Levels Archives - Yakthung Samaj

Photoshop: How to Transform Photos into the Look of Gorgeous, Pointillist Paintings.

April 7, 2020

Hi. This is Marty from Blue Lightning TV. I’m going to show you super-quick method to transform your photos into the look of gorgeous, pointillist paintings. This is an update of tutorials I’ve done many years ago. This update is quicker and more efficient. I provided this image of a painting by Claude Monet that we’ll use to match our photos’ colors with. Its link is in my video’s description below
the video or in my project files. Before we begin, if you’re not already a subscriber
to Blue Lightning TV, hit that small “Subscribe” button at the lower, right ot let you know
as soon as I upload new Photoshop tutorials. Open a photo that you’d like to use for this project. I downloaded this one from Shutterstock. To ensure that the pointillism effect will
look similar to mine, go to Image and Image Size. Make your photo’s resolution 150 pixels per inch. Its width and height can be any amount. Make a copy of the layer by pressing Ctrl or Cmd + J. Go to Image, Adjustments and “Match Color”. The “Luminance” and Color Intensity” are both
100 and the “Fade” is 0. The “Source” is “Monet Grain stacks”. We’ll convert our image into a Smart Object,
so we can modify it non-destructively. To do this, click the icon at the upper, right
and click “Convert to Smart Object”. Make a copy of it and name “Layer 1”, “Dry
Brush” and the copy, “Pointillize”. Hide the “Pointillize” layer and make the
“Dry Brush” layer active. Go to Filter and Filter Gallery. Open the “Artistic” folder and click “Dry Brush”. The Brush Size is 3, the Brush Detail is 10
and the Texture is 1. Make the “Pointillize” layer visible and active. Go to Filter, Pixelate and Pointillize. Make the Cell Size: 3. Reduce its opacity to 50%. Click the Adjustment Layer icon and click “Levels”. Go to the Input white level slider and drag it to approximately where the histogram starts to rise. Repeat this with the Output black level slider. Next, we’ll add vibrance to the colors. Open the “Adjustments” panel. If you don’t see it, go to Window and Adjustments. Click the “Vibrance” icon and drag the Vibrance
all the way to the right. This is Marty from Blue Lightning TV. Thanks for watching!

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Photoshop: How to Create a Powerful, Metal Text Effect with Explosive Sparks!

March 17, 2020

This is Marty from Blue Lightning TV. I’m going to show you how to create this powerful
metal text effect with explosive sparks. I provided a Photoshop template that you can
download, so you can follow along. Its link is in the video’s description below
the video or in my project files. It includes this photo of sparks, brushed metal texture, dark metal texture and an aged, metal image for the background. I also provided a link to the font I’ll be
using, called, “Aldo The Apache”, however, feel free to use any font you’d like. Before we begin, if you’re not already a subscriber to Blue Lightning TV, hit that small “Subscribe”button to let you know as soon as I upload new Photoshop tutorials. Also, please consider supporting my channel by becoming a patron on Patreon for as little as $2 per month. As a small token of appreciation, you’ll receive early access to watch my new tutorials one week before the public can see them. Click the card at the upper right or the link in my video’s description. I really appreciate it! Hide all the layers but the bottom aged metal background. Make that layer active. Our text will be placed above it. Open your Horizontal Type Tool. If your foreground and background colors aren’t black and white respectively, press “D” on your keyboard. Open your Type Picker and pick a font. This effect looks best in a large point size. I’m choosing “None” for the ant-aliasing, but frankly, it doesn’t really matter that much in this case. I’ll make the alignment centered. Click on your document and type out your text. To reposition it, place your cursor to the
right of your text and drag it. We want our text to have wide spacing between
all the characters. You can do this two ways. After highlighting your line of text, you
can press Alt or Option and the right or left bracket key to open or close the space between the characters or you can click the “Character/Paragraph” icon to open the Character panel or go to
Window and Character. Drag the “Tracking” scrubby slider to the
left or right. We can close the panels now. Open your Move Tool and drag your text to the center. Right-click or secondary-click on the text
layer to open the fly-out menu. Click “Convert to Shape”. Our text is now a vector shape. Open your “Path Selection Tool” and at the
top, click the “Fill” box. Click the “Null” icon. This removes all color from the inside of the text. Click the “Stroke” box and click any color, which places that color on the left of “Recently Used Colors”. At this point, the color is irrelevant. Open the “Stroke Options” panel and make sure
the solid stroke option is active. Open the “Align” options. Click the bottom icon, which places our stroke
outside the path. In this example, I’ll make the stroke 75 pixels,
but feel free to adjust this amount. To hide the paths, press Ctrl or Cmd + H. Double-click an empty area of your text layer to open the Layer Style window. Click “Color Overlay” and the Color Picker box. In the hexadecimal field, type in A6 three
times to give us a 65% gray tone. The Blend Mode is Normal and the opacity is 100%. Click “Bevel & Emboss”. The Style is “Inner Bevel” and the Technique
is “Chisel Soft”. The Depth is 100% and the Direction is Up. I’ll make the Size 30 pixels, however, feel free to adjust this amount based on the size of your text. The Soften is 0. Check “Global Light”. Global Light ensures that highlights come
from the same place and that shadows are cast in the same direction, even across multiple
objects and multiple layers. The Angle is 120 degrees and the Altitude
is 30 degrees. Open “Gloss Contour” and click the gear icon. Check “Small List” and click “Ring”. The Highlight Mode is “Vivid Light, the color
is white and the opacity is 75%. The Shadow Mode is “Multiply”, the color is
black and the opacity is also 75%. Click “Contour”. The Contour is Linear and the Range is 50%. The “Range” controls how much of the contour
curve will be applied to the bevel effect. We’ll convert our visible text into a Smart
Object, so when apply texture to it later, it won’t add it to the drop shadow that we’ll
be adding momentarily. To convert it into a Smart Object, click the
icon at the upper, right of the Layers panel and click “Convert to Smart Object”. Click the “fx” icon and click “Drop Shadow”. The Blend Mode is Multiply, the color is black
and the Opacity is 60%. I’ll uncheck “Use Global Light” because I
want to make the Angle: 135 degrees. I’ll make the Distance 60 pixels, but again,
you may want to adjust this amount. The Spread is 0 and I’ll make the size 40 pixels. The Contour is Linear. To make our text look more energized, let’s skew it. To do this, go to Edit, Transform and Skew. Go to the top middle anchor point and press and hold Alt or Option + Shift as you drag it to the right. Pressing these hot keys skews the bottom, as well. To accept it, press Enter or Return. Let’s re-center it over the background by
pressing “v” to open your Move Tool and dragging it. Make the “Dark Metal Texture” visible and active. To fill the stroked shape of our text with
this texture, we need to clip it to the text. To do this, press Alt + Ctrl + G on Windows
or Option + Cmd + G on a Mac. You could also go to Layer and “Create Clipping Mask”. Change the Blend Mode to “Overlay”. Make the “Brushed Metal texture visible and
active and make it into a clipping mask. Change its Blend Mode to Overlay, as well. Make the Aged Metal background active and
click the Adjustment Layer icon. Click, “Levels”. For the Input black Level, type in 45 and
for the Output white level, type in 105. Next, we’ll add the sparks. Make the Sparks layer visible and active and
change its Blend Mode to “Screen”. Make two copies of it by pressing Ctrl or
Cmd + J, twice. Hide the copies and male the original active. Drag it over a bevel. Make the next sparks layer visible and active. We’ll adjust its position and size by pressing
Ctrl or Cmd + T to open your Transform Tool. To reposition it, go inside the bounding box
and drag it over another bevel. To adjust its size, go to a corner. If you’re using a version earlier than Photoshop
CC 2019, press and hold Alt or Option + Shift as you drag it in or out. If you’re using CC 2019 or later, just press
Alt as you drag it. When you’re happy with its size and position,
press Enter or Return. Make the top sparks layer visible and active
and open your Transform tool. Drag it to another bevel. Then, reduce its size. If you want to rotate it sparks, go to a corner and when you see a curved, double-arrow, rotate it. Then, press Enter or Return. Lastly, we’ll illuminate the background behind
the sparks. First, we’ll group all the sparks into a folder
by clicking the top sparks to make it active and Shift-clicking the bottom sparks to make
all the sparks active. Then, press Ctrl or Cmd + G. Let’s name the folder “Sparks”. Scroll to the bottom and make the layer mask
next to the Levels adjustment layer active. We’re going to brush black over the areas
behind the sparks, which will reveal back the original brightness of the aged metal background. Open your Brush Tool and Brush Picker. Pick a soft round brush. We’ll adjust its size in a moment. Make the Hardness 0% and press Enter or Return. Make its Opacity and Flow both approximately 50%. The difference between opacity and flow is
that opacity controls the opaqueness or transparency of the paint, while Flow controls the speed
at which paint is laid down (much like painting with a spray paint can). Flow gives you the ability to gradually build
up to your darkest or lightest color by doing multiple passes in the same area. To adjust the size of your brush, make sure
the CapsLock key is off and press the right or left bracket key on your keyboard. Brush over a spark to gradually reveal more
and more of the original background as you feather out the edges. This is Marty from Blue Lightning TV. Thanks for watching!

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Photoshop Photo Restoration: How to Repair & Restore Old, Damaged Black & White Photos

March 6, 2020

Hi. This is Marty from Blue Lightning TV. If you have an old black and white photograph
that has creases, cracks and tears, I’m going to show you tools to remove them and restore
the photograph. Before we begin, if not already a subscriber
to Blue Lightning TV, smash that small “Subscribe” button at the lower, right corner! If you’d like to help support my channel,click
the “Join” button below the video to become a channel member or click the Patreon card
at the upper right. Open a damaged black and white photo that
you’d like to restore. Otherwise, feel free to work on this one in
the meantime. I provided its link in my video’s description
below or in my project files. Restoring damaged photos is relatively simple, but quite time-consuming and requires a lot of patience. Most of the tools that are used in photo restoration
boil down to just 4: the “Spot Healing Brush”, the “Healing Brush”, the “Patch Tool” and the
“Clone Stamp Tool”. There are others you can use if needed, but
the ones I mentioned are the workhorses that are used to do most restoration jobs. I’ll explain what each one does when we use them. The first steps are to remove any color cast it may have and to adjust its overall brightness and contrast. Press Ctrl or Cmd + Shift U to desaturate the image and press Ctrl or Cmd + L to open your Levels window. Drag the input highlight level to the point
where the histogram starts to rise and do the same for the input shadow level. Let’s zoom into an area of the photo by pressing
“z” on our keyboard and dragging a rectangle over an area to zoom into it. To reposition it, press and hold the Space
bar as you drag the photo. I’ll begin to removing the creases, stains
and rips on this area of the wallpaper. The easiest and most effective way to do it
is with the Clone Stamp Tool. This tool essentially copies one area of an
image and stamps the copy onto another area. We can choose the size of the area to be copied
and precisely where it’ll be stamped onto. You can adjust the opacity and flow, however,
to retouch this particular area of my photo, I’ll keep them at 100%. I generally like to keep “Aligned” checked. This will use the most current sampling point
whenever you stop and resume painting. Since there’s only one layer in our document,
make sure “Current Layer” is active. To adjust the tool’s size, make sure your
CapsLock key is off and press the right or left bracket key on your keyboard. I’ll make it this size. Press and hold Alt or Option as you left-click
your mouse or pen. Then, release. This copies or clones the pixels from the
area you clicked on. Now, when you brush over another area of your
image, it’ll brush an exact copy onto the new area. When we release our cursor and brush over
another another, the sampling point moves in tandem with the area we’re brushing because
“Aligned” is checked. You may have to play with this tool for awhile
to get the hang of it. For these creases, I’ll use the “Spot Healing Brush”. Make its size a bit wider than the crease
itself and brush over it. This brush blends the texture of the sampled
area with with the color and luminosity surrounding wherever you paint. Next, we’ll open the Healing Brush”. Alt-click or Option-click an area near the
imperfection to define the starting point. Click and drag over the imperfection. This tool samples the surrounding area and blends the imperfections into the rest of the image. Open your “Patch Tool”. This tool is similar to the Healing Brush
Tool, however, it uses selection-defined areas instead of a brush. Draw over an area you’d like to repair and
drag it onto an area you want to replace it with. Deselect it by pressing Ctrl or Cmd + D. Continue
to use these tools over your entire photo until all the rips, scratches, tears and stains
have been removed. There are four filters I’d like to show you
to reduce dust and scratches. For the first one, go to Filter, Noise and
“Dust and Scratches”. I’ll drag the image in the Preview window
to an area that shows some of the finer scratches. Set the Threshold slider to 0. Threshold is used to determine how different
pixels must be before they’re removed. Setting it to 0 Levels turns off the value,
so that all pixels can be examined. The Radius determines how far to search for
differences among pixels. If the Radius amount is too high, it’ll blur
the image, so find the right balance of how much noise you want removed versus when how
much softening you want your image to have. For now, I’ll set it at 2. Gradually increase the Threshold to the highest
value that gives you the amount of detail you want. By clicking and releasing the Preview window, you can toggle back and forth to see the before and after. If you’re happy with the settings, click OK. The next filter is “Reduce Noise”. This is available in CS2 and later. Drag your image to an area that shows noise
or tiny hairline imperfections. We’ll keep “Basic” ticked. We’ll just use “Strength” and “Preserve Details”,
since they’re used to remove luminance noise. We’ll start the Strength at 0% and then drag
the slider to the right until the noise is removed. Once you’ve removed all the noise, begin dragging
the Preserve Details slider to the right to bring back as much image detail as possible
without re-introducing the noise. I’ll click and release a few times on the
Preview window to see the before and after. The next filter for reducing noise is “Despeckle”. As soon as you click it, It detects the edges
of your image and blurs everything, but those edges. As I toggle back and forth you can see the
the difference. This blurring essentially removes noise while
preserving edge detail. If you’re using version CS or later, there’s another filter to reduce noise. Go to FIlter and “Camera Raw Filter”. Click the “Detail” icon and under “Noise Reduction”,
drag the “Luminance” slider to the right just enough to hide the noise. As with all the noise reduction filters it
hides noise well, however, the downside is that it also reduces the good detail in the
photo that we’d want to retain. It’s up to you if you want to use any of these
filter at all or if you want to use a small amount in their settings. This is Marty from Blue Lightning TV. Thanks for watching!

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Photoshop: How to Create Powerful, Cinematic, Sci-fi, Space Text

February 25, 2020

This is Marty from Blue Lightning TV. I’m going to show you how to create powerful,
cinematic text in space. I provided a Photoshop template, so you can
follow along. Its link is in my video’s description or in
my project files. It includes a black and white text design
that you can use or replace with your own, lens flares and a scratched metal texture. Before we begin, if you’re not already a subscriber
to Blue Lightning TV, hit that small “Subscribe” button at the lower, right to let you know
as soon as I upload new Photoshop tutorials. If I’ve helped you learn or improve in Photoshop
and maybe even inspired your creativity, please join my community of patrons for as little
as $2 a month to show your support of my channel. Thank you! First, we’ll create a vast star field. We’ll make a new layer at the bottom of the
layers panel by clicking the bottom layer to make it active and Ctrl-clicking or Cd-clicking
the New Layer icon. We’ll fill it with black, but first check
your foreground and background colors. If they aren’t black and white respectively,
press “D” on your keyboard. Since black is the foreground color, press
Alt or Option + Delete. Let’s name it “Star field”. Hide the metal texture layer. We’ll convert the “Star field” layer into
a Smart Object, so we can modify later if we want. To do this, click the icon at the upper, right
and click “Convert to Smart Object”. Go to Filter, Noise and “Add Noise”. Make the Amount: 35%, Gaussian and check Monochromatic. Go to back to Filter, Blur and Gaussian Blur. Make the Radius: point 3 pixels. Click OK or press Enter or Return. Open your Levels window by pressing Ctrl or Cmd + L. Make the Input black level: 120 the Input white level: 180. Make the design layer visible and active. If you want to use your own black and white design instead, replace this layer with your own design. If you’d rather type out text instead, I’ll
quickly show you how to do it and then, we’ll return back to the black and white design. Hide this layer or delete it by clicking the
Delete key or by dragging it to the Trash. Click the New Layer icon to create a new layer. Open your Horizontal Type Tool and invert your foreground and background colors by pressing “x” on your keyboard. Pick a font and type out your text. If you want to adjust its size, highlight
it and drag the Size icon to the right or left. Then, open your Move Tool and position it. Going back to the black and white design, we need to delete the white background around the design. To do this, open your Channels panel. If you don’t see it, go to Window and Channels. Ctrl-click or Cmd-click the RGB thumbnail
to make a selection of its shape. Open back the Layers panel and press the “Delete” key on your keyboard to delete the white background around the design. Deselect it by pressing Ctrl or Cmd + D. Since there’s a slight white fringe around the it allows us to make out its shape for now. We’ll convert it into a Smart Object, so we
can modify it non-destructively. Make two copies of it by pressing Ctrl or
Cmd + J, twice. Name the bottom one, “Radial Motion Blur”,
the middle one, “Main Effects” and the top one, “Inside Bevel”. Hide the top layer and double-click an empty area of the middle layer to open its Layer Style window. Click “Bevel & Emboss”. The Style is “Outer Bevel”, the Technique
is Smooth and the Depth is 370%. The Direction is Up, the Size is 7 pixels
and the Soften is 0. The Angle is 120 degrees and the Altitude
is 30 degrees. Open the Gloss Contour fly-out list and click
the gear icon. Click “Small List” and click “Ring -Triple”. If you don’t see it, go to Edit, Preferences
and General. Click “Reset Preferences of Quit”. Make sure you save your document as a PSD
file and quit out of Photoshop. When your open your document back up, hopefully,
it’ll be there. The Highlight Mode is Color Dodge, the color
is white and the opacity is 85%. The Shadow Mode is Multiply, the color is
black and its opacity is 100%. Click “Contour”. Open the Contour list and click “Half Round”. The Range is 70%. Click “Stroke”. The Size is 7 pixels, the Position is Outside,
the Blend Mode is Normal and the Opacity is 100%. The Fill Type is Gradient. Open the Gradient list. I’ll click the “Violet, Green, Orange” preset,
but feel free to experiment with the others. The Style is Linear, the Angle is 90 degrees
and the Scale is 100%. Click “Inner Glow” and the color box. In the hexadecimal field, type in: F779FF. The Blend Mode is Linear Dodge and the Opacity is 50%. The Technique is Precise and the Source is Edge. The Choke is 100% and the Size is 2 pixels. The Contour is Linear and the Range is 50%. Click “Gradient Overlay”. The Blend Mode is “Subtract” and the Opacity is 100%. Open the Gradient list. If you don’t have the “Metals” gradient folder
in your list, I provided it for you in my video’s description or project files. If you’d like to use it, you’ll need to place
it into your Gradients folder of the Presets folder in your version of Photoshop. Once it’s in there, click the gear icon and
click, “Import Gradients”. Click “Metals” and “Load”. The Metals folder should now be in your list. Click “Silver”. The Style is Linear, the Angle is 0 degrees
and the Scale is 150%. Click “Outer Glow” and the color box. Type in 005AFF. The Blend Mode is Linear Dodge and the Opacity is 30%. The Technique is Softer, the Spread is 0 and
the Size is 250 pixels. The Contour is Linear and the range is 50%. To save space in the Layers panel, let’s collapse the effects. Make a copy of the layer to brighten the outer glow. Make the “Main Effects copy” active, scroll
down and make “Flare 3” visible and active. Change its Blend Mode to “Screen”. Make “Flare 2” visible and active and change
its Blend Mode to “Linear Dodge”. Reduce the opacity to 50%. Next, we’ll fill our design with the metal texture. Make the “Scratched metal” layer visible and active. Press Ctrl or Cmd and the right bracket key
until it jumps above the “Main Effects copy” layer. We’ll clip it to the “Main Effects copy”
layer by pressing Alt + Ctrl + G on Windows or Option + Cmd + G on a Mac. You can also go to Layer and “Create Clipping Mask”. Next, we’ll brighten the texture. Click the Adjustment Layer icon and click “Levels”. We’ll clip it by pressing the hot keys as
before or you can click the Clipping Mask icon. In the Input Midtone field, type in 1.4 and
in the Input white field, type in 200. In the Output Levels black field, type in 90. Next, we’ll add a light radial blur behind
our design. Make the “Radial Motion Blur” layer active
and go to Filter, Blur and Radial Blur. Make the Amount: 100, the Blur Method: Zoom
and the Quality: Best. Right now, the radial blur is dark because
its source layer is black, so we’ll invert it by changing its Blend Mode to “Divide”. Now, it’s too bright, so reduce its opacity to 20%. Next, we’ll etch the inside of every shape
in our design. Make the “Inside Bevel” layer visible and active. Reduce the Fill to 0%. Doing this makes whatever shape inside this layer invisible, but it’ll retaining the full visibility of any effects we add to it. Double-click an empty area of the layer to
open its Layer Style window. Click “Bevel & Emboss”. Change the Style to “Inner Bevel” and the
Technique to “Chisel Hard”. The Depth is 100%, the Direction is Up and
the Size is 10 pixels. Uncheck “Global Light”. This un-links the angle and altitude of shading for this layer from other layers using Bevel & Emboss. Make the Angle: 130 degrees and the Altitude:
20 degrees. Make the Gloss Contour: Linear. The Blend Mode is Screen and the opacity is 60%. The Shadow Mode is Multiply and its opacity is 75%. Click “Contour”. The Contour is “Rolling Slope Ascending” and
the Range is 50%. We’ll group all of the layers that comprise
our text design into a folder. To do this, scroll down and Shift-click the
“Radial Motion Blur” layer to make all the text design layers active. Then, press Ctrl or Cmd + G. Name the folder
whatever you’d like. Drag it below “Flare 2” and make “Flare 1”
visible and active. Change the Blend Mode to Screen. If you want to angle this flare, press Ctrl
or Cmd + T to open your Transform Tool, go to a corner and when you see a curved, double
arrow, rotate to an angle you like. Then, press Enter or Return. I think I’d like to brighten “Flare 3” a bit
more, so I’ll make that layer active, make a copy of it and lower the copy’s opacity
to 50%. This is Marty from Blue Lightning TV. Thanks for watching!

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Photoshop: How to Create a 1950s-style, Vintage, Pin Up Illustration Poster!

February 3, 2020

Hi. This is Marty from Blue Lightning TV. I’m going to show you how to create a classic,
1950’s, vintage pin up illustration poster. I provided a Photoshop template that you can
download, so you can follow along. Its link is in my video’s description below
the video or in my project files. It includes an aged, paper texture background, a large shape, a smaller shape and a retro starburst. I also included a retro font called, “Maiden
Orange” in case you’d like to use it in your poster. Open a photo of someone that you’d like
to use for this project. I downloaded this one from Shutterstock. The first step is to make a selection around
your subject, so we can separate it from its background. There are many ways to so this and he method you choose depends of the characteristics of your photo. For this example, I’ll use the Quick Selection Tool. Starting in CC 2020, you can select your subject
automatically by clicking the “Select Subject” button. To check it, press “Q” on your keyboard to
see it as a quick mask. It does a pretty good job overall, but you
still may have to use the quick Selection Tool to fill in any areas if might have missed. Press “Q” again to revert it back into a selection. To refine its edges, go to Select. If you’re using a version earlier than CC
2015.5, click “Refine edge”. If you’re using 2015.5 or later, click “Select
and Mask”. If you prefer to use Refine Edge, Shift-click
“Select and Mask”. I did in-depth tutorials on both of these
filters, so f you’d like to watch them, I provided links to them, as well. Click “Smart Radius”, which detects feathery
and sharp edges. Drag the Radius a bit to the right and drag
your tool over the soft or feathery edges like hair. To prevent the background colors from creating a color fringe around the edges of your subject, check “Decontaminate Colors”, which fill the
edges with the subject’s edge colors. I’ll drag it all the way to the right. Output it to a “New Layer with Layer Mask”. To place it onto the poster template. press “v” to open your Move Tool and drag
your subject onto the tab of the template. Without releasing your mouse or pen, drag
it down and release. To resize and position it, open your Transform
Tool by pressing Ctrl or Cmd + T. Go to a corner. If your using a version earlier than CC 2019, press and hold Alt or Option + Shift as you drag it in or out. If you’re using CC 2019 or later, just press
Alt or Option as you drag it. To position it, go inside the Transform’s
bounding box and drag it. Then, press Enter or Return. We’ll convert our subject into a Smart Object,
so we can modify it non-destructively. To do this, click the icon at the upper, right
and click “Convert to Smart Object”. We’ll jump our subject to the top of the Layers
panel by pressing Ctrl or Cmd and the right bracket key on your keyboard until the layer
is at the top. Go to Image, Adjustments and Shadows/Highlights. Check “Show More Options”. Before we start adjusting the Shadows, Highlights
and Adjustments, keep in mind that since every photo has its own characteristics, feel free
to play with the setting amounts. For this image, I’ll make the Shadow amount:
50%, the Tone: 50% and the Radius: 30 pixels. I’ll make the Highlights amount: 20% and the
rest, I’ll keep at their default amounts. Go to Filter, Stylize and “Oil Paint”. Make the Stylization: 2, the Cleanliness:
0.9 and the Scale: 0.1. The Bristle Detail is irrelevant, since the
Lighting is unchecked. Go back to Image, Adjustments and Shadows/Highlights. This time, I’ll make the Shadows amount: 70%, the Highlights amount: 10% and the 10 pixels.Radius: I’ll make the Color: 0 and the Midtone: 80. Go to Filter, Blur and “Surface Blur”. Make the Radius: 10 pixels and the Threshold:
20 levels. Basically, Surface Blur blurs the image with the exception of the edges. Double-click this icon to the right of Surface Blur, which opens the Smart Filter Blending Options. Change its blend mode to “Screen” and
reduce its opacity to 30%. Go to Filter and Filter Gallery. Open the Texture folder and click “Grain”. The Intensity is 40 and the Contrast is 50. The Grain Type is “Regular”. Let’s save some space in the Layers panel
by collapsing the smart filters. Scroll to the large shape and double-click
the Layer to open its Layer Style window. Click “Color Overlay” and the color box. Pick a color for the large shape. I’ll type in 598794, but feel free to choose
any color you like. Click “Inner Glow” and color box. Pick a lighter version of the color you just picked. I typed in 61BBBA. The Blend Mode is Dissolve and the Opacity
is 90%. The Source is Edge, the Choke is 100% and
the Size is 10 pixels. Click Stroke. The color is white, the Size is 20 pixels
and the Position is Outside. The Blend Mode is Dissolve and the Opacity
is 70%. Next, we’ll add color to the background. Click the Adjustment Layer icon and click,
“Solid Color”. In the hexadecimal field, type in 5CDBFF. Then, click OK or press Enter or Return. Change its Blend Mode to “Multiply”. Next, we’ll softly reveal back the paper in the center. Make the layer mask active next to the color fill. Open your Brush Tool and Brush Picker. Pick a soft, round brush. We’ll adjust the brush size is a moment. Make the Hardness: 0% and the Opacity and
Flow both 100%. To adjust the size of your brush, first, make
sure your CapsLock key is off and press the right or left bracket key on your keyboard. Make it approximately this size and click twice. Next we’ll add the paper texture inside the shapes. Make the Background active and make two copies
of it by pressing Ctrl or Cmd + J, twice. Shift-click the bottom copy to make it active,
as well, and press Ctrl or Cmd + the left bracket key until the two paper copies are
at the top of your Layers panel. Hide the top paper copy and and make the lower copy active. Change its Blend Mode to Screen and reduce
its opacity to 70%. Click the Adjustment Layer icon and click “Levels”. We want the adjustment layer to affect only
the background copy directly below it. Since Adjustment Layers affect all the layers
below them in the Layers panel, we’ll need to clip it or restrict it to the background copy below it. To do this, click the Clipping Mask icon or press Alt + Ctrl + G on Windows or Option + Cmd + G on a Mac. You can also go to Layer and “Create Clipping Mask”. In the Input Shadows field, type in 253. Click the Adjustments panel. If you don’t see it, go to Window and Adjustments. Click the “Black White” adjustment icon and clip it. Make the top, paper copy visible and active. Change its Blend Mode to Multipy and reduce
its opacity to 30%. This adds an aged, yellowish color cast to
our poster. Double-click the small retro shape layer to
open its Layer Style window. Click “Color Overlay” and the color box. Pick a color. Next, we’ll create a complimentary outline. Ctrl-click or Cmd-click the thumbnail to make
a selection of its shape. Make a new layer and name it, “Outline shape”. Go to Edit and Stroke. Make the Width: 3 pixels, the color: black
and the location: outside. Deselect it by pressing Ctrl or Cmd + D. Go
to Edit, Transform and Flip Horizontal. Change its Blend Mode to “Color Burn”. Next, we’ll change the star’s color. Double-click the thumbnail of the star shape to open its Layer Style window and click Overlay”.”Color I’ll move the window over so we can ultimately
see the star. Click the color box and pick a color. Then click OK on both windows or press Enter or Return twice. Next, we’ll add text. Make the top layer active. We’ll place our text above it. Open your Horizontal Type Tool and Type Picker. Pick a font you like. I’m using “Maiden Orange”, which I provided the link to. I’ll make its size approximately 70 points,
but feel free to adjust the size depending on the font you choose and the amount of characters in your text. I’ll make the aliasing Smooth and left alignment. Click the color box and pick a color for your text. Click on your document and type out your text. If you want to italicize it, highlight your
text and click the Character/Paragraph icon or go to Window and Character. Click the Italicize icon. To resize, reposition and/or rotate your text, click your Move Tool and use your Transform Tool. Then, press Enter or Return or click the check-mark
at the top. Next, we’ll add a stroke and a drop shadow
to our text. Double-click the text layer to open the Layer Style window. Click “Stroke” and the color box. Pick a color for the stroke. I’ll make the size: 5 pixels and make the
Position: Outside. Click “Drop Shadow”. The Blend Mode is Multiply, the color is black
and the Opacity is 20%. The Angle is 18 degrees, the Distance is 34 pixels, the Spread is 0 and the Size is 16 pixels. Lastly, we’ll cast a shadow from our subject. Make your subject active. Ctrl-click or Cmd-click the thumbnail to make
a selection of your subject’s shape. Create a new layer below your subject by Ctrl-clicking
or Cmd-clicking the New layer icon. We’ll fill the selection with black, but before we do, make your foreground color black by pressing “D” on your keyboard. Press Alt or Option + Delete. Then, deselect it. Go to Edit, Transform and Distort. Go to the top middle anchor point and drag
it down to angle that relates to the source of light on your subject. Drag the anchor points to manipulate the shape
of the shadow. Go to Filter, Blur and Gaussian Blur. Blur it 4 pixels. Next, we’ll add more blur to the top third
of the shadow. Open your Rectangular Marquee Tool and drag
it over the top third of the shadow. Go to Select, Modify and Feather. Feather it 80 pixels. Go to back Filter, Blur and Gaussian Blur. Blur it 30 pixels. Then, deselect it. Reduce its opacity to 30%. The last step is to fade out the shadow from the top. Click the Layer Mask icon to make a layer
mask next to the shadow. Open your Gradient Tool and make sure the
Linear gradient icon is active. Open your Gradient presets and click the Black
and White thumbnail. Go above the top of the shadow and drag down
at the same angle of the shadow approximately halfway. Then, release. This is Marty from Blue Lightning TV. Thanks for watching!

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Photoshop: Turn Yourself into a GOLD Statue!

February 3, 2020

Hi. This is Marty from Blue Lightning TV. I’m going to show you how to transform yourself
into a golden statue. Before we begin, if not already a subscriber
to Blue Lightning TV, smash that small “Subscribe” button at the lower, right corner! If you want to use the same background that
I’m using, I provided its link in my video’s description below or in my project files. Open a well-focused, high resolution photo
of someone that you’d like to use for this project. I downloaded this one from Shutterstock. We’ll drag it onto the background. If your Move Tool isn’t active, press “v”
on your keyboard. Drag it onto the tab of the background and
without releasing your mouse or pen, press and hold “Shift”, drag it down and release. Pressing Shift kept it centered over the background. To resize it, open your Transform Tool by
pressing Ctrl or Cmd + T. Go to a corner and when you see a diagonal, double-arrow, press and hold Alt or Option + Shift as you drag it in or out. If you want to reposition it, just drag your
subject. Then, click the checkmark at the top or press
enter or Return, twice. We’ll separate our subject from its background
by making a selection around our subject. There are many ways to do this and I covered
them all in prior tutorials. In this case, since the background is a solid
color: white, I’ll use the Magic Wand Tool. If you’re using this tool as well, make its Tolerance: 10 pixels and make sure “Contiguous” is checked. “Contiguous” will prevent the inside of your
subject from being selected. Click on the background to make a selection
of it and invert the selection by pressing Ctrl or Cmd + Shift + I. Press “Q” to see
it as a quick mask. If you have areas outside the quick mask,
we need to fill them in. Before we do, check your foreground and background
colors. If they’re not black and white respectively,
press “D” on your keyboard. You can fill the empty areas outside your
subject in a variety of ways, however, for this example, I’ll use the Paint Bucket Tool. I’ll click on each side twice to ensure that
it’s filling the areas completely. Revert the quick mask back into a selection
by pressing “Q” again. Go to “Select”. If you’re using version 2015.5 or later, you
can either click Select and Mask or Shift-click it to open Refine Edge. If you’re using an earlier version, click
Refine Edge. I did in-depth tutorials on both Refine Edge
and Select and Mask, so if you’d like to watch them, I provided their links, as well. We’ll smooth out the edges by dragging the
“Smooth” slider to the right approximately this much and check “Decontaminate Colors”. This prevents color fringing, which is when
the background colors leach into our subject. Slide the amount to 100%. Output it as a “New Layer with Layer Mask”. Then, click OK. We’ll convert our cutout subject into a Smart
Object, so we can modify it non-destructively. To do this, click the icon at the upper, right of the Layers panel and click, “Convert to Smart Object”. Click the Adjustment Layer icon and click
“Black & White”. An Adjustment layer affects all the layers
below it, so if you want to restrict it to affect just the one layer beneath it, we need
to clip it to that layer. To do this, either click the “Clipping Mask”
icon or press Ctrl + Alt +G on Windows or Cmd + Option + G on a Mac. You can also go to Layer and “Create Clipping Mask”. There’s even a fourth way which is to hover
your cursor between the adjustment layer and the layer beneath it and press and hold Alt or Option. When you see your cursor change to another
icon, left-click. We can target and automatically adjust the
brightness and contrast of specific colors of our subject by clicking this icon in the
Black and white properties panel and dragging our cursor over areas you want to add more contrast to. I did an in-depth tutorial of this filter,
so if you’d like to watch it, I provided its link, as well. For example, I’d like to brighten the highlights
of her skin a bit, so I’ll place my cursor on a highlight and drag it to the right. This slides the colors in the properties
panel associated with the placement of my cursor. Conversely, I’d like to darken her skin’s
midtones, so I’ll place my cursor on a midtone and drag it to the left. Next, we’ll smooth out the skin by removing
grain in the photo and her skin pores. Make the cut out face active and go to Filter,
Blur and Surface Blur. Make the Radius: 20 pixels and the Threshold:
20 Levels. Go back to Filter an this time, click “Noise”
and “Dust & Scratches”. Make the Radius 1 pixels and the Threshold: 0. Make the top layer active and click the Adjustment
Layer icon. Click “Invert” and clip it to your cut-out
subject. Change its Blend Mode to “Difference”. Make a copy of the “Invert” adjustment layer
by pressing Ctrl or Cmd + J and clip it. Shift-click your cut-out subject to make it
active, as well, and concert all the active layers into one Smart Object. Go to Filter and Filter Gallery. Open the “Artistic” folder and click “Plastic Wrap”. Make the Highlight Strength: 10, the Detail:
1 and the Smoothness: 15. Convert it into a Smart Object. If you want to brighten your image, click
the Adjustment Layer icon and click “Levels”. Clip it and adjust its Input Highlight. Click the Adjustment Layer icon again and
this time, click, “Hue / Saturation”. Then, clip it to the layer. Check, “Colorize”. For its “Hue”, type in 50 and for “Saturation”,
type in 70. Shift-click your cut-out subject and convert
all the highlighted layers into one Smart Object. Go to Image, Adjustments and “Shadows / Highlights”. Check “Show More Options” to see the Highlights
and Adjustments. Make the Shadows amount: 60%, the Tone: 60%
and the Radius: 30 pixels. The Highlights amount is 0, the Tone: 50%
and the Radius: 30 pixels. Make the Adjustments color: 100. I’d like to make the black areas of the statue
a bit lighter. If you want to do this to your statue, as
well, double-click the thumbnail of the Smart Object to open its source. Click this Smart Object to open its source
and click the last Smart Object to open its source. Reduce the opacity of the Invert copy to 90%. Close its tab and when you see this message, just click “Yes” to accept the changes. Close this tab, click “Yes” and repeat it
for this tab. Repeat it for this tab, as well. Double-click an empty area of the Smart Object
to open its Layer Style window. Click “Inner Glow’. The color box is white. If it isn’t click it and pick white. The Blend Mode is Color Dodge and the Opacity
is 100%. The Tehnique is “Softer”, the Source is Edge,
The Choke is 0 and the Size is 50 pixels. Click “Outer Glow” and the color box. In the hexadecimal field, type in: FFFF03. Then,click OK. The Blend Mode is “Soft Light”, the Opacity
is 100% and the Size is 50 pixels. To remove the glow across the bottom of our
gold statue, open your Transform Tool and when you see this message, it’s just letting
us know the Smart Filters will be temporarily turned off as we use the Transform Tool. Just click OK. Enlarge it a bit and press Enter or Return. To slide our statue down, press “v” to open your Move
Tool and press the Down arrow. This is Marty from Blue Lightning TV. Thanks for watching!

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Photoshop Photo Restoration: How to Repair & Restore Old, Damaged Black & White Photos

February 1, 2020

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Photoshop Tutorial: Create “The Martian” movie poster using Your Own Face!

January 21, 2020

Hi. This is Marty from Blue Lightning TV. I thought it would be fun to show you how
to recreate the movie poster of “The Martian” using your own face or anyone else’s. I provided a Photoshop template that includes the poster’s astronaut spacesuit and a channel that we’ll
use to place a face inside the helmet. I also provided an image of a Martian landscape
that we’ll use as a reflection over the face on the glass of the helmet. They’re both located in my video’s description
or project files below. In addition, I included a link for the font that was used in the poster. Open a sharp, well-lit photo of a face looking
directly at you. I downloaded this one from Shutterstock. If your photo needs its brightness and/or
contrast adjusted, open the “Levels” window by pressing Ctrl or Cmd + L. Since every photo
is different, you’ll probably adjust their input shadows, midtones and highlights need
to be adjusted differently. For this photo, I’d like to darken its midtones,
so I’ll drag the Input midtone slider to the right. We’ll convert your subject into a Smart Object,
so we can continue to modify if non-destructively and, if we want to, replace it with different
face without having to re-do the effects. To do this, click the icon at the upper, right
of the Layers panel and click “Convert to Smart Object”. To place it into the poster, make sure your
Move Tool is active. If it isn’t, press “v” on your keyboard. Drag it onto the tab of the poster and without
releasing your mouse or pen, drag it down and release. Pressing “Shift” kept it centered or the document. Don’t size it just yet. Open your Channels panel. If you don’t see it, go to Window and Channels. Ctrl-click of Cmd-click the black and white
channel to make a selection of its shape. Open back the Layers panel and click the Layer
Mask icon to make a layer mask of the selection next to the active layer. To resize the face inside the layer mask, click the chain-link icon to unlink the layer and the layer mask. Doing this, allows us to resize and/or re-position
either of them independently of the other. Make the face active and press Ctrl or Cmd
+ T to open your Transform Tool. If the Transform’s bounding box is outside
your canvas, press Ctrl or Cmd + 0. Go to a corner and when you see a diagonal,
double-arrow, press and hold Alt or Option + Shift as you drag it in or out. To re-position it, go inside the bounding
box and drag it. Size and position it, so you don’t see the
ears and the bottom of the chin should rest at the bottom of the layer mask. If the face is slightly at an angle, you’ll
want to straighten it by going outside the bounding box near a corner and when you see
a curved, double-arrow, rotate it until the face is vertical. Then, press Enter or Return. To fit it back onto your canvas, press Ctrl or Cmd + 0. Reduce the opacity of the face to 80%. Open the Martian landscape I provided. We’ll give it a convex distortion to conform
to the curved glass of the helmet. But first, we’ll convert it into a Smart Object,
so we can do it non-destructively. Go to Filter and “Lens Correction”. Click the “Custom” tab and drag the “Geometric
Distortion” to the left approximately this much. Convert it into a Smart Object once again
and drag it onto the tab of the poster. As before, without releasing your mouse or
pen, press and hold “Shift” as you drag it down and release. Go to the layer mask and press and hold Alt
or Option as you drag a copy of it next to the Mars landscape. Change the Blend Mode to “Overlay”. We’ll reduce the size of the Martian landscape
over the helmet. Open your Transform Tool and see its entire
bounding box. Reduce the landscape over the helmet and fit
it onto your canvas. Continue to adjust its size and position. Then, press Enter or Return. Reduce its opacity to approximately 50%. Next, well darken the top of the forehead,
since the the helmet is casting a shadow over it. Make the face layer active and click the New
Layer icon to make a new layer. Ctrl-click or Cmd-click the layer mask to
make a selection of its shape. We’ll expand the selection to ensure that
all of that that entire area of the forehead will be darkened. Go to Select, Modify and Expand. Expand it by 6 pixels. Click the Layer Mask icon to make a layer
mask of the selection next to the empty layer. Make the empty layer active and open your
Gradient Tool. Make sure the “Linear” gradient icon is active. Open your Gradient thumbnails and if you don’t see the
“Black to Transparent” thumbnail, click the gear icon and click “Reset Gradients”. Then, click the “Black to Transparent” thumbnail. Go to the top of the forehead and press and
hold Shift as you drag the Gradient Tool halfway down and release. Change the Blend Mode to “Overlay”. Make a copy of it by pressing Ctrl or Cmd
+ J and reduce the copy’s opacity to 50%. Next, we’ll add a highlight spot, which gives
the appearance of a sun flare on the helmet’s glass. Make the top layer active and click the New
Layer icon to make a new layer. Change its Blend Mode to “Overlay” and name it, “Highlight”. Open your Brush Tool and Brush Picker. Make its Size: 250 pixels and the Hardness: 0%. The Opacity and Flow are both 100%. Place your cursor halfway over an edge of
the face and click once. Feel free to reposition the flare by pressing
“v” to open your Move Tool and dragging it. Next, we’ll add the text. Open your Horizontal Type Tool and if you
want to use the same the font as in the real poster, open “UVF Bourgeois Medium” for which
I provided the link to. Make its Size: 68 points, Sharp, Center Alignment
and white for the color. Click the “Character/Paragraph” panels icon. If you don’t see it, go to Window and Character. Make its “Leading”; 106 points. Leading increases or decreasing the amount
of space between lines of text. Make its “Tracking”: 140. Tracking is the amount of space between letters
in a word, line, or paragraph. The Horizontal and Vertical scales are 100%. Click on your document and type out your text. To center it on your poster, click the Move
Tool and press Ctrl or Cmd + A to select your canvas. Click the “Align Horizontal Centers” icon
and the “Align Vertical Centers” icon. To deselect it, press Ctrl or Cmd + D. This is Marty from Blue Lightning TV. Thanks for watching!

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Photoshop Tutorial: How to Make a Beautiful, Watercolor Portrait from a Photo

January 20, 2020

Hi. This is Marty from Blue Lightning TV. I’m going to show you how to create
beautiful, watercolor portraits from photos using your own brush strokes.
Because they’re your own brush strokes, it allows you to create your own subtle nuances.
Open a photo you’d like to use. Since every photo has its own unique characteristics, such as lighting, brightness, contrast and color,
the results of the watercolor effect will vary. If the subject has very light skin,
it may be necessary to darken the mid-tones. You can achieve this by pressing Ctrl + L on Windows or Cmd + L on a Mac to open your Levels window. Slide the Input mid-tones to the right. I’d also recommend using a photo that
doesn’t have a dark background If it does, just lighten it. Its size and
resolution will ultimately determine the setting amounts for the filters and brushes. This photo is 1550 by 870 pixels with a resolution up to 150 pixels per inch. Unlock the background by holding down Alt on Windows or Option on a Mac as you click on the lock. We’ll name it “Base”. Make a copy of it by pressing Ctrl or Cmd + J. Name it “Smart Blur”. Go to Filter, Blur and Smart Blur. For the size and resolution of this photo, I’ll make the Radius: 10… the Threshold: 20… the Quality is High and the Mode is Normal. Depending on the size and resolution of your photo, you may want to adjust the amounts for the Radius and Threshold to get a similar result as this.
Click on the thumbnail of the Base to make it active and make a copy of it. Drag it to the top and name it “Pencil Lines”. Go to Filter and Filter Gallery. Open the “Stylize” folder. In it, you’ll find “Glowing Edges”.
If you have an early version of Photoshop, go to Filter, Stylize and Glowing Edges. Make the Edge Width: 1… the Edge Brightness between 14 and 17 and the Smoothness: 15. Then. click OK. Invert the image by pressing Ctrl or Cmd + I. Then, remove the color by pressing Ctrl or Cmd + Shift + U. Change the Blend Mode to Multiply. Make the Smart Blur layer active and make a copy of it. We’ll name it “Brush”. Invert the layer and change its Blend Mode to Color Dodge. Open your Brush Tool and press “d” on your keyboard to make
your foreground and background colors black and white. respectively. Click the arrow next to the brush size and click the gear icon to open your list of brush presets. Click “Reset Brushes” and click OK to replace the current brushes with the default brushes. Click back on the gear icon and choose “Small List”. Scroll down and click “Dry Brush”. Reduce its opacity to 10%. To increase the size of your brush, press the right bracket key on your keyboard. I increased to 200 pixels. Now, brush across your image. Open your gear icon again and click “Wet Media Brushes”. Click OK and choose “Watercolor Textured Surface”. Press Enter or Return to close the Brush panel and increase your brush size. I made mine 300 pixels. Now, selectively brush over areas of your image.
It’s okay to leave lighter areas untouched. I’ll make my brush smaller by pressing the Left bracket key. Continue to brush over your image to bring out contrast and color. If you want to lighten or remove some pencil lines, make the Pencil Line layer active and click the Layer Mask icon to make a layer mask next to it. Increase the opacity to 80% and lightly brush over the pencil lines you’d like to lighten or remove. Next, we’ll darken the Input levels of the
brushstrokes, but leave the pencil lines as is. To do this, hide the Pencil Lines and make the Brush layer active. Press Ctrl + Shift + Alt + E on Windows or Cmd + Shift + Option + E on a Mac
to make a composite snapshot of your image. Press Ctrl or Cmd + L to open your Levels window and then drag the Input darks to the right
until it’s at the point where the histogram starts to rise. Make the Pencil Lines visible and go to Filter and Filter gallery. Open the Texture folder and click “Texturizer”. Choose “Sandstone”. The Scaling is 100%… the Relief is 2 or 3 and the Light is from the Top. Then, click OK. This is Marty from Blue Lightning TV.
Thanks for watching!

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Photoshop Tutorial: Part 1 – How to Design and Create a VIntage Letterpress Poster

January 17, 2020

Hi. This is Marty from Blue Lightning TV.
I’m going to to show you how to create the look of a classic letterpress poster. Letterpress
printing is known for its subtleties of texture and color. I created this one based on a poster
produced by Hatch Show Print company. This tutorial is is two parts. In Part 1, we’ll
create our background and transform a photo into three overlapping images. In Part 2,
we’ll add text, a few graphics and a stained texture to age our poster. I provided a Photoshop
file, so you can follow along. It’s located in my video’s description or project files.
It includes this stained paper texture, a letterpress ink texture and a plain white
background. Double-click the bottom layer to open its Layer Style window. Click “Inner
Glow”. The Blend Mode is Normal, the Opacity is 100% the Technique it “Precise” and the
Source is “Center”. The “Choke” is 100% and the Size is 70 pixels. Click the color box
and pick a color you’d like for your background. Since I already know the color I want, I’ll
ust type it in the hexadecimal field: FFDB00. Once you pick your color, press Enter or Return
twice to close both windows. Make the texture layer visible and active. Change its Blend
Mode to “Screen”. Click the Adjustment layer icon and click “Levels”. We want the
adjustment layer to effect just the one layer beneath it. To do this, either click the clipping
mask icon or press Ctrl + Alt + G on Windows or Cmd + Option + G on a Mac. Make the Input
Midtones: point five zero and the Input Highlights: 154. Open a photo of someone or something
that you’d like to use for this poster. It can be color or black and white. The first
step will be to convert it into a Smart Object, so we can modify it non-destructively, as
well as allow the filters that we’ll be adding to it fully editable. Click the icon at the
upper, right of the Layers panel and click “Convert to Smart Object”. We need to separate
the subject from its background by making a selection around the subject. There are
many ways to make the selection and your choice should depend on the characteristics of your
photo. For this example, I’ll use the Quick Selection Tool. If you’re using this tool
as well, make its radius between 5 to 10 pixels depending on its resolution. Drag the tool
over your subject to select it. If you need to remove areas of the selection, press and
hold Alt or Option as you drag over those areas. After your subject is fully selected,
click the Layer Mask icon to make a layer mask of the selection next to your subject.
To place it onto your poster, press “v” to open your Move Tool and drag it onto the tab
of your poster. Without releasing your computer mouse or pen, drag it down onto your image
and release. To resize and reposition it, open your Transform Tool by pressing Ctrl
or Cmd + T. When you see this message, it’s just telling us that the Smart Filters will
be temporarily turned off while we use the Transform Tool. Just click OK. To resize it,
go to a corner and when you see a diaganol, double-arrow, press and hold Shift as you
drag the corner in or out. Leave room for any text that you want to add later. Then,
press Enter or Return. Change its Blend Mode to “Multiply”. Your foreground and background
colors need to be black and white, respectively. If they’re not, press “D” on your keyboard.
Go to Filter and Filter Gallery. Open the “Sketch” folder and click “Halftone Pattern”.
Make the Pattern Type: “Dot”, the Size: 2 and the Contrast: 3. Then, click OK. If you
want to brighten your subject, click the Adjustment Layer icon and click “Levels”. As you did
earlier, clip it to the layer beneath it. I’ll make the Input Highlights: 218, but feel
free to brighten it to your liking. Shift-click on your subject to make IT active, as well,
and press Ctrl or Cmd + J to make a copy of both layers. Press and hold “Shift” as you
drag the copy to the left. Make your top subject active. Click the Adjustment Layer icon and
click “Solid Color”. Pick a color you like for your overlapping subject and click OK.
Change the Blend Mode to “Screen”. Click the top layer and Shift-click on your subject
copy to make all three layers active. Make a copy of them by pressing Ctrl of Cmd + J.
Press and hold Shift as you drag the second copy to the right. Next, we’ll reveal your
middle subject through one of your other subjects on either side and then offset that subject,
which is common in mass-produced, letterpress printing. Scroll to the bottom subject and
Ctrl-click or Cmd-click on its layer mask to make a selection of its shape. This is
your subject in the middle. Scroll to the top subject, which your subject on the right
and make it active. Press Alt or Option + Delete to fill the layer mask with the active
selection. Doing this masks out this area of your right subject, which in turn reveals
your middle subject. Deselect it by pressing Ctrl or Cmd + D. To offset the right subject,
press the Right arrow on your keyboard once and then the Up arrow once. To consolodate
space in our Layers panel, lets place all of our subject layers into its own folder.
To do this, scroll to the top and make the top adjustment layer active. Scroll to your
bottom subject and Shift-click on it to make all of the layers that comprise your subject
active. Press Ctrl or Cmd + G to place them into a folder. Name it the name of your subject
and change its Blend Mode to “Multiply”. Go to the texture layer and press and and hold
Alt or Option as you drag a copy of it above the folder. Clip it to the folder by pressing
Ctrl + Alt + G on Windows or Cmd + Option + G on a Mac. There will be areas of your
subject in which the texture is appearing white, so to remove those white areas, press
“z” to open your Zoom Tool and drag over your middle subject to zoom into a section. Open
your Move Tool and drag the texture to move it until you don’t see anymore white on your
subjects. To make the texture more subtle, open your Levels window by pressing Ctrl or
Cmd + L. Drag the Output white level to approximately 100 and click OK. To fit it back onto your
canvas, press Ctrl or Cmd + 0. In Part 2, we’ll add text and some graphics and age it
with stains and creases. This is Marty from Blue Lightning TV. Thanks for watching!

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