Creating Illustrated 1980s Vintage Tees in Photoshop

Texturelabs
21 Feb 202311:45

Summary

TLDRIn this creative Photoshop tutorial, Brady from Texture Labs guides viewers through the process of achieving an 80s retro rock and roll screen print look. The tutorial focuses on mimicking the technical constraints of traditional screen printing, using a limited color palette, no anti-aliasing, and no color blending. Brady demonstrates how to work with a small, blurry image, enhance it with filters, and apply a hard mix blending mode to create a four-value color scheme. He then introduces color to the image, adds elements like typography and stars, and shows how to create a t-shirt mock-up. The result is a vintage-inspired design that captures the spirit of a bygone era in screen printing.

Takeaways

  • 🎨 Emulate the 80s screen print look in Photoshop to capture the spirit of a golden age of screen printing.
  • πŸ–ŒοΈ Work with a limited color palette, no anti-aliasing, and no blending of colors to maintain the retro style.
  • πŸ“ Start with a large canvas size suitable for t-shirt printing, like 11x10 inches at 355 pixels per inch.
  • 🌈 Remove color from the image and work with four values: black, dark gray, light gray, and white.
  • πŸ”΄ Use a 'hard mix' blending mode with a solid fill layer of a specific color (between red and yellow) to limit the image colors.
  • ⚫️ Apply a black and white adjustment layer to assign gray values to the colors red and yellow in the image.
  • πŸ–ΌοΈ Enhance the image with filters and adjustments like shadows and highlights, noise reduction, and unsharp mask.
  • 🎭 Reintroduce noise and grain using filters like add noise and gaussian blur to achieve a chunky grainy texture.
  • 🌈 Colorize the image by replacing the gray values with chosen colors, using blend if sliders to target specific gray levels.
  • 🎨 Add additional colors and elements like alternate shadow and highlight colors, and use clipping masks to control their application.
  • πŸ‘• Create a mock-up of the design on a t-shirt using select color range and smart object techniques for flexibility.

Q & A

  • What is the main theme of the Photoshop tutorial?

    -The main theme of the Photoshop tutorial is to create a retro 80s rock and roll screen print look, capturing the spirit of the golden age of screen printing with limited colors, no anti-aliasing, and no blending of colors.

  • What is the initial canvas size used in the tutorial?

    -The initial canvas size used in the tutorial is 39.05 by 35.5 inches at 355 pixels per inch, which translates to 11 by 10 inches.

  • How does the presenter handle the challenge of working with a low-resolution image?

    -The presenter acknowledges the challenge of working with a low-resolution, blurry, and grainy image. They decide to work with it and see if they can make it work, converting the layer to a Smart Object for further manipulation.

  • What is the purpose of using a 'hard mix' blending mode in the tutorial?

    -The 'hard mix' blending mode is used to limit the image to just four values: black, white, red, and yellow. This helps in capturing the essence of the 80s screen print look while working under specific constraints.

  • How does the presenter adjust the color balance in the image?

    -The presenter adjusts the color balance by changing the color of the 'hard mix' layer, which allows them to control the balance between the four values (black, white, red, and yellow) intuitively.

  • What filters and adjustments are used to enhance the image details?

    -The presenter uses a combination of Shadows and Highlights adjustment to bring out detail in the shadows, Camera Raw filter for noise reduction, Unsharp Mask for adding sharp details, and additional Shadows and Highlights adjustment for further image flattening.

  • How are noise and grain reintroduced into the image?

    -Noise and grain are reintroduced by adding a layer of uniform noise set to monochromatic at about 15%, followed by a Gaussian Blur with a one-pixel radius. This transforms the sharp detailed noise into a chunky grain.

  • What is the process for colorizing the image?

    -The process for colorizing the image involves replacing the gray values with specific colors. The presenter creates new solid layers for darker gray, lighter gray, and bright whites, and uses blend if sliders to target and replace the gray values with chosen colors.

  • How does the presenter add additional colors and elements to the design?

    -The presenter adds additional colors by creating new solid layers for alternate shadow and highlight colors, and uses clipping masks to apply these colors where needed. They also add elements like typography, stars, and a gray Radiance at the bottom of the design.

  • How is the final design transferred onto a t-shirt blank?

    -The final design is transferred onto a t-shirt blank using the Select Color Range tool to select non-black pixels, and then copying and pasting the selection onto a t-shirt blank. The presenter also uses a high-resolution texture and blend if to add a grungy texture to the t-shirt design.

  • What resources are available for further learning and implementing the techniques shown in the tutorial?

    -The presenter mentions that the textures used in the video and a t-shirt blank are available for free on the Texture Labs site, which is linked in the video description for viewers to access.

Outlines

00:00

🎨 Introduction to Retro 80s Screen Print Design

In this segment, Brady from Texture Labs introduces the viewer to a Photoshop project focused on creating an 80s retro rock and roll screen print look. The aim is to capture the essence of a golden era in screen printing, marked by significant innovation and experimentation in both artwork and the technical process. Brady explains the constraints of the physical screen printing process, such as limited color palette, no anti-aliasing, and no blending of colors, which will be mimicked in the Photoshop work. The video begins with Brady setting up a large canvas suitable for t-shirt printing and discussing the challenge of working with a small, blurry image that will be scaled up. He also covers the conversion of the image layer to a Smart Object for further manipulation and the application of filters.

05:02

🌈 Color Limitation and Image Adjustment

This paragraph details the process of limiting the image to four values: black, dark gray, light gray, and white. Brady uses the Hue/Saturation adjustment to remove color and then introduces a solid fill layer with an orange tone to set the base for the hard mix blending mode. The hard mix blending mode is explained as a way to restrict the image to red and yellow, in addition to black and white. Adjustment layers are used to assign gray values to the red and yellow, allowing for control over the balance of the four color values. The paragraph also covers the use of Shadows and Highlights adjustment to bring out detail in the image and the use of the Camera Raw filter for noise reduction and sharpening. The goal is to clean up the image while retaining sharp details, and the process of reintroducing noise and grain for a more illustrated look is discussed.

10:03

🎨 Colorization and Layering Techniques

In this part, Brady focuses on colorizing the image by replacing the gray values with specific colors. He creates new solid layers for different color tones, such as dark red for shadows and lighter orange for mid-tones, and uses blend if sliders to target and replace the specific gray values. The process involves adjusting the colors and using clipping masks to apply the new colors to desired areas of the image. Brady also introduces alternate colors for shadows and highlights, and uses the pencil tool to apply these colors precisely, avoiding anti-aliased edges for a crisp, pure color effect. The paragraph concludes with the addition of more elements and colors to the design, including a gray Radiance layer, a blurry version of the main subject, and typographical elements, all while adhering to the limited color palette.

πŸ‘• Creating a T-shirt Mock-up and Final Touches

The final paragraph covers the process of transferring the completed design onto a t-shirt mock-up. Brady uses the Select Color Range tool to isolate non-black pixels and invert the selection to copy the design onto a t-shirt blank. He discusses the use of blend if masks to apply grungy textures and the importance of keeping the texture as a live smart object for flexibility. The paragraph concludes with Brady offering to share the textures and t-shirt blank used in the video, and he encourages viewers to fine-tune the final image with additional adjustments and layers as needed. The video ends with a thank you note and a teaser for the next episode.

Mindmap

Keywords

πŸ’‘Photoshop

Photoshop is a raster graphics editor developed by Adobe Inc. It is widely used for image editing, graphic design, and digital art. In the video, Photoshop is the primary tool used to create an 80s retro rock and roll screen print look, showcasing its capabilities for manipulating images, colors, and creating specific visual effects.

πŸ’‘Screen printing

Screen printing is a printing technique where ink is pushed through a mesh screen onto a substrate, such as fabric or paper. It was particularly popular in the 80s for creating posters, t-shirts, and other promotional materials. The video aims to replicate the spirit of this era by mimicking the technical process and aesthetic of screen printing within Photoshop.

πŸ’‘Retro

Retro refers to a style or trend from the past that is revived or appreciated in the present. In the context of the video, the term is used to describe the 80s rock and roll aesthetic that the creator is attempting to replicate. This includes the use of bold colors, specific design elements, and a particular visual 'feel' that was characteristic of the era.

πŸ’‘Palette

In art and design, a palette refers to the selection of colors used in a particular work. A limited palette means that the number of colors used is restricted, which can give a piece a more uniform and cohesive look. In the video, a limited color palette is used to emulate the screen printing techniques of the 80s, where fewer colors were typically used to create bold, impactful designs.

πŸ’‘Smart object

In Photoshop, a smart object is a layer that allows for non-destructive editing, meaning that the original image data is preserved and can be edited at any time without losing quality. This feature is useful for applying filters and effects while keeping the original layer intact.

πŸ’‘Hard mix blending mode

The hard mix blending mode in Photoshop is a color blending mode that creates a high-contrast effect by reducing an image to a limited color palette. It works by mixing colors based on their brightness values, and it can give a graphic, posterized look that is reminiscent of screen printing.

πŸ’‘Noise reduction

Noise reduction in image editing refers to the process of reducing or eliminating visual noise, which can appear as random speckles or graininess in an image. This is often done to enhance the quality of the image, making it look cleaner and more professional.

πŸ’‘Unsharp mask

Unsharp mask is a technique used in image editing to sharpen an image by increasing the contrast along the edges of objects or details. It can give the image a more defined and crisp appearance, which can be particularly effective when trying to achieve an illustrated or detailed look.

πŸ’‘Colorization

Colorization is the process of adding color to an image or a black-and-white photograph. In the context of the video, colorization refers to replacing the gray values in the image with specific colors to achieve the desired aesthetic and visual effect.

πŸ’‘Masking

Masking in Photoshop is the process of hiding or revealing certain parts of an image or layer. It is a fundamental technique used for selective editing, allowing the creator to apply effects or adjustments to specific areas of the image without affecting the rest.

πŸ’‘Mock-up

A mock-up is a visual representation or prototype of a design, often used to demonstrate how it will look when applied to a particular product or surface. In the video, the mock-up refers to placing the final design onto a t-shirt blank to visualize how it would appear as a finished product.

Highlights

Introduction to creating retro 80s rock and roll screen print looks in Photoshop.

Capturing the spirit of the golden age of screen printing with innovation and experimentation.

Working with specific constraints in Photoshop similar to physical screen printing limitations.

Using a limited color palette, no anti-aliasing, and no blending of colors to mimic screen printing.

Starting with a large canvas size suitable for t-shirt screen printing.

Transforming a small, blurry image into a workable piece by scaling it up and applying filters.

Utilizing the 'hard mix' blending mode to limit the image to four values: black, white, red, and yellow.

Adjusting gray values of the image using a combination of adjustment layers and blending modes.

Applying filters and adjustments to enhance details and reduce noise while maintaining the desired aesthetic.

Reintroducing noise and grain to the image for a more authentic screen-printed look.

Colorizing the image by replacing gray values with chosen colors, using a specific blending if slider technique.

Adding secondary colors to shadows and mid-tones for more depth and variety.

Creating a mock-up of the final design on a t-shirt using select color range and blending techniques.

Using high-resolution textures and smart objects to add a grungy texture to the t-shirt design without baking it into a mask.

Finalizing the 80s rock t-shirt design and offering resources for further customization and exploration.

Transcripts

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hey everyone Brady from texture Labs

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here working in Photoshop today and

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we're getting into some retro rock and

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roll 80s screen print looks we're going

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to try to capture a little bit of the

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spirit of a certain golden age of screen

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printing where there was a lot of

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innovation a lot of experimentation both

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with the artwork but also with the

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technical process of screen printing it

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screen printing of course a physical

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process with certain technical

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constraints so we're going to get into

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Photoshop and we're gonna work under

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some very specific kind of similar

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constraints we're going to use a very

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limited palette of colors no

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anti-aliasing no blending of colors and

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we'll see if we can capture a little bit

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of that rock and roll Spirit let's get

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into Photoshop and get started

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all right I'm here in Photoshop and I'm

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starting off with a fairly large canvas

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size it's 39.05 by 3550 which basically

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translates to 11 by 10 inches at 355

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pixels per inch a pretty reasonable size

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for a t-shirt screen print but I'm

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starting off with a little bit of a

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challenge I've got an image here that

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was really tiny and I clipped it out and

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scaled it way up so it's a little bit

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blurry a little bit grainy but we'll see

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if we can make it work I'm going to

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right click and convert this layer to a

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Smart object so we can apply some

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filters and things and keep all those

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settings live all right let's get

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started with part one and here we're

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going to limit the image to just four

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values black then dark gray light gray

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and white so I'm going to start by

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removing all the color from this image

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I'll just use Hue saturation bring the

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saturation all the way down then I'm

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going to create a solid fill layer I'm

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going to set this to be somewhere in the

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oranges with kind of a middle of the

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road brightness and saturation to get

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started alright then by the way I have

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this pet peeve about unused mask so this

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isn't necessary but unless I need a mask

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I'm just going to right click and delete

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it anyways I'm going to call this layer

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hard mix and I'm going to set the

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blending mode to hard mix if you haven't

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already heard me talk about hard mix a

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million times I'll link to a video that

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gets into a little bit more detail but

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the important part is that as long as

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this solid is somewhere between red and

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yellow the hard mix blending mode is

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going to limit the image to just black

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white red and yellow okay then I'm going

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to follow up this hard mix layer with an

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adjustment layer a black and white

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adjustment layer and that's going to

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assign gray values to the yellow and the

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red so I'm going to change the Reds to

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be 33 gray and the yellows to be 66 just

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so they're a little bit more evenly

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spaced out so the nice thing about the

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setup is that by changing the color of

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this hard mix layer we have all kinds of

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control over the balance between these

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four values it's pretty intuitive

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shifting this around but obviously we

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can change kind of the overall

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brightness but then the more saturation

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there is the more the mid tones we get

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at if we introduce more red it's going

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to shift the balance toward that darker

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gray moving toward yellow is going to

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bring out more of the lighter gray so

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for now I'm just going to kind of

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eyeball this and we will move on to part

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two and here I'm going to go back to the

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image layer and give it some treatment

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some filters and things but it's nice to

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do this once these layers are set up so

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that I can treat the image in a way that

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works well under these kind of minimal

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conditions so there's not necessarily a

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one size fits all treatment for images

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but I'm going to walk through kind of a

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cocktail of adjustments and filters that

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generally do a pretty good job first of

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all I'm almost always going to use these

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shadows and highlights adjustment to

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bring out lots of detail in the shadows

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and kind of flatten out the image I'm

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not using the highlights option at all

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but I've got Shadows cranked all the way

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up to 100. all right after that even

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though I like some of the grunginess

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that's kind of built into this image I'd

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rather clean it up as much as I can and

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then introduce any noise or grunge as a

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more controlled deliberate effect so I'm

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going to use camera raw filter to clean

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up the image and I'm not messing with

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any of the color or exposure settings

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I'm just going into the detail section

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and using the noise reduction settings

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I've got noise reduction here all the

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way up at 100 and then kind of just

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pushing around the detail and even some

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of these sharpening options to try to

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get rid of all the noise and grunge but

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leave as much of the sharp detail as I

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can okay next up is unsharp mask and

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when unsharp mask is purposely cranked

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up really high it can give you all these

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little outlines and sharp details that

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create almost more of an illustrated

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look next we're going to reintroduce

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some of that noise and grain first by

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adding some noise I'm going to use

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uniform noise at about 15 and set to

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monochromatic I'm going to follow that

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with gaussian blur with the radius it's

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just one pixel that's going to take that

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sharp detailed noise and turn it into

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more of a large chunky grain

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and finally I'm going to double down on

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the shadows and highlights adjustment

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I'm going to use that again to flatten

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out the image even a little bit more

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sometimes this additional shadows and

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highlights can be a little bit too much

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but on this image I think it's working

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pretty well okay we're ready for part

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three and here we're gonna colorize the

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image replacing these gray values with

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colors so I'm going to leave the black

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as black but let's replace this darker

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gray value what I'm going to do is

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create a new solid and for now I'm

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thinking about skin tone so I'm going to

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go with kind of a dark red then to make

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this red basically replace that dark

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gray I'm going to double click the layer

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and in the blend if slider the very

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bottom one for underlying layer I'm

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going to drag the blacks up and the

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whites down and find that very very

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narrow spot in the Spectrum where the

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dark gray is remember that darker gray

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is 33 gray so it makes sense that it

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would be right around here so now

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whatever this solid color is it's

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basically going to replace that darker

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Shadow color all right then let's create

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another color to replace the lighter

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gray again I'm thinking about skin tones

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so I'm going to do a lighter orange

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color then I'm going to double click for

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the blending options and Target the

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lighter gray which was 66 gray so that's

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going to be somewhere right around here

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and I will call this layer mid-tones

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color one then I'm going to create a

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solid that will replace those bright

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whites so kind of a light peach sort of

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color and since this is replacing the

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whites the blend if slider is going to

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be all the way up here at the top so now

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I've got these three colors and I'm

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going to push them around a little bit

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in relationship to one another but I'm

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still not too worried about the exact

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colors it's a little hard to get a sense

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of when you're only looking at these

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three colors and there's nothing for

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them to be in a relationship to so let's

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introduce some more colors first of all

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I want to create an alternate Shadow

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color maybe in some of these areas I

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don't want the Shadows to be red I want

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them to be more of a blue so what I'll

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do is right over the Shadows color

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create another solid sort of a bluish

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color and it doesn't need any kind of

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special blend diff settings or anything

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all I need to do is alt or option click

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between these layers to create a

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clipping mask so this blue is now

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sitting on top of the red and basically

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filling it in with blue instead now I

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actually do want to keep the mask on

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this blue layer because I can use this

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mask to decide where I want the blue

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shadows and where I want the red Shadows

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here's an important note though if I use

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the paint brush tool in this mask even

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at its hardest setting a paintbrush

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still has these slightly anti-aliased

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smoothed edges and that creates just a

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little bit of a soft transition between

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the colors and I don't want that I want

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absolutely crunchy pure colors so

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instead of the paint brush tool in The

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Mask I'm going to use the pencil tool

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it's basically the same as the paint

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brush but it has no anti-aliasing it's

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nice and sharp All or nothing and this

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way I'm only introducing one color no

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soft edges no purplish in between colors

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so what I'm going to do is fill this

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mask with black and then I'll just go

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through the image and use this mask to

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determine where I want this alternate

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Shadow color to be then we'll do the

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same thing for the mid-tones introduce a

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secondary mid-tones color so this should

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probably be a yellowish color that I can

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use for the blonde hair I'll use a

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clipping mask to put this on top of the

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mid-tones color and then I'm going to

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fill this mask with black and then just

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use the pencil tool to decide where I

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just want these yellow mid-tones finally

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an alternate highlight color a pure

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white so this is going to sit on top of

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the highlights color solid and then I'll

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use the pencil tool to decide where I

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want these white highlights Okay so

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we've now got two shadow colors two

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mid-tones and two highlights and there's

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nothing wrong with going back in and

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adjusting these colors as you go maybe

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you've got a reference image of an old

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screen print that you could pull samples

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from or you can just eyeball it like I'm

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doing here in any case that's the

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overall structure of this setup and that

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brings us to part four where I can

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continue to add elements underneath all

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these adjustments and colors so first

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I'm going to add a gray Radiance at the

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bottom here to create kind of a fade out

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I'll just set this layer to multiply and

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then maybe we can create a big blurry

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glowing version of Randy and I'm going

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to give this some noise and a little bit

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of blur to give it kind of a grainy look

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I'll add some typography in here and

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it's really just a matter of getting

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into these masks and painting or filling

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in with a pencil where and which one of

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these colors you want to apply to each

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element I'm going to drop some stars in

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the backgrounds and give these kind of a

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soft mask around the edges I can get

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back into that highlights mask and make

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some of these Stars pop out as white and

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then after pushing things around and I

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think I've established that these are my

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six colors we can go to another step

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where we start to move these colors

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around and what I mean is we've got our

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six colors and they're kind of paired

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with the shadows and the mid-tones and

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the highlights but there's no reason why

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I can't decide well maybe I want to

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reuse this blue in some of the

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highlights so by duplicating this blue

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solid and applying it in the highlights

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I can make some of these Bright Stars

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blue and I can copy this red into the

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highlights and make some of the Stars

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red additionally everything we've done

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so far has been underneath these colors

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and hard mix layers but of course we can

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put things on top of these layers we

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just have to make sure they're

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restricted to this color palette so this

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lightning bolt is going to sit on top

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but I'm using a little bit of noise and

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blur and then adding a threshold to make

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sure it's just pure white since white is

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one of our colors we're still good all

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right finally let's take this design and

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create a mock-up I'm going to copy this

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over to a t-shirt blank and the way I'm

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going to copy this is by using select

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color range I'm going to set it to

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select Shadows with the fuzziness and

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the range at zero and then selecting

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invert so that's going to select every

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pixel that is not black then I'm going

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to use command shift C to make a merged

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copy paste this onto a t-shirt blank and

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this would probably make a whole

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separate video in and of itself but

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we'll do kind of the rapid fire version

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I'm going to use a little bit of blend

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if to let through some of the blacks in

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the background and then I want to use a

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mask for some grungy texture here but if

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you'll indulge me for a second I really

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almost never use masks for this and I

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feel like I should do this the way I

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actually do this which is dragging in a

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high resolution texture then using blend

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if to knock out the blacks on that

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texture then putting it in a folder and

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setting the folder to zero fill and

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knock out shallow what's the point of

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that well it means we can use this

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texture as a mask but we get to keep it

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as a live smart object and avoid baking

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it into a mask where you get one shot to

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place it and get the contrast or the

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scale just right you can also try out

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different mask textures by putting them

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in this folder in any case that's it our

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80s rock t-shirt is done we can always

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dial in this final image with camera raw

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filter or some adjustment layers you can

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grab any of the textures I've used in

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this video or this t-shirt blank those

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are free on the texture lab site which I

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will link to below thanks for watching

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and I will see you next time

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thank you

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[Music]

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Related Tags
80s RetroScreen PrintingPhotoshop TutorialRock and RollTexture LabsCreative ProcessArtwork TechniquesDigital ArtT-shirt Design