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In this video, I'm going to show you how to add patterns and textures to clothing in Photoshop. Hi! Welcome back to the PhotoshopTrainingChannel.com. I'm Jesus Ramirez. In this video, I'm going to show you how to change textures and patterns in clothing in Photoshop. You're going to learn a technique where you're gonna learn how to change the patterns and textures just with one click. You will have to spend some time generating the different pieces for the document, but it's all worth it in the end. The results are amazing, and the composite with look very realistic. I debated about making this a short tutorial, where I simply went over the steps really quickly, but at the end I decided to spend more time in a tutorial, and show you an in depth look at how an effect like this is created. You're going to learn about creating vector mask, which allow you make very precise selections using vectors. And we're going to use these vectors to isolate different pieces of the shirt so that we can get a more realistic result. And the reason that we're doing that is because if we simply overlay one single over the shirt, it will not look realistic. If we cut each individual piece of the shirt into its own layer, and contain it in a vector mask, then we can control it, and we can apply filters and distortions, shadows and highlights, and all kinds of things to make it more realistic. Let me show you what the final result is going to look like. Once you've set up the document, if you use the proper non-destructive techniques, you'll be able to change it just with one click, and still maintain all those distortions that you applied. And before we start, I'd like to ask you that if this is the first time that you're at the Photoshop Training Channel, click on that Subscribe and Notification buttons. Also, if you're watching this tutorial, and you see a technique that you enjoy, click on that like button, and let me know in the comments what it is. Okay! Let's get started. The first step is to isolate each individual piece of the fabric of the shirt. So if you look at the shirt, you can see that we have individual pieces. If you look at the shoulder, you can see the seam between the sleeve and the rest of the shirt. So what we need to do is isolate each individual piece, so that we can control it individually. That will help the composite look more realistic. How you isolate the different pieces in your scene all depends on the articles of clothing that you're working with. Look for seams, and look for individual pieces and things that make sense that they will be a single piece. So you can break it apart as much as you want. In this case, I'm going to create several pieces. This graphic here is color coded, and it shows you all the different pieces that I'm going to isolate. But you don't need to worry about that. I just wanted to give you a visual representation. Again, your image will be different. First, let's talk about how we're going to isolate this image. There's really two ways of doing it. You can isolate each piece with a selection, using the Quick Selection tool. Select the layer, and then click-and-drag on the different areas. Hold Alt, Option on the Mac, to subtract from the selection, and you can work that way. Now, for something like this, this is not the most efficient way. I'm not going to use layer mask in this tutorial. Instead, I'm going to use vector mask. I understand that vector masks are a little harder to work with, and can be more confusing for beginners, but I highly recommend you using them, because they are more efficient, and for something like this they work much better. So I'll take the time to explain how they work. For now, I'm going to press Ctrl D, Command D, to deselect, and I'm going to work with the pen tool. If you're in Photoshop CC, you also have access to the curvature pencil, which I prefer for something like this. But if you're in CS6 or older, then you will only have the pen tool. So I'll show you how to work with both. I'm going to start by isolating this sleeve here. Not the entire sleeve, just this rolled up part right above his forearm. So if I zoom into this area, you can see that I have the pen tool selected. In the Properties panel, I've selected Path, and I also have the Path panel here, next to the Channels panel. If you don't see that, you can go into Window, and Paths. Notice what happens when I start clicking on the image. I created a work path. See that? And I made a point, and if I click again, I can make another point. Notice that before clicking on the second point, I didn't have a preview of the path, the line in between the two points. And without a preview, it can be difficult to know how your path is going to look like. To see a preview of the path, go into the Options bar, and click on the gear icon, and check Rubber Band. And notice that now I have a preview of how that path is going to look like. Again, the path is the line in between the two points. So what I'm going to do, is I'm just going to click, and then drag to change how that curve looks. That way we don't have a straight edge. See that? You can see that when I stretch these handles I also adjust the shape of the curve. So I'm clicking and dragging, and just selecting that piece of the arm. And you don't have to get it perfect in the first pass. Just get it as close as you can, and then come back and refine the path when you're done. In situations like this where I want the curve on the left hand side, but I don't want the curve on the right to have the same curvature, I can hold Alt, Option on the Mac, and click-and-drag on one of the handles, and bring it in close to the point, and then continue with that path. And I can come back and fix that area in a moment. And I know it may seem complicated, but with practice, you should be able to get it. When you click on the point that you started on, you will close the path, and then you can continue adjusting it. You can hover over a path, click to create a new point, and then click on the direct selection tool, and click-and-drag to adjust it. Like so. Also, I want to point out, for those of you who are a bit more advanced, that you could also hold Ctrl, Command on the Mac, and click on the point without going into the direct selection tool. So you can just stay on the pen tool, and hold control, and click-and-drag on the point. So that's how you would make a work path with the pen tool. Now, before we move on and work with the curvature pen tool, let me show you why we created a work path. We have this work path now in the paths panel, and we can name it. If I double-click on it, the window appears, and I can just call it Sleeve Bottom. This is the bottom on my sleeve. Now, I can just click away from it, and I deselect that path. If I click on the path, it's selected again. If I go into the Layers panel, and duplicate the layer, and then hide the layer below, and with the top layer selected I can hold Ctrl, that's Command on the Mac, and click on the Layer Mask icon. And watch what happens: I created a vector mask. This is not a layer mask. The vector is controlling the shape of that mask. I can also come in here with the direct selection tool and click-and-drag on these points to adjust the vector mask. Also, if you think that these selections are very sharp, and sometimes they can be very sharp, what you can do is click on the vector mask, and in the properties panel you can feather the edges. In other words, you can blur the edges. See that? See how the edges are blurry now? And just to show you, I'll create a solid color, and I'll make it dark gray, and bring it down. See that? See how we have blurry edges now? If I click on the vector mask again, and bring the feather down to zero, the edges are now sharp. And I'll double-click on the zoom tool to see the image at 100%. So this is the actual pixel size of that layer. So once again, I'll blur it, so you can see how you can adjust the vector mask. So that's why we're creating vector masks, because they're precise, and we can control them, and by isolating each individual piece of the shirt, we're going to make a more realistic composite. So I'll go ahead, and I'll delete these layers. And notice one thing. Even though we deleted that vector mask, if I go back into the Paths panel, you'll see it there. There it is. So I didn't actually delete it from the Paths panel, so we can have all our paths here and use them when we need to. And what I'm gonna do now is work on the rest of the sleeve, but this time I'm going to use a different tool. And whenever you start creating an new section of the sleeve, make sure that no path is selected, so you can click away on an empty area, because we don't want to add to that existing path. What I'm going to do now is select the curvature pen tool. This is what I prefer to use instead of the pen tool. If you have Photoshop CC, then I recommend this tool. So let me show you how to use it. Start by clicking here, on the corner, on the shoulder, and just click around the sleeve. Make a very loose selection. You don't have to be precise at all. Just go around the sleeve making points on the main areas of the sleeve. Then come back around to the other side, and click on the first point to complete the path. And there you go! Now what I'll do is double-click on the points that shouldn't have a curve, like this one here on the corner. So if I double-click on it, watch what happens. See how it straightened the edges of the curve? So now I can hover over the curve, and click-and-drag to create new points. So click-and-drag up to create a point. double-click on this one. Maybe click-and-drag down here. And you can see how quickly, and how fast we're tracing the edges of the shirt. So I highly recommend using this tool. And again, you can always come back and refine it, so you don't have to get it perfect in the first or second pass. That's all I'm really doing, clicking and dragging. And by the way, when you create vector paths, try to create a path that doesn't contain too many points. So the fewer the points that you create, the better. But obviously, you still want to be precise, and make sure that you follow every single curve. And I don't have to worry about the bottom part, because I already traced over it with the previous path. So I'm going to use that previous path to cut it out from this one. So I'm just going to move on to the other side, and continue tracing the shirt as best as I can. Okay, now I'm in the armpit, and I just gotta make sure that I follow the seam, and this should be good enough. So now I've selected the top part of the sleeve. So if I double-click on the path I can call it Sleeve Top. And that's the top part, and if I select that path, go into the Layers panel, I'll duplicate that layer, just so you can see. And click on the layer mask icon while holding Control, Command on the Mac. You can see how we make that selection. The problem is the bottom part. But we don't need to worry about that. Let me show you how to fix that. I'm gonna undo this step, and go back into the Paths panel, and we have the sleeve bottom, and the sleeve top. So if I select the sleeve bottom layer, then with the path selection tool, I select that piece, I can copy it by pressing Ctrl C, Command C on the Mac. I can come back into the sleeve top path, and press Ctrl V, Command V on the Mac, to paste, and now I have that path pasted on top of this sleeve. Then, from the Options bar, I can click on this icon, and select Subtract From Shape. That means that we're going to subtract this area from the other shape. So with the sleeve top path selected, if I go into the layers panel now, hold Control, Command on the Mac, and click on the layer mask icon, you'll see that we have only that part of the sleeve selected. And this is the same process that we're gonna use for the rest of the shirt. It's a repetitive process, and obviously I don't want to spend too much time doing the same thing over and over again, so what I'm going to do now is pause the video, and work on the rest of the shirt. Okay, I'm done making all of the paths. Here they are. If I click on them, you can see how they highlight on the image. I could also click on the top one, hold shift, click on the bottom one, and you can see how they're all highlighted here on the image. Now, there's one other thing that I want to do, because I really want to drive this point home, and that is creating paths to subtract from other paths. So if I select the Torso Right, I select the right side of the torso. And if I just go into Layers, and create a new solid color fill layer, you can see how that fill layer covers his arm. So if I go into the Paths panel, notice that I have a path labeled Arm. If I go and click on Path Selection tool, and click on that arm ... I go and click on, Path selection tool, and click on that arm. I can copy it, press Ctrl C, Command C on the MAC, then I can go into the torso, right path and just press Ctrl V, Command V, to paste. There it is, right on top of that torso. Then, I can go into this menu and select, Subtract From Shape. Now, with the torso right path selected, if I go back into the Layers panel and create a solid color Adjustment Layer, notice the difference. Now the arm is not being covered by that black, solid color. So remember to create paths that subtract from other paths to make your life easier. So, I can also go into the Paths panel, torso Left, notice how his hand is also covering part of that section. So, if I go into torso left, I can press Ctrl V, Command V, to paste. There it is, and I can subtract from shape. Go back into the Layers panel, and if I create a solid fill Adjustment Layer, you can see what that path is selecting. So remember to create shapes to subtract from other paths if you need to. And notice that we ended the path right past his wrist, that way we cover all the necessary areas. But anyway, now I'm going to delete these layers because we don't need 'em anymore, so I'm just gonna tap the Delete key several times, and I'm going to work on the base for the patterns. We're gonna to need a base that we can control. And what I'm gonna do is I'm just going to duplicate these layers, so I'm going to press Ctrl J, Command J on the Mac. Then I'm gonna go into the Paths panel, click on the top path, hold Shift, and click on the bottom path, but don't include any subtraction paths. So my arm path was only there to subtract things, so I'm not going to include it. Then I'm gonna go into the Layers panel, and I'm just going to hold Ctrl, that's Command on the Mac, and click on the Layer mask thumbnail, and notice that I created a Vector mask, not a Layer mask. So if I disable this layer, you can see what that looks like. You will see that I have some holes here, and that's because of how I overlaid some paths, but you can fix 'em by selecting this menu and clicking on Combine Shapes and it fill those areas in. So I'll quickly click-and-drag and just select these areas, and select Combine Path and I've filled in those path, and now I have my shirt. So all I really wanted was just a shirt. Then I can create a Curves or Levels Adjustment Layer, clip it to the layer below, and I can adjust the contrast of the shirt. Also I don't want any color on this shirt. You can see that there are some colors coming out of this shirt, I don't want that, so I'm just going to create a black and white Adjustment Layer and clip it to the layer below as well. I'm going to select all the layers by clicking on the top one, holding Shift, clicking on the bottom one, then press Ctrl G, Command G on the Mac, and everything gets placed into a group and I'll call it Base. So this is going to be my Base and I can control it as I see fit. And now it's time for the fun part. We're going to apply the texture, and the way that you want to apply the texture is by making it into a pattern. I already have some patterns enabled that I could use, like this one here. And by the way, if you don't have any patterns, let me quickly show you how you can find some that you can start using right away. If you are using Photoshop CC, the full version, unfortunately this will not work with the Photography Plan, so the full version of the creative cloud that gives you all the apps and all the services, then you can find patterns by going into the Creative Cloud app, selecting Assets, and under Feature just change the category to Patterns and you can have all these patterns that you can download and apply, and that's a pattern for the shirt. So you can click on a pattern and see preview. Also keep in mind the file type. There's JPEGS, PNGs and Vector graphics. Vector graphics will open up in Illustrator, so you will need to import those back into Photoshop, but a JPEG or a PNG will open directly in Photoshop. So what I'll do is I'll just find a pattern, like, maybe this one here, titled pears. I can click on it, just to see the file type. That's a JPEG so that will work without going into Illustrator. I can click on download and I get to choose where to download it in my Creative Cloud library. I have a library titled Tutorials, so I'll click on that, and it's currently downloading into my Creative Cloud library. If I go into the Libraries panel and select Tutorials, you can see it there. It's already there. And I got a notification saying that it has been added. So I can double-click on it and I can simply go into Edit, Define Pattern, give it a name, the default name is okay. I'll just remove the .JPEG and Press OK. Now, if I go back into my Patterns section, I can click on the new Adjustment Layer icon and click on Pattern and I have that pattern there. I can then, of course, adjust the scaling and work with that pattern. So that's how I created some of the patterns that you're gonna see in the tutorial. Some patterns I just made from scratch, using the Shape tool, and other patterns I downloaded from Adobe stock. But these are the patterns that we're gonna work with in this tutorial, but that was just a quick side tutorial, to show you how you can get patterns. So the first thing that you want to do is create a new pattern fill layer, and select the pattern that you want to use. In this case I'll start with this plaid pattern and I'll change the scale to 25 and Press OK, then I can reduce the opacity to see if that's gonna work. And it looks like it will. Then I'm going to click on the rectangular mark key tool and I'm just going to make a selection that is bigger than the largest piece that we're gonna need. The largest piece is either the left side or right side of the torso. They're both roughly the same size and this selection here is bigger than both, so this will work. Delete the default Layer mask and just create a new Layer mask. Bring the opacity back up to 100%, then convert it into a smart object. And we're converting this into a smart object for two reasons. Number one, working with smart objects allows us to work non-destructively, so we can always go back and make changes if we need to, and number two, if you duplicate a smart object it's linked to the previous version. So if you change the contents of one, you change the contents of the second one. Let me show you what I mean by that. I'm going to press Ctrl J, Command J on the Mac, and I'm going to press the V key on the keyboard, click-and-drag to select the Move tool. So now I have two pieces. Right? This piece and this piece. If I double-click on the smart object, either or, it doesn't matter which one, you can see my pattern fill layer. If I create a new pattern fill layer, and change it to this red one here, and change this scale to 25, actually in this case we'll go 50. And Press OK. Then save by pressing Ctrl S, Command S on the Mac and go back into our working document, you can see how we changed the contents. So smart objects is the secret sauce to changing the texture, just with one click. So I'm gonna go back into my pattern fill layer, disable this layer for now, close it and select, Yes. So I'll use this pattern fill layer to work on the sleeve. So I'm going to press Ctrl T, Command T to transform and I'm going to rotate it and try to place it accordingly. You can reduce the opacity so that you can see where you're placing it, then you can right click and select Warp, and you need to warp this so that the contours match as best as possible. Obviously it won't be perfect, but try to get a good contour. When you're done, just hit the Enter key and increase the opacity. I'm going to enable the base group. We'll need it soon, and actually just before that, I'm gonna go into Filter, Liquefy, and we're gonna use a liquefy filter to create the creases. So if I go into Shadow backdrop and select my background, I can use this opacity to see the changes that I'm doing to that layer and the background. So I'm going to use this slider accordingly as I'm working. And I'm going to start at the top, and I'm gonna zoom in so that we can see what we're doing. And you wanna use a large brush for this, and also use the freeze mast tool. So I'll show you how this works. First I'll increase the opacity so that we can see, and I can use the Forward Warp tool to push pixels around. I'm gonna undo that. If I select the freeze mast tool and paint, whatever is in red will not move when I use the Forward Warp tool. So what I'm gonna do is, reduce the opacity and just paint in areas that I don't want to move. In other words, I'm trying to create folds. So I'm gonna freeze some areas and then push areas underneath, so it'll create the illusion of a fold. And you'll want to use a very large brush for this, so increase the size of your brush by using the right bracket key on the keyboard, and then click-and-drag and push right under that fold. Like so. Then I'm going to select the freeze mask tool again, and now paint this area away. Select the Forward Warp tool, click-and-drag and move it forward, and I'll just keep doing that, over and over again, anytime there is a crease, because this is gonna help us create the illusion of a crease. And I'm only doing the larger creases, not the smaller ones. So I'm gonna go quickly here but then you'll be able to see how these adjustments are making the folds and creases look more realistic. Now I'll freeze this bottom part, select the Forward Warp tool, click-and-drag up, back into the Freeze tool. And by the way you can use the eraser here to erase those areas that you accidentally selected like I did here. I went over the crease. And I can click-and-drag and drag more of these pixels up, and I know this can be a tedious process, but it's worth it in the end. And I'm just gonna do a few more, but obviously take your time when you're working on this in your image. I would at least focus in areas with large creases and folds, like this area here, where the arm is bending, or other large folds that you find throughout the shirt. And when you're done, you can just just Press OK. And that's our result there. I know it looks a little crazy, but that's okay. So the first thing that we're going to do is create a vector mask. So I'm gonna go into my Paths panel and select the right shape. I'm looking for the left sleeve which is this one here, sleeve left. Select it, go back into the Layers panel, hold Control, Command on the Mac, and click on the Layer mask icon. It'll mask out that area. Then you can change the Blending Mode to Multiply. And look at the results. It looks very realistic. It looks as if the fabric is actually folding on those creases. Obviously we can come in here and adjust the base layers to better match the lighting of this scene. You can click-and-drag up and make adjustments to the brightness, so that's why we created these layers to adjust how shadows and highlights affect the sleeve. Also we're going to add one more level of distortion. We're going to use the Displacement map, to make this even more realistic, and a Displacement map is simply an image that distorts another image base on it's luminous values. So if we use a black and white version of this image, then we'll get a distortion that makes it seem as if the fabric is wrapping around the bumps and creases of the image. But anyway, the first thing that you need to do is select your background copy and duplicate it. So I'll right click on it and select Duplicate layer, and select new. So it duplicates it in a new document. Then I'm going to press Control, Shift, U. That's Command, Shift U on the Mac, to de-saturate the layer, because the displacement maps will not really use the color of the image, and this watch, I can tell, is going to give us some problems. So I'm just going to use the Smudge tool to smudge the watch- The smudge tool to smudge the watch in so that it doesn't show up in the bump map, and I can maybe even move some of the pixels in the hand as well. And I think that should be okay, so I'm going to double-click on the hand tool and I'm going to save this document as a psd. File, save as, and that can just save it on this folder, and I'll call it displacement shirt. Save it, Press OK. And if I go back into my working document and click on this arm layer, I can zoom in so that you can see what's going to happen here, then I can go into filter, distort, displace. These values, represent how much we're going to distort it. I would start with a lower value of five and if you need more increase it. So I'll start with five on horizontal and vertical and Press OK, then find your displacement document and open it. Notice how Photoshop further distorted those pixels based on the luminance value of the displacement map? That's before and after. The great thing about working with smart objects is that you can always edit them. I think that my displacement is a little strong, so I'm going to click on the displace label on the smart object to edit it, and I'll change the value to three and Press OK. Select that displacement once again and then run that filter. And I'll zoom out to 100% to get an accurate representation of the distortments that we made, and I think it looks pretty good. And again, the great thing about using this technique is that no matter which smart object you select you can change it to a different pattern, save it, and it's applied with all those distortions so you can see how that looks very realistic. And to continue fine tuning this sleeve I'm going to create a new layer and press Ctrl Alt G, Command Option G on the Mac, to make it into a clipping mask so that this layer only affects the layer below, which is the sleeve. Then I can just call it dodge and burn. If I hold shift and backspace that brings up the fill window and I can fill it with 50% gray, then change the Blending Mode to soft light, which makes 50% gray invisible. Then with the burn tool or dodge tool I can change the luminosity of that layer, so if I select the burn tool and use the right bracket key on the keyboard to increase the size of my brush, make sure that midtones is selected and maybe reduce the exposure to around 50% or so percent. I can start darkening these pixels and you can see the before and the after and I can also do the same thing with the highlights. Make sure that midtones is selected. An exposure of 50 or so is good, and I can start painting highlights in here as well. So that's before and after. And of course I can use the original highlights of the shirt as a guide so I can zoom in and I can click on this layer, even though the layer's disabled I can still paint, so I'm going to paint. I really can't see the results, but I'm mainly focused on just getting those highlights right. It's okay if I can't really see what I'm doing, I'm just following the highlights and I'm obviously doing it quickly here. So if I enable this layer, you can see now how I've enhanced shadows and highlights of that layer, and if I change the Blending Mode to normal you can see how I affected those areas. But anyway, if I go back into soft light you can see that effect. Overlay is just a stronger effect. I don't think it'll work in this case, so soft light is the way to go for this image. But, you may want to try overlay on yours. I'm going to double-click on the hand tool and you can see the before and the after. Now obviously I'm not going to do every single piece on this shirt because the process is the same and I don't want it to get repetitive, but I will do one other piece just to show you some shortcuts that you can take. So when I'm going to do now is put everything into a group with the dodge burn layer selected, I'm going to click on the pattern fill layer by holding shift, then press Ctrl G, Command G, on the Mac to put them both into a group and just give it a name, left sleeve. And if I wanted to do the bottom part of that sleeve I could just duplicate this group and I can call it left sleeve bottom, and I can make some changes. First I'm just going to click on the dodge and burn layer, hold shift and backspace and it with 50% gray. It makes everything invisible, which is what I want. Then I'm going to remove the liquefy filter, so I'm going to open up the smart object, right click on liquefy, and select delete smart filter. That displacement map is fine, it's the same one that I'm going to use anyway so I'll leave it, and we don't need this vector mask. I'm going to create a new one, so right click on it and delete it. Then I'm going to press Ctrl T. Command T to transform. Press OK, and I want to reset this transformation. To reset that transformation, I'm going to right click and select warp, and under this drop down menu just select none, so that brings the layer right back to where it was originally. And I can now press Ctrl T, Command T on the Mac, again and rotate it and adjust it for this part of the sleeve here, right about there. Then I'm going to go into the paths panel, select sleeve, left bottom, go back into the layers panel, hold Ctrl Command on the Mac and click on the layer mask thumbnail to create a vector mask. If I zoom in you can see how that's starting to look like it belongs. And of course with this layer selected I can go into filter, liquefy, and I can make any liquefy adjustments I need to, to this layer. And remember to enable the backdrop and select background or whatever your original layer is, and you can adjust the opacity accordingly. And use a four warp tool in this area where the arm is bending, you gotta push those pixels in, then Press OK. And if you zoom in you can see the result that looks really good, and then you can use the dodge and burn tool to add highlights and shadows. I'll select the dodge tool and data few highlights, then select the burn tool and add shadows. Obviously I'm going fairly quickly here, but in your design spend a little more time on the details and that's all you really need to do. Keep working on every individual piece of the shirt and fine tune it. I know it's a repetitive process so I will not record it, but I'm doing the same thing that you just saw with all the pieces. So I'm pausing the video and I'll come back when I'm done. Okay. I'm back and I completed the project. I'll briefly go through the things that I've changed and added and then we'll work on the next steps. First of all, on the original smart object that I duplicated I gave it a label, a red label, and you can add labels to layer by right clicking on them and selecting a color. I chose red for this layer and just called it replace so that I can easily replace the texture, so I can double-click into a smart object, it opens up and I can apply new texture, close it, save it, and then go back into my working document and the changes are applied. And I wanted to use this texture because it has those straight lines that make it easier to see the distortions that I have applied. So another thing that I did was I put all the pieces into this group called pattern and they're all in individual groups, color coded. The one that we worked on together was the left sleeve and I made a couple of changes. I removed the dodge and burn layer from the bottom part of the sleeve. I didn't think it needed it because I was using the base layer, and I was adjusting the luminance values through here and I felt that it didn't need it in that case. Also, and another thing that I did is I added a shadow layer to the bottom part of the sleeve. I wanted a stronger shadow right here on his armpit and under the arm. So all I really did was paint with black with a soft brush and then clip it to the layer below. Another way of creating a clipping mask is by hovering in between two layers and holding Alt option on the Mac or you can press Ctrl Alt G to create a clipping mask. But anyway, that's basically what I did on that layer and on all the other layers. So if you open up the other layers, you will see that I also have dodge and burn layers. In this case I added an overlay highlight, so I just painted with white and changed the Blending Mode to overlay to add a stronger highlight. So there was the little details like that, that I did. And one thing that I'm noticing now here on the right collar is that this part is a little too dark. So I think is this shadow here. That's not the right one. Maybe this one? Yeah, that's the one. It's a little too dark, so maybe bring down the opacity even more. So just keep adjusting it until you get the results that you want. But anyway, the next step is to create Adjustment Layer so that you can adjust the shirt as you see fit, so I'm going to create another group and I'll just call it adjustment. Then I'll create a Vibrance Adjustment Layer and the open up the base layer and select this vector mask here, the one that controls the entire shirt, and I'll simply hold Alt, Option on the Mac and click-and-drag it into the adjustment group so that any Adjustment Layer that we put in that group only controls the shirt so I can increase the Vibrance, which is controlled saturation. It protects highly saturated pixels and it adds more saturation to pixels that don't have much saturation. Or regular saturation, which bumps saturation at all pixels equally. And if you want, you can also create something like a curves or levels Adjustment Layer. Change it to luminosity to better fine tune the contrast of the shirt, that includes the color and everything else. So I'll collapse these groups and you can see now how each of these groups applies a different effect to the shirt. I can come in here and double-click on the pattern smart object, create a new pattern, and I'll just select a different one, maybe one that you haven't seen yet. You can probably go with this one, change the scale to 25, Press OK, close it, save it, and now that we're back into a working document you can see how all that work that I did to create the grooves, creases, and distortions on the shirt make it look more realistic, and I did the same thing on the rest of the shirt. And I'll fit the image to screen so that you can see it. And every time you change the pattern on a shirt you may have to adjust the luminosity or saturation. And, of course, in your project spend a little more time fine tuning the image. Let me know in the comments below what you learned from this tutorial. If this is your first time at the Photoshop training channel then don't forget to click on that subscribe and notification buttons. Thank you so much for watching and I will talk to you again in the next tutorial.