way to the very top. So I'm going to hold shift command close bracket. Just bring that all the way to the top and make it invisible for now. Next, it messed up all my other clipping masks. So I'm going to click on those and hit option command G make sure those are all clipped there. Next, we're going to bring up the point that happens a lot, especially when you have a lot of clipping masks is if you put a layer in between your clipping masks, like if you drag a layer in or something like that, it can unclip some layers and that gets annoying. So here's what I like to do just to keep everything nice and organized. I like to shift click everything and then hit control or command G. We'll just call this bottle. There we go. So just cleaning up our layer palette a little bit more. Next, we have this group here, right for a romantic collection. And it was totally okay for that other document. But in this case, I just want this actual rectangle to just be this blue color. I just want a rectangle that is that blue color. I don't need a solid color fill layer because as I move this around, it's trying to everything with blue all the time. All right. So I just want to basically convert this into a blue rectangle. So we're going to go to our rectangle tool. There we go. Our fill, we're just going to choose our color, our eyedropper here on that color looks pretty good. Stroke is going to be nothing. Okay. And then let's just go ahead and click and drag something like that. Boom, that looks pretty good. We can delete that color for layer. And then I can still hold control or command and click here on this rectangle, which turns it into a selection. And then I can still use my alignment tool. So V for your alignment tools and just align that center and center. Okay. So here we have our romantic collection that I want to put on my bottle. So that's the other thing is I want this romantic collection to look like it's part of the label. So it actually needs to be here, like right above my design, but below all these shadows and highlights, right? So here's what we're going to do. I'm going to hold control or command and click on those. Then we're just going to use our keyboard shortcut to bring them down the layer order. So control or command, open brackets, close bracket. We'll bring it back up. So control or command, open bracket. There we go. And I'm just going to put them right about where they, where they belong. Okay. Fantastic. You guys belong right there. Wait, I had too many layers selected just then. Okay. Now it worked perfectly. Okay. And I'll just delete that group. So let's just, let me hit undo a couple of times because that just, there we go. It didn't work exactly how I want it. Okay. Just control or command, click on those. Then control or command, click, and then hit the open bracket and then put it open bracket, open bracket. And you can just see, it's kind of pushing it down. There we go. Until it's right above our design. Okay. I think I had an extra layer selected while I was doing that. That's why it was funky. Okay. So basically I just took them out of this group. I hit control or command open bracket a couple of times and just moved it down my layer stack. The nice thing about that instead of clicking and dragging is we'll always keep your clipping masks as clipping masks. They won't destroy their clipping masks. It won't unclip them. It won't, you know, like unclip, clip. It won't do that, right? It'll make sure everything's clipped if you use your keyboard shortcuts. So we have our romantic selection and our rectangle. They're above my design. They're below my shadows. So let's hit control or command T. Let's just kind of scale this down here. And you can see, I can put it here. There we go. Wherever I put these, you can see it's below my shadow and highlights. See, it's being affected by my shadow and highlight. There we go. So it's going to look good no matter where it is. Fantastic. It just blends right into the design. So let's just go show you. And then this group, we don't need that. So let's just delete that. So let's just go ahead and show you the layers stack here. So you're like a hundred percent. Okay. So we have our bottle here and we have our design, which is a smart object, which we use the liquify tool to bring in there. And I have a rectangle here that we put on top of that. Then the romantic collection on top of that. Okay. Then we have our first shadow layer and then a second shadow layer. Keep in mind, I can change the opacities on these at any time. And we have our first highlight layer and then our second highlight layer. All right. Pretty cool. So this is looking pretty good. We have a lot of things going for us now in this romantic collection bottle. I'm just going to make this rectangle like a little bit smaller. There we go. And maybe just bring this up. I'm going to just use my move tool. By the way, if you want to center it on your bottle, hit M for the marquee tool. You can just center. Okay. The bottle selection, like right there. So it'll center from that point to that point. Those are both selected on my layers. Go to my move tool and then hit this. You can see it moved it. You can do it to the right and do it to the left or the center. It'll just center it to any selection you have. Right. That's the key is just make a selection you want and then you're to go. All right. I think this rectangle could be a little bit smaller. There we go. Fantastic. That looks pretty good. Romantic collection. All right. So we have our bottle and we have our background. We're all in all I would say looking pretty good. The next thing I want to do is tackle my reflection and our shadow. Okay. Now we're going to be doing that using artificial intelligence. So let's go ahead here. Zoom in. L for the lasso tool. Okay. And we're just going to click here. And there we go. I'm just using the polygonal lasso tool here. There we go. Something like that. Just make a selection on the left side of the bottle. Looks pretty good. Okay. I'm going to hit generative fill and I'm going to just call this shadow. Here we go. It's going to give us a few variations here in our properties dialogue and basically just generate a shadow for us. Just like, you know, I'm not going to say anything before it does a good job because we want to wait until it actually does a good job. But look at this. It did a good job. There we go. Generated our shadow for us. We have a few different variations. That one looks pretty good. I got to say it's got the highlights in there and everything like that. Boom. Shadow looks like it's in the right direction following everything on this image. I'm overall quite happy with that. Can you believe that? How hard is that traditionally and how easy was that now? Crazy, right? Okay. Next thing we're going to do is we're going to use the lasso tool and we're just going to lasso here down. There we go. There we go. There we go. Right over here. And then make sure we don't need to select a ton of our bottle. There we go. So you're seeing I just made a selection in the area where I would like the reflection to actually show up. Okay. And then here in generative fill, I'm just going to type in reflection. There we go. And click on generate. Okay. And then hopefully it gives us a reflection of this bottle. It did when I was testing this out anyway. If you tell it what you want, usually it does a pretty good job. And sometimes it'll just make a reflection there anyway. But look at that. Boom. We have a reflection of our bottle. We have a few different options. There we go. The first one looks pretty good, right? It doesn't have to be overstated. You know, that's what a reflection looks like. So let's just zoom in here and just see. There's the before and there's the after. Shadow and reflection in the image. Like, I couldn't be happier with that. Like, kind of amazing. I mean, we all know artificial intelligence is amazing for so many reasons. But you know, shadow and reflection, that sort of thing was actually like legit very difficult for a long, long time. And now we just tell we wanted the shadow and reflection and it doesn't. So let's go ahead and just group those. We'll just call this and reflection. Yeah. And I'm chuffed. I'm absolutely chuffed. Okay. So we have our bottle. Now, the last thing we might want to think about with our bottle is reflecting a little bit of the environmental colors, because as you can see, we have reflective objects here, right? So this ball is reflecting some of the green from the plant, right? And even here on this marble surface, you can see it's reflecting some of the green from that plant over there. So everything reflects the colors that are around it. This copper is reflecting the white from the marble, right? Like everything is reflecting the colors that are all around them all of the time. So this bottle that we just put in here, like pretty good. It looks pretty good all in all, like we got our shadows and highlights look generally pretty good. But technically it should be reflecting a little bit of this turquoise color and maybe even a little bit of this green color, you know, everything else in this environment is. Okay. So how do we do that? Well, it's really not that hard. We're gonna make a new layer on top of all this. Remember, so we have our bottle, we have our design, we have our rectangle, we have a romantic collection, we have a bunch of shadows and highlights, and now we're down to color. So let's just hit that and then make a color layer and then clip it. So again, I just want it to only be visible where my bottle is visible, right? And then I'm gonna, there we go. So let's hit B for the brush tool. I'm just gonna grab this green color and you can see I can just paint around this bottle, right? Yay, painting around the bottle, having fun. Again, because it's clipped, if I unclip it, it goes everywhere. But because I already cut it out, I, clipping masks, they're the best. Okay. Let's just change this layer from normal to something like soft light. Okay. Soft light can work. Okay. You can also try like color and then like lower the opacity. That's another thing that can work too. Okay. Now in this case, I'm not just gonna, let's just put this back to normal here. I'm not just going to grab a brush tool and paint green all over it, obviously. Let's just clear that layer by hitting control or command A to select all, and then hit delete. What I'm going to do is grab this background color and then make a nice soft edge brush. Okay. Great keyboard shortcuts, by the way. If you hold control and option on a Mac, alt and control on a PC, and then click and drag right and left, it makes your brush larger and smaller. Up and down makes your brush softer and harder. On a PC, I believe it's control, alt, right click and drag. On a Mac, it's control, option, left click, drag. Okay. Left and right makes your brush larger or smaller. Up and down, harder and softer. So I want a fairly large soft edge brush. I'm going to grab some of this color and then we're just going to pull some of this color in from the background. Remember, when you have an object that wraps around a space, it'll start to reflect the objects that are on the sides of it. There we go. It's just going to reflect a little bit of the color from the background. There we go. Here, what you can do is you can change this to like a soft light blend mode. We're looking for subtlety. This isn't like the biggest, biggest, biggest changes in the world, but when it comes to this type of compositing, this subtlety can wind up mattering. It can just wind up making a difference. There we go. Fantastic. So let's just kind of bring that in there and then here we go. So you can see now the edges, they have a little bit of this color in them, right? So it just looks a little bit more like this bottle is integrated into that environment. See how it looks a little bit better? Okay, I'm going to create a new layer and clip that. We'll just change this from normal to soft light also and let's just grab some of this green color and put some of this green color in there too. And why not just have it, you know, just right there. Okay. And then we're just going to really lower down the opacity of that. So just have like a tiny bit, a little bit of green in there. There we go. All right. Very subtle, but these sorts of things can make a difference in making a composite look more realistic. Bring that down even more. And that's looking fantastic. Let's go ahead and hit F for full screen and we can see our composite here. I think this came out absolutely fantastic. So we cut this bottle out from another image. We brought our design in. We warped around using the liquify tool. We used vector masks, a lot of clipping masks to get the shadows and the highlights that we even brought in some of the color from the environment. And overall, I think we've got a really good looking composite. Then we used artificial intelligence to create this beautiful shadow. I couldn't have done a better job. Actually, I couldn't have. And this reflection here on the bottom, and we've got this fantastic looking composite with the help of AI and a lot of really cool tools here in Photoshop. I really hope you enjoyed this section. We got a ton done and these features, techniques can be used on so many different applications. Thanks again for watching. We'll see you in the next section. Bye everyone.