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Welcome back, everyone, to 3-D Modlin Holby doll scene with Glenda two point nine and Adobe Photoshop.

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So now we've actually back in Photoshop.

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Let's bring in all background.

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So I've supplied with this called five backgrounds for you to use.

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So just go and have a look at them and pick which one you want.

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I'm just going to move these over here now so you can see them.

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So I think for me, I'm going to use this one here.

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Let me just make them extra large so you can see them a little bit better so you can see the quite colorful

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and we have to do a lot of work to actually make the actual retina that we've taken fit into this.

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So I'm going to pick this one.

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As I say, I recommend playing around with them and having a little which one you like best.

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So let's bring this one in.

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Let load up now on Wednesdays, I'm going to bring it down.

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I do want a bit of my sky in there, so I'm going to do is I'm actually going to control mine is just

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to zoom out a little bit and bring it down and actually keep my sky in that I'm not going to worry about

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this.

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But here I think we're actually going to cover the OK, so then I'm going to press return.

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I want to zoom in now with control plus again and just make sure that there's no gaps round the outside.

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OK, so the next thing I want to do is I need to actually bring in now Myranda.

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So that's the next thing I'm going to do.

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So here is Myranda.

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I'm going to drag it and pull in.

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To my actual image, I've already got another moment, you can see that there's a huge difference contrast

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between this and this, but we can say that we've got it on 2048 by 20, 48.

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That is the one that we actually opened.

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And we've done that for a reason.

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And we can put this on multimedia, like Facebook, things like that quite easily at this site.

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It's also, again, quite high on the resolution, which is something that's good because we did actually

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render this out a two thousand samples, which is pretty high.

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Now, let's get this to actual scale.

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So I'm just going to pull it out like so and then I'm going to sit it where he actually wants it.

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So what I want is this step here.

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To actually come to the bottom and then I'm going to do I'm just going to pull it across and look where

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I actually want this to end and where I want it to stop one, two percent to four now and explode what

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that's actually going to look like.

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And I think at the moment, I'm pretty happy with that.

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Now, what I need to do is I need to kind of ricola this a little bit and do some of the things with

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it just to make this look a little bit better.

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So first of all, what we want to do is I'm going to do the whole image, so I'm going to saturate both

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of these out a little bit.

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So let's, first of all, come to this the way to do it.

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Click on this and you'll notice then it actually selects that layer for you when you've actually got

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this movement to along.

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And then what you're going to do is you're going to image, you're going to go down.

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Some adjustments come across and you'll have one that says levels.

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Now let's mess around with the level.

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So open this up.

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What we're going to do is going to bring it just down a little bit just to make it a little bit brighter.

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And I think I'm going to be happy with that for now.

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So a look may maybe a little bit, Brid, just to bring it to the same kind of brightness as the background.

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So I'm happy with that now.

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OK, and now let's deal with the saturation.

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So, again, image adjustments come down to it, says you in saturation.

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And now let's bring the situation down just a little bit and you'll see that we can really, really

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bring it down.

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OK, so something like that seems fine, finally.

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Now let's go to Mountain and we'll do the same thing on here.

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Also, we can see now this is changed a little bit and maybe it needs brining up and that's something

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else we can deal with.

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So let's come to a mountain now and again.

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We'll do the same thing.

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So adjustments come down to levels.

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Let's mess around the levels first.

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Let's bring it so do we want to talk?

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I don't think we actually want to bring it down.

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I think actually with the levels, do we need it?

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Yeah, I think with the levels, actually, we're going to leave that now.

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We're just going to be putting back to where it was.

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I'm going to bring down just the saturates.

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And so adjustments, saturation and let's bring down.

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And there we go, we can see now it's really, really starting.

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To.

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The actual scene and then we go, you can see now it really, really looks like it's actually fits in

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the scene.

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The one thing I would say is you might want to bring yourself a little bit more here.

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It looks a bit of a drop off there.

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So I want to click on that.

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I'm happy with that now.

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And then I'm going to click back on my image.

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I want to press controlled say, and you can see now, I can't actually do that because it's being previewed

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at the moment.

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So I need to do is before they would go.

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Now it's come up.

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So that's minus out.

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And now.

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Well, there is should I think.

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When a person to now bring back that image and then we go now you can say, look, we look around,

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this is all looking really nice, maybe, except this bit that needs brighten up a bit.

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So I'm going to do is I'm going to go in and I actually coat this out.

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So I went to grab this bit like so and then I'm going to put a circle around like so and just get a

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real.

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To the edge of here, maybe pull it down a little bit and pull it in something like that, and then

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what I'm going to do is I'm just going to zoom in a little bit more.

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I'm going to press control, see, and then I will press control, and that then is going to pull on

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a no the window here and now.

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I can actually mess around with this window so I can zoom out a little bit and walk.

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And also do is I can now bring in another image and basically put it over this window and just make

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it a little bit more lumpy.

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So within your textures pack, we double click it.

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You will have one that says glass overlay as well.

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And then when you open that, you'll say it's just kind of a glass overlay.

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Bring that in.

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Let it go, no.

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And there we go, and now let's make it a little bit smaller, something like that.

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And then what you can do is you can put it as a overlayed like this, Bob Hope's not there.

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Let's click overlay like so.

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And now you can see that if we put this away, we'll see, like Heizo.

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It looks a lot more like glass.

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And that's exactly what we're going for.

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Now, the other thing we can do is you can come down, you can click Olt and click, and then it will

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just put it over the actual glass that we've actually been working on.

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Now, let's zoom out a little bit and you can see now it's looking really, really nice.

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Now, how I did that was all added.

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I hope it over.

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Hold the button down and then you can see you've got a little kind of down arrow and just click over

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there and just make sure it's all the the everything you can do, of course, is come in and just turn

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the opacity down.

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And as you turn that down, you'll see that it gets less and less lumpy.

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So we want to kind of a happy medium, something like that.

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We don't want it to lumpy, but we do want it to look like stained glass.

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Now, the last thing I want to do is I just want to come to my actual stained glass and now I'm free

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to come in.

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So an image adjustments and now I'm brightness and contrast.

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And what we can do here is we can turn up now and make it much brighter, much taller.

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And I feel like it just needs to be a little bit dull, it just to kind of fit the actual scene.

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So I'm just going to mess around with this.

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I want to click, OK, and there we go.

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So let's press control minus zoom in it and there you go.

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That's the actual scene.

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Now, you might not be happy with this little bit in command.

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You can put this way and saturate now a little bit more.

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That's something you could do well actually do.

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That's what I'll do, is I'll come to my selection, which is this one here.

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Just have polygon, lazuli, something like that, and then come in.

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And just around.

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Just this past here like so.

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Come to the end and then we're going to do is going to right click over and over it, I'm going to take

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layette viscose.

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And you'll get this problem here, and the reason is because I am not over my actual mountain, so let

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me come over my mountain, do that again.

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So, Leya, buy a copy.

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Let's try that.

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And then hopefully by minus this off now.

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Yep, it's there now.

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OK, so that's exactly what I want.

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So I'm going to put my mountain back, come back to my land now and now.

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I should be able to change this.

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So image adjustments.

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Let's do the human saturation, pull this over to this side and let's now say, yep, there you go.

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Now you can make it brighter or we can saturates Albert in much, much easier.

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Let's click.

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OK, and there we go.

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Our final round of Hobbit dull.

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So all you need to do now when you finished is you want to file and you go over to save us and let's

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save out this final render.

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So I'm going to come down to this photo shop, come down, put it on PMG, and then what I'll do is

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I'll find I want to save out.

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So here's my renders.

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I'm just going to pull final render albedo and then press antwaun and then just press enter again with

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the little box appears for PMG percent bond and there we go, it's safe down.

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OK, so just a few things I want to say.

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And now, of course, everyone brings us to the end of the course, although the course is quite short

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in comparison to the rest of the 3D Chuda Course Library, I'm sure you will agree it's compact with

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what you have learned.

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If you did enjoy this course and please review.

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And if you can include a written explanation of what you like most, this will help the cost trend and

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in turn help me encourage more courses.

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I'm really looking forward to create more courses and if you enjoy this teaching style and course layout,

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then please check out my other courses which cover everything from medieval to sci fi, stylized to

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fantasy hundreds and hundreds of hours of content.

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Finally, with all that said, thank you so much for taking the calls.

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And I was always happy.

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Modlin everyone.