Design Studio · Tutorial 05 · Communication 11 + Multimedia 12
FRESH IMPACT.
Design a label. Wrap a cylinder. Recover the surface. Build a complete citrus-launch advertisement.
32 illustrated stagesFive 60-minute studio sessionsAfter the ten-class Basecamp
Source-based target: a programmatic construction from the supplied can, citrus and splash. Not a Photoshop screenshot or tested PSD.
From surface to scene.
The label starts as live type and shapes. It must survive a curved projection, retain the can’s lighting and update when the client changes the copy.
The splash passes behind and in front. The product has contact and a linked reflection. The final artwork remains editable.
This build adds precision and integration—not just more elements.
Your production brief
Build the product, not just the poster.
You are creating a screen advertising concept for the fictional sparkling-water brand ZUNO. The brand should feel lively and citrus-led. The can must stay cylindrical, its print must keep believable lighting, and the fruit and water must share a clear depth order.
Required assets: the 800 × 1200 can, 400 × 400 citrus and 1200 × 900 splash. All are in the pack.
Deliver: your editable label, can preparation and citrus preparation; a layered main advertisement and wording revision; two 1400 × 1800 PNG proofs; and a practical change file with a short explanation.
Use installed Arial Regular/Bold or a comparable sans serif. The reference uses a metric-compatible substitute. Do not distort letters to chase a pixel-perfect match. No font files, stock purchases or generative credits are required to complete the steps.
Source and validation note. The can is a procedural teaching render; fruit and water are prepared synthetic image details. References use these same sources, assembled outside Photoshop. The guide and assets can be inspected now; the end-to-end Photoshop sequence and learner timing still need a local pilot. A native completed exemplar PSD is not supplied.
Read the target before clicking
DOCUMENT identifies the active file. SELECT identifies the layer, path or thumbnail. TOOLS / ROUTE identifies the operation. Each stage explains Why / Check / Fix. Coordinates refer to the active canvas, not your screen. Type positions are approximate baselines. Enter px after sizes. Windows Ctrl/Alt corresponds to Mac Cmd/Option.
Five studio sessions. A genuine technical step up.
The source-to-design progression uses the same assets throughout.
Main/revision artwork, practical evidence and working source files.
Planning estimates, not measured learner completion times. These sessions are after Basecamp; they do not silently extend its original ten-class timetable. Budget another session if Pen work or file management needs it. The Multimedia extension adds one or two studio sessions.
What is new?
New: the dedicated Content-Aware Fill workspace; standard Pen anchors and handles; vector masks; Cylinder Warp and small Distort corrections; a constructed label; linked reflections; Screen-backed splash integration; Color Balance; Camera Raw finishing; multi-level Smart Object revision.
Revisited: pixel masks, clipping, Multiply, split Blend If, brush control, live type, guides and checked export. This lesson does not claim to cover displacement mapping, Puppet Warp, glass refraction or every remaining Photoshop tool.
Stages 1–6 · source repair, Pen anchors and a vector-mask silhouette.
01
Read the production brief and inspect the sources
DOCUMENT: Project folder; no Photoshop edit yet SELECT: The source images, not a finished advertisement TOOLS / ROUTE: Open assets; compare; record an intention
Extract the student ZIP. Keep the assets, guide and your own working folder together. Open 01_plain_can.png, 02_lime_source.png and 03_splash_black.png to inspect them. The grid is a diagnostic aid, not a label.
Your fictional client is ZUNO, a sparkling-water concept. Make the can feel cylindrical and cold, use citrus as a visual cue, and give the composition a clear reading order. Do not add nutrition, sustainability or performance claims.
Notice the blue inventory tape on the can shoulder, the grey fruit backdrop, and the true-black splash background. Each needs a different treatment. The can’s broad highlight is on its left; retain that light direction.
Plan three depths: rear splash and distant fruit; the upright can; foreground fruit and water. Reserve the upper-left for FRESH / IMPACT. Record: “The viewer should notice ___, then ___.”
The can is a procedural teaching render. The fruit and splash are prepared AI-generated image details. No photographed product or real brand is claimed.
WHYThe image sources constrain the lighting and method. A believable result starts with compatible decisions, not with adding a filter at the end.
CHECKYou can identify the object, label, surface-lighting and depth problems separately. All three source images open.
FIXOnly a complete advertisement opens? That is a reference. Return to assets. Do not crop the finished reference to obtain your working can.
Original classroom construction and design direction.
Open 01_plain_can.png with File > Open. Save locally as Lastname_Zuno_Can_Prep.psd. Keep the original PNG unchanged. Unlock Background if necessary and name the layer Source.
Duplicate Source with Ctrl+J / Cmd+J. Name the lower copy Original backup and hide it. Keep Source visible. Turn on Window > Layers, Paths and Properties; set ruler units to Pixels.
Zoom to the blue tape on the upper shoulder, around x315–445 / y170–210. Select Lasso from the L tool group. Use New Selection, Feather 0 px and Anti-alias on.
Draw a loose closed selection just outside the blue tape, including a small border of clean metal. Do not include the rim or the full width of the can. Leave the selection active.
The blue studio tape was deliberately added for the repair exercise. The target preserves the shoulder’s gradient.
WHYThe tape would still show above the label. Removing it is a real product-preparation task; a source backup is not the same thing as relying on History.
CHECKOnly the blue tape and a small surrounding margin are selected. Original backup is hidden.
FIXThe selection includes the top rim? Deselect and redraw it more closely. Do not select the entire can for this repair.
Method basis: A1. Values and project sequence are authored for this source pack.
03
Choose the sampling area in Content-Aware Fill
DOCUMENT: Can_Prep.psd SELECT: Source layer and the active tape selection TOOLS / ROUTE: Edit > Content-Aware Fill; Output To: New Layer
Choose Edit > Content-Aware Fill. In the dedicated workspace, inspect the preview on the right. The coloured sampling overlay on the left shows where the replacement can draw information from.
Start with Auto sampling. Use the Sampling Brush in Subtract mode to exclude the grey outside background, top rim, pull tab and strongly dark right-hand band. Leave nearby clean shoulder metal available.
Keep Rotation Adaptation at None, Scale and Mirror off. Start with Color Adaptation Default. The repaired patch should continue the shoulder tone rather than import a rim or a droplet from the wrong area.
Set Output To to New Layer. Click OK and deselect. Rename the new repair layer Tape repair. Inspect at 100%. A small Clone Stamp touch-up on that repair layer is acceptable; sample adjacent matching metal.
Toggle Tape repair to compare before and after. Keep Source and Tape repair separate and save. If the fill smears, revise the sampling region instead of repeatedly painting over the whole shoulder.
Sampling diagram: suitable shoulder material is local; the rim and outside background are not suitable substitutes.
WHYThis is the Content-Aware Fill workspace—not Spot Healing with a similar name. You control the sampling region and preserve the repair separately.
CHECKThe tape is gone, the shoulder remains continuous, and a separate Tape repair layer contains the change.
FIXThe command is unavailable? Confirm a pixel Source layer and an active selection. A dark or grey patch appears? Exclude that material from the sampling overlay and try again.
Method basis: A1 · A2. Values and project sequence are authored for this source pack.
04
Start a precision Pen path around the upper can
DOCUMENT: Can_Prep.psd SELECT: Source visible; Paths panel active TOOLS / ROUTE: Pen tool in Path mode; click-drag; Direct Selection
Choose the standard Pen tool from the P group—not Curvature Pen. Set Mode to Path. Enable Rubber Band in the path-options menu if that helps. You are drawing a boundary, not painting pixels.
Start at the top-centre rim, near (400,85). Click-drag to the right about 80 px to create a smooth point. Release. At the rightmost rim near (581,118), click-drag downward about 16 px.
Continue through (574,146), dragging down about 14 px, then (610,222), dragging down about 64 px. Use the enlarged path map. These positions are starting targets; follow the visible metal boundary.
A click without dragging makes a corner. A drag creates direction handles. Hold Ctrl / Cmd temporarily to adjust an existing point, or use Direct Selection, the white arrow. Do not add lots of tiny points to compensate for one wrong handle.
Keep this path open for the next stage. The top should be smooth and the shoulder should narrow then widen without a visible kink.
Path-control schematic over the actual source. Points are approximate guides, not a requirement to distort the object to match a table.
WHYA manufactured edge benefits from a deliberate curve. The Pen tool remains useful even when automatic selection gives a quick starting result.
CHECKA single open path follows the upper rim and right shoulder. No new coloured Shape layer covers the photograph.
FIXA filled shape appears? Change Pen mode to Path and restart the path. A curve loops? Undo the last point and reverse the direction of the drag.
Method basis: A3 · A4 · B2. Values and project sequence are authored for this source pack.
05
Complete the outline and correct its handles
DOCUMENT: Can_Prep.psd SELECT: The same open work path TOOLS / ROUTE: Pen; Direct Selection; Convert Point; Save Path
Continue down the right side: (610,1019), (574,1090), then bottom centre (400,1113). Keep the long side straight. At the lower curve, orient handles along the curve rather than toward the can centre.
Continue through (226,1090), (190,1019), (190,222), (226,146), and (219,118). Close the path by clicking the original top point when the small circle appears beside the Pen cursor.
Use the Pen anchor card for suggested drag directions. With Direct Selection, select one point and refine its position or handle length. Alt-drag / Option-drag a handle when the two sides need independent direction.
Inspect at 200% around the rim, shoulder and base, then at 100%. Exclude the photographed floor shadow. Keep the body straight and the original proportions.
Double-click Work Path in Paths and save it as Can outline. Keep the path selected. It is not yet a selection or a mask.
The separate Pen anchor card shows all twelve locations and the difference between moving a point and reshaping its handles.
WHYA path is an editable geometric decision. The rim and shoulder need curves; the long body does not need dozens of extra anchors.
CHECKCan outline is a named, closed path. It includes the metal but excludes the outside background and ground shadow.
FIXThe last segment becomes a straight diagonal across the can? The path is not closed to the correct starting point. Undo and continue from the open endpoint.
Method basis: A3 · A4 · B2. Values and project sequence are authored for this source pack.
06
Create a vector mask and package the repaired metal
DOCUMENT: Can_Prep.psd SELECT: Can assembly group, then its vector-mask thumbnail TOOLS / ROUTE: Group Layers; Layer > Vector Mask > Current Path
In Layers, select Source and Tape repair together and group them as Can assembly. Set the group blend mode to Normal. Original backup stays outside and hidden.
Click Can outline in Paths, then ensure Can assembly is the active group in Layers. Choose Layer > Vector Mask > Current Path. The outside grey background and old floor shadow should disappear.
Click the vector mask and use Properties: Density 100%, Feather about 0.2 px. Test against temporary white and dark Solid Color fills placed below the group. Hide both test fills after checking.
Inside Can assembly, select Source and Tape repair together, right-click and Convert to Smart Object. Name that inner object Metal base. The outer group vector mask must remain outside this object.
Save. To correct this outline later, use Direct Selection on the vector mask; do not rasterize it so that you can paint over a poorly placed anchor.
Structural diagram, not a simulated Photoshop screenshot. A vector mask is edited with path controls.
WHYThe vector mask controls the hard silhouette. The inner Smart Object protects the original image and the separate repair. Those controls solve different problems.
CHECKCan assembly contains Metal base and has a vector mask. The can is transparent outside its edge. The repair remains inside Metal base.
FIXNothing is hidden? Select the named path before Current Path. The Brush will not repair this vector edge: choose the white-arrow Direct Selection tool.
Method basis: A5. Values and project sequence are authored for this source pack.
Session B / 60-minute planning block
Design the label. Bend it onto the can.
Stages 7–13 · editable label artwork, cylinder geometry and a small fit correction.
07
Create the label as its own editable document
DOCUMENT: New Label.psd / 1000 × 1200 px SELECT: A new, empty document TOOLS / ROUTE: File > New; New Fill Layer; guides
Create a separate 1000 × 1200 px document, RGB, 8 Bits/Channel, 72 pixels/inch, Artboards off. Choose sRGB where offered. Save Lastname_Zuno_Label.psd.
Add a Solid Color fill named Label stock, colour #EFF6D5. Delete the unused blank Background. This canvas is artwork for a front-view mock-up, not a measured production dieline.
Add vertical guides at x220, x500 and x780. Keep essential wording between x220 and x780 so it does not vanish around the curved sides.
Add horizontal guides at y565, 632, 680, 870, 925 and 1070. These are baseline and placement targets for the copy and divider.
Keep the can-prep tab open but do not paste the can into the label document. We first build a flat design, then place that design into the can.
Red guides show the protected central copy area; the flat label will wrap around the can.
WHYSeparating flat artwork from the photographic mock-up makes a later label change possible without repeating the warp.
CHECKYou have two distinct PSD tabs: the 800 × 1200 can and the 1000 × 1200 label.
FIXThe can canvas changed size? Undo that change. Create a new label document instead of resizing Can_Prep.
Method basis: A6. Values and project sequence are authored for this source pack.
08
Build the label’s colour system with editable shapes
DOCUMENT: Label.psd SELECT: New Shape layers above Label stock TOOLS / ROUTE: Pen in Shape mode; Ellipse; Properties
Use Pen in Shape mode, Fill #D5EC59 and no Stroke. Click (0,0), (1000,0), (1000,200), (0,420), then the first point. Name the closed shape Upper band.
Create an Ellipse shape named Lower sweep. Set Fill #C5DE38, no Stroke, X −330, Y 765, Width 895, Height 895. It deliberately extends beyond the canvas.
Create another Ellipse named Citrus field: Fill #DAEA8C, no Stroke, X620, Y765, W550, H550. Keep it above the sweep.
Group these shapes as 01 LABEL ART. Do not rasterize or crop away the parts extending outside the label canvas.
Toggle the group. You should see simple flat shapes, not light and shadow painted into the label. The can’s material lighting will be added in the mock-up.
The label artwork before type. Off-canvas circles are intentional design components, not an error.
WHYThe flat design provides colour and structure. Adding fake lighting here would compete with the photographic can lighting later.
CHECKThe pale label stock, diagonal band and two circular fields remain separate editable layers.
FIXA selection appears rather than a shape? Set the Pen mode to Shape. An unwanted outline appears? Set Stroke to None explicitly.
Original classroom construction and design direction.
09
Construct a citrus motif instead of importing a logo
DOCUMENT: Label.psd SELECT: New shapes inside 01 LABEL ART TOOLS / ROUTE: Ellipse; Line in Shape mode; grouping
Create an Ellipse with Fill None, Stroke #617E25, 9 px, X690, Y835, W410, H410. Name it Citrus outer ring.
Duplicate it, reduce its size to W354 / H354 and position X718 / Y863. Change the stroke to 4 px. Name it Citrus inner ring. Its centre is (895,1040).
Use Line in Shape mode, stroke #617E25, 5 px. Draw four diameters through the centre: horizontal, vertical and the two 45° diagonals. Use Shift when constraining the lines.
Keep line endpoints at the inner circle, approximately x720–1070 and y865–1215. The right/lower parts extend beyond the canvas. Group both rings and lines as Citrus motif.
Keep the motif lower and to the side. Its job is to reinforce citrus while leaving the central brand wording clear.
The rings and diameters are an abstract citrus cue. They are not a photograph or a nutrition claim.
WHYA simple repeatable motif becomes part of the identity. It is editable artwork, not a premade effect students cannot revise.
CHECKThere are two circular outlines and four line shapes. They share one centre and remain editable.
FIXThe small ring moved off centre after resizing? Check its X/Y values as well as width and height. Do not eyeball four different centres.
Original classroom construction and design direction.
10
Build the live label typography
DOCUMENT: Label.psd SELECT: New Type layers above 01 LABEL ART TOOLS / ROUTE: Horizontal Type; Character; Paragraph
Create a group called 02 LABEL COPY. Use installed Arial Bold or a comparable installed sans serif. Keep horizontal/vertical character scale at 100%, baseline shift 0 and tracking 0 unless specified.
Create centre-aligned point Type ZUNO: 171 px, colour #102F27, centre baseline (500,565). Create SPARKLING WATER on a separate layer: Bold 40 px, baseline (500,632).
Add a Rectangle shape at X408, Y676, W184, H8, fill #688925, no Stroke. Keep it below the words in the same copy group.
Add LIME: Bold 78 px, centre baseline (500,870). Add CITRUS EDITION: Bold 29 px at (500,925). Add 330 mL: Regular 25 px at (500,1070). All use #102F27.
Enter px after type sizes. Commit each text edit before moving it. Adjust a substitute font slightly to fit the central area; do not squeeze its character width.
Flat-label reference: the actual design you construct before applying the cylinder warp.
WHYThe identity must survive curved projection. Large central copy and quieter side art give it enough room to do so.
CHECKAll wording is live Type, centred on x500. No font file, logo image or finished label asset is needed.
FIXNew text inherits an old effect or alignment? Reset Type colour, scale, alignment and layer effects before continuing.
Original classroom construction and design direction.
11
Place your own label into the can preparation
DOCUMENT: Can_Prep.psd SELECT: Metal base row inside Can assembly TOOLS / ROUTE: File > Place Embedded; Free Transform
Save Label.psd. Return to Can_Prep. Select Metal base inside Can assembly. Choose File > Place Embedded and select your own Label.psd—not the flat-label reference PNG.
Name the placed layer Print artwork. It must sit above Metal base and inside Can assembly. Leave its blend mode Normal and Opacity 100%.
Use Free Transform with width and height linked. Set W660 px / H792 px, centre reference point X400 / Y621. Commit. The unwarped label extends past both can edges; the group mask hides the overflow.
Double-click Print artwork’s Smart Object thumbnail. Confirm you can see the label’s live text and shape layers. Close that contents tab without changing it.
The placed object is an embedded copy. Editing the external Label.psd later will not automatically update it; the later revision step teaches the correct nested route.
Before warping, the label is flat. The silhouette mask clips its sides but does not make the design cylindrical.
WHYThe label starts at a sensible vertical scale. Cylinder Warp will project its width around the can; plain scaling alone would flatten the typography.
CHECKPrint artwork is a Smart Object above Metal base. Its contents contain the real editable label you made.
FIXOnly one flat image opens inside Print artwork? You placed the reference PNG. Delete that placed layer and embed your own layered label PSD.
Method basis: A6 · B1. Values and project sequence are authored for this source pack.
12
Wrap the label around the cylinder
DOCUMENT: Can_Prep.psd SELECT: Print artwork IMAGE thumbnail, not the group vector mask TOOLS / ROUTE: Edit > Transform > Warp; Warp: Cylinder
Choose Edit > Transform > Warp. In the Options bar, select Cylinder from the Warp preset list. Do not use Type > Warp Text or Photoshop’s retired 3D workflow.
The initial preset can be exaggerated. Use the bottom-left and top-right corner controls to bring the label’s side boundaries near x190 and x610. Aim for side-top points near y225 and side-bottom points near y1010.
Use the top-centre curvature control so the top boundary bows down to about (400,253). This also influences the lower arc. Then adjust the bottom-centre control so the lower boundary reaches about (400,1038).
Keep the horizontal perspective control centred for this straight-on can. Compare the arcs with the can’s rims: shallow, smooth curves—not a deep smile. The side artwork compresses more than the central identity.
Commit. The coordinate map is a geometric target, not a claim that every Photoshop build gives identical preset values. Reopen Warp to refine the same object; do not rasterize it.
Cylinder target schematic: side top ≈225, centre top ≈253; side bottom ≈1010, centre bottom ≈1038. Follow the source, not the illustration’s exact curve.
WHYThe curved boundary and unequal side compression make the print follow a cylindrical surface. A cutout mask alone cannot do that.
CHECKThe centre wording is readable; the side motif curves away; the top and bottom print edges echo the can rather than staying straight.
FIXCylinder is missing? Use the documented Custom Warp fallback in the teacher notes. Do not substitute the obsolete Photoshop 3D tools or flatten the label.
Method basis: A7 · B1. Values and project sequence are authored for this source pack.
13
Refine edge coverage without crushing the lettering
DOCUMENT: Can_Prep.psd SELECT: Print artwork; keep the can and vector mask stationary TOOLS / ROUTE: Edit > Transform > Distort; inspect at 100%
Inspect both sides and the curved top/bottom at 100%. The print should cover the intended body region while leaving the metal shoulder and base visible.
When one side is slightly short, use Edit > Transform > Distort to move that side’s corner a few pixels outward. Keep any adjustment small and commit. Do not change the entire can’s width to hide a label-fit problem.
If the central wording looks excessively compressed, return to the Cylinder warp and check the centred perspective control before using any further distortion.
Toggle Print artwork off: the repaired blank can remains. Toggle it on: only the body receives the artwork. Save a checkpoint image for the later comparison with restored material.
Keep the label’s Warp editable. The original flat label remains inside its Smart Object with no photographic shading baked into it.
Flat design → cylinder check → wrapped print → material restoration. The reference projection is illustrative, not a Photoshop-recorded transform.
WHYA small fit correction belongs to the print layer, not to the product’s silhouette. Geometry is checked before lighting can distract from it.
CHECKNo pale side seam shows where the label should reach the can edge. Metal rims remain visible and the brand is not pinched.
FIXA large reshape is necessary? Stop and correct the initial placement or cylinder arc. Distort should refine a sound warp, not rescue an arbitrary one.
Method basis: A7 · B1. Values and project sequence are authored for this source pack.
Session C / 60-minute planning block
Restore the material. Start the scene.
Stages 14–19 · surface shade/sheen, reusable contents, studio field and source selection.
14
Restore the can’s darker surface information
DOCUMENT: Can_Prep.psd SELECT: New Metal shade copy above Print artwork TOOLS / ROUTE: Layer Via Copy; Multiply; Create Clipping Mask
Select Metal base and duplicate it using Ctrl+J / Cmd+J. Name the copy Metal shade. Drag it above Print artwork, keeping it inside Can assembly.
Set Metal shade to Multiply, Opacity 70%. Choose Layer > Create Clipping Mask so it clips to Print artwork. Leave Print artwork itself Normal at 100%.
The photographed-style light band, darker right side and condensation shadows should now affect the label. The clipping means this extra shading does not double-darken the bare rims.
Toggle Metal shade. Compare the label’s flat state with the material state. Reduce opacity if the pale stock becomes muddy, but keep a clear cylindrical light-to-dark relationship.
Save. The underlying Metal base remains untouched; the clipped shading copy is a separate control.
The reference uses the source’s tonal variation to model the print. The exact blend strength is a starting value for this prepared can.
WHYWarp sets the shape; surface shading establishes volume. The same source lighting is more coherent than an arbitrary Drop Shadow around the label.
CHECKThe label no longer looks like a flat sticker. Metal shade is clipped, and the bare top and bottom keep their original lighting.
FIXThe grey source rectangle returns? Check that the layer is inside Can assembly and clipped to Print artwork. Do not erase its background again.
Method basis: A8. Values and project sequence are authored for this source pack.
15
Recover bright metal detail without washing out the label
DOCUMENT: Can_Prep.psd SELECT: New Metal sheen copy above Metal shade TOOLS / ROUTE: Layer Style > Blending Options > Blend If: Gray
Duplicate Metal base again. Name the copy Metal sheen and place it above Metal shade. Clip it to the same Print artwork base. Set Normal, Opacity 20%.
Open Layer > Layer Style > Blending Options. In Blend If: Gray, use This Layer. Move the black handle to 175, then hold Alt / Option and drag its right half to 242.
Leave This Layer’s white handle at 255 and Underlying Layer at 0/255. The 175–242 transition removes darker source tones gradually while retaining the brightest surface detail.
Toggle Preview. The label should retain its colour and readable ZUNO lettering while the shoulder-direction sheen and tiny highlights return. Lower sheen opacity before sacrificing legibility.
Confirm and save. The shade and sheen should be independently adjustable. Neither should alter the product’s outer boundary.
Tonal-control schematic showing the correct row and the gradual 175–242 highlight transition.
WHYBright and dark surface information are separate controls. Splitting the threshold avoids a hard, cut-paper highlight edge.
CHECKThe source’s bright details sit over the print. The black slider is split on This Layer—not on Underlying Layer.
FIXThe printed letters disappear in broken patches? You probably adjusted Underlying Layer. Reset that row and use This Layer instead.
Method basis: A8. Values and project sequence are authored for this source pack.
16
Prove that the label can still change
DOCUMENT: Can_Prep.psd; then embedded Label contents SELECT: Print artwork Smart Object thumbnail TOOLS / ROUTE: Edit Contents; live Type edit; Save and Close
Double-click Print artwork to open its contents. Change CITRUS EDITION temporarily to CITRUS TEST using its existing Type layer. Do not resize the label canvas.
Save the contents, close that tab, and inspect the can. The wording must update inside the same warp and under the same shade and sheen.
Reopen Print artwork and restore CITRUS EDITION. Save and close again. Keep the layer structure: Metal sheen and Metal shade clipped to Print artwork; Metal base beneath them; the outer Can assembly vector mask.
Hide any check backgrounds and the original backup. Save Can_Prep.psd with transparency outside the can. Accept Maximize Compatibility when prompted.
This test is part of the workflow. A label that looks good but can no longer be edited is not a successful mock-up master.
Document route: can prep → Print artwork → live label copy → Save → close. Every arrow is an actual editing location.
WHYEditable construction becomes meaningful when you demonstrate a real update. This is not a cosmetic layer-naming exercise.
CHECKThe temporary word changed on the curved can, then restored. The warp and material controls survived both updates.
FIXNothing updates? Save the actual embedded contents tab before closing it. Editing the separate external Label.psd alone does not change an embedded instance.
Method basis: A6 · A9. Values and project sequence are authored for this source pack.
17
Build a studio field with a deliberate light source
DOCUMENT: New Ad_Main.psd / 1400 × 1800 px SELECT: New background layers TOOLS / ROUTE: File > New; Gradient Fill; Brush; groups
Create a new 1400 × 1800 px RGB/8 document, 72 ppi, Artboards off, sRGB where offered. Save Lastname_Zuno_Ad_Main.psd.
Add a Gradient Fill: top #061C1B, bottom #173D31, Linear, Angle 90°, Scale 100%. Name it Studio field and group it as 01 STUDIO. Delete the unused white Background.
Inside 01 STUDIO, add a pixel layer called Back light. Use Soft Round Brush, 1600 px, Hardness 0%, colour #5D8041, Normal, Opacity 75%, Flow 100%. Click once near (990,680). Adjust layer opacity to retain a dark text area on the left.
Add a second subtle Floor glow near (830,1650), Soft Round 1200 px, colour #8DAA59, brush Opacity 12%. Keep the field seamless; no hard horizon line is required.
Add vertical guides at x80, x700, x915 and x1320. Add horizontals at y405, y1407, y1593 and y1740. The y1407 line is the can’s ground-contact guide.
Constructed studio field and major placement zones. Glow falloff can vary; keep the intended light direction and text space.
WHYThe bright field is behind the product while the upper-left stays dark enough for copy. Lighting and negative space are planned together.
CHECKA dark green studio field has a restrained right-side glow and space for the can and headline. No product is placed yet.
FIXThe whole background becomes bright yellow-green? Reduce the glow layer opacity. Do not repaint the dark field on top of it.
Original classroom construction and design direction.
18
Prepare the citrus and inspect its rind
DOCUMENT: New Lime_Prep.psd / 400 × 400 px SELECT: Lime source image, then its pixel mask TOOLS / ROUTE: Magic Wand; Inverse; Select and Mask; Brush
Open 02_lime_source.png and save Lastname_Zuno_Lime_Prep.psd. Unlock and rename Source. The prepared image is 400 × 400; do not pretend enlarging it creates additional photographed detail.
Use Magic Wand to select the neutral-grey outside area: Tolerance 22, Contiguous on, Anti-alias on. Shift-click any missed outside region. Invert the selection to the fruit.
Open Select and Mask. Start Smooth 1, Feather 0.3 px, Contrast 10%, Shift Edge −2%. Inspect on black and white. Protect the thin rind instead of cutting away every pale edge.
Output Layer Mask. Use a small ordinary Brush on that mask for local corrections. Keep the visible flesh and rind; remove grey outside pixels. Do not soften the entire fruit.
Convert the masked fruit layer to a Smart Object to keep the cutout and source together. Name it Lime master. Hide any check fills and save with transparency outside the fruit.
Prepared citrus source and two-background checks. The cutout reference is teacher-only support, not a starter mask.
WHYThe can’s hard manufactured edge suited a vector mask. The irregular rind benefits from a pixel mask. You are choosing methods, not repeating one automatic button.
CHECKThe fruit has a recoverable mask inside its Smart Object and no grey rectangle around it.
FIXWhite rind disappears with the background? Lower the Magic Wand tolerance or restore that rind on the mask. White highlights can be part of the subject.
Original classroom construction and design direction.
19
Place the rear splash using Screen correctly
DOCUMENT: Ad_Main.psd SELECT: New Rear splash above 01 STUDIO TOOLS / ROUTE: Place Embedded; Free Transform; Screen
Create an empty group 03 REAR ELEMENTS above 01 STUDIO; we will insert the floor group between them later. Select the new group before placing the splash.
Place Embedded 03_splash_black.png. Name it Rear splash. Set its full source frame to W1200 / H900 px, centre reference X780 / Y920, Rotation 0°. The frame top-left is (180,470).
Set Rear splash to Screen, Opacity 80%. The prepared black background should disappear against the green studio, leaving brighter water detail.
Do not run Select Subject on this splash or delete black with an eraser. Screen combines light values; it is not a physically complete refraction model. It works here because the prepared background is black and the studio is dark.
Keep the highest part of the water away from the headline area. Save. The can will cover part of the splash in a later stage.
A black-backed light element behaves differently on dark and light backgrounds. The comparison is a construction study.
WHYA hard cutout would discard subtle water edges. Screen retains brighter detail while black contributes no visible change.
CHECKWater is visible without a rectangular source background. The rear splash is inside 03 REAR ELEMENTS.
FIXA grey rectangle remains? Ensure Screen is on the actual splash layer, not only its group. Inspect whether an unintended adjustment lifted the source black.
Method basis: A8. Values and project sequence are authored for this source pack.
Add a more distant fruit element with controlled blur
DOCUMENT: Ad_Main.psd SELECT: New Back lime inside 03 REAR ELEMENTS TOOLS / ROUTE: Place Embedded; Free Transform; Gaussian Blur Smart Filter
Place your Lime_Prep.psd inside 03 REAR ELEMENTS above Rear splash. Name the object Back lime. Use the full prepared frame at W250 / H250 px before rotation.
Rotate approximately 25° clockwise. Keep the centre near (1177,667). This gives a rotated full-frame boundary near x1010/y500; the actual fruit occupies only part of that frame.
Apply Filter > Blur > Gaussian Blur, Radius 1.2 px. It should appear as a Smart Filter, not permanently change the source.
Inspect at 100%: the distant citrus is slightly less crisp than the can will be, not an unrecognisable green blur. Keep its pale cut face and rind visible.
The can will overlap part of this element. Do not move it to a clear corner merely because it is not completely visible; overlap is intentional depth.
First depth: rear splash and distant citrus. The can will sit in front of these layers.
WHYRelative size, overlap and modest focus difference establish a second depth. Blur has a job; it is not decoration.
CHECKThe smaller lime is on the right, partly in the future can area, with an editable Gaussian Blur.
FIXThe blur affects the whole document? Undo and target Back lime. The source looks stretched? Link width and height before scaling.
Method basis: A10. Values and project sequence are authored for this source pack.
21
Place the completed can without losing its structure
DOCUMENT: Ad_Main.psd SELECT: New Can master in 04 PRODUCT TOOLS / ROUTE: Place Embedded; Free Transform
Create 04 PRODUCT above 03 REAR ELEMENTS. Place your saved Can_Prep.psd, rename the object Can master, and keep it inside that group.
With full 800 × 1200 source-frame bounds, set 95% scale: W760 / H1140 px. Centre reference X915 / Y920; Rotation 0°. This places the source frame’s top-left at (535,350).
The visible can should be about 399 px wide, with its top rim near y431 and base near the y1407 contact guide. It must remain upright.
If your Transform frame trims transparent margins, do not make the visible can 760 px wide. Preserve proportions, use visible width ≈399 px, and align its centre to x915 and base to y1407.
Check that the rear splash and distant lime are now behind it. Double-click Can master briefly to verify the editable can assembly exists inside, then close and save.
The source frame includes transparency. Visible object width and the ground-contact line are the reliable checks.
WHYA placed PSD carries the full mock-up. The product and its printed design must move as one coherent object.
CHECKThe can sits in front of rear elements; its identity is readable; the placed object still exposes the vector mask and editable label inside.
FIXA grey rectangle arrives with it? A check fill or source backup was visible in Can_Prep. Correct that, save, then replace the placed contents.
Method basis: A6. Values and project sequence are authored for this source pack.
22
Build a reflection that stays connected to the product
DOCUMENT: Ad_Main.psd SELECT: Duplicate of Can master, placed below the product TOOLS / ROUTE: Layer Via Copy; Flip Vertical; gradient mask
Select Can master and use Ctrl+J / Cmd+J. Name the duplicate Can reflection. This is an ordinary duplicate of the embedded Smart Object—not New Smart Object Via Copy.
Create 02 FLOOR DETAILS between 01 STUDIO and 03 REAR ELEMENTS. Move Can reflection into it. Choose Edit > Transform > Flip Vertical.
Keep the same horizontal centre and width as the can. Move the reflection so its reflected bottom rim meets the original base at y1407. With full-frame bounds its top-left is about (535,1324), but align the visible rims rather than an invisible margin.
Add a white layer mask to Can reflection. Use a white-to-black Linear gradient at 100%, from (915,1407) down to (915,1730). The reflection is strongest at contact and fades downward. Set layer Opacity 22%.
Apply Gaussian Blur 1.2 px as a Smart Filter. The reflection stays below the product. A later edit inside the shared can contents should update both instances.
Contact-line diagram: the original base and reflected base meet. The faded reflection is below that line.
WHYA reflection is an inverted image aligned at the surface, not a Drop Shadow. A linked duplicate makes revisions consistent.
CHECKThe reflection is upside down, begins at the can base and fades. It is not a detached second can or a full-strength mirror.
FIXEditing the label later changes only the upright can? Check that you used Layer Via Copy, not New Smart Object Via Copy, and edited the shared contents rather than replacing one instance.
Method basis: A9 · A11. Values and project sequence are authored for this source pack.
23
Add contact shadow without drawing a black outline
DOCUMENT: Ad_Main.psd SELECT: New Can contact layer inside 02 FLOOR DETAILS, above the reflection TOOLS / ROUTE: Elliptical Marquee; Fill; Gaussian Blur; Multiply
Create a pixel layer Can contact above Can reflection. Use Elliptical Marquee to select approximately x691–1150 / y1385–1453. Fill black, then deselect.
Convert Can contact to a Smart Object. Apply Gaussian Blur 15 px. Set Multiply and layer Opacity about 65%.
The can above hides the upper portion of the shadow. The darkest visible area should be close to the base; reduce opacity if it becomes a heavy black halo.
Toggle Can contact and Can reflection separately. One establishes contact; the other suggests a glossy studio surface. Neither should darken the label or obscure the rim.
Save. Do not add an identical hard shadow around every fruit and water droplet.
Separate tests for contact and reflection. The visible ground relationship matters more than copying an opacity number.
WHYThe strongest shadow belongs near physical contact. A reflection alone can still make an object look as though it is hovering.
CHECKA soft, grounded contact zone sits below the can. Its label and shoulder lighting remain unchanged.
FIXThe whole can darkens? The shadow is above 04 PRODUCT. Move it to 02 FLOOR DETAILS. A hard oval remains? Verify the Smart Filter and opacity.
Method basis: A10. Values and project sequence are authored for this source pack.
24
Place the foreground citrus and match its local light
DOCUMENT: Ad_Main.psd SELECT: New Front lime in 05 FOREGROUND FRUIT; its clipped adjustments TOOLS / ROUTE: Place Embedded; Color Balance; Curves; shadow/reflection
Create 05 FOREGROUND FRUIT above 04 PRODUCT. Place Lime_Prep.psd as Front lime, full source frame W465 / H465 px, centre (607.5,1407.5), Rotation 0°. Frame top-left is (375,1175).
The visible fruit ends near y1559. In 02 FLOOR DETAILS, add a soft Multiply Fruit contact shadow under it, ellipse roughly x408–816 / y1515–1588, Gaussian Blur 14 px, Opacity 55%.
For its reflection, duplicate Front lime normally, move the duplicate into 02 FLOOR DETAILS, Flip Vertical and align the visible base at y1559. Fade it downward over about 150 px with a mask; use Opacity 17% and Gaussian Blur 1.6 px.
Back above Front lime, add a clipped Color Balance adjustment. Preserve Luminosity on; Midtones start 0 / +4 / −4, Shadows 0 / 0 / 0, Highlights 0 / 0 / 0. Compare; leave near zero if the supplied citrus already fits.
Add a clipped Curves only if a local mismatch remains. Keep its purpose narrow: reduce a very bright flesh highlight while retaining rind texture. Record what you changed, not just the slider number.
The lime’s contact is farther forward than the can’s. Reference colour matching is illustrative; compare the actual source in your own composition.
WHYEach photographed-style element needs its own light judgement. The foreground fruit may be sharper and larger, but it still shares the scene’s light direction.
CHECKThe fruit overlaps the lower-left can edge, has its own contact, and does not look pasted over the floor. Corrections are clipped to it.
FIXThe whole scene changes green? Clip Color Balance to Front lime. Never apply a global colour cast to hide one unmatched element.
Method basis: A12. Values and project sequence are authored for this source pack.
25
Bring water in front without hiding the brand
DOCUMENT: Ad_Main.psd SELECT: Front splash in 06 FOREGROUND SPLASH; its pixel mask TOOLS / ROUTE: Place Embedded; Screen; layer mask; low-opacity Brush
Create 06 FOREGROUND SPLASH above 05 FOREGROUND FRUIT. Place the splash source again—not a merged copy of your whole scene. Name it Front splash.
Set full frame W1120 / H840 px, centre X620 / Y1250, Rotation 0°. Its top-left is (60,830). Set Screen, Opacity 90%.
Add a layer mask. Use black-to-white Linear Gradient from approximately (620,1050) to (620,1200). The upper splash fades while the lower water stays visible.
Inspect where it crosses the lower can and citrus. Keep a clear front crossing, but protect ZUNO and most of LIME. On the Front splash mask, use Soft Round Brush, 80–150 px, Opacity 20%, black to reduce a specific obstructing highlight.
Do not erase the can to let the water through. Toggle Front splash to prove that only the foreground water changes. Preserve small detached droplets only where they support the visual flow.
Depth map: rear water, can, foreground citrus and front water. Coloured annotations identify roles, not final artwork.
WHYLayer order creates front/back depth, while the mask controls local interference. A convincing composite also has to communicate the product identity.
CHECKSome water is behind the can and some is in front. The can’s silhouette and brand remain intact when the front-water mask changes.
FIXThe brand vanishes as if cut out? You painted on the can mask. Restore that mask and target Front splash. Screen is not a reason to ignore local readability.
Original classroom construction and design direction.
26
Finish the photographic scene with an editable Camera Raw filter
DOCUMENT: Ad_Main.psd SELECT: All six visual groups; then Scene master Smart Object TOOLS / ROUTE: Convert to Smart Object; Filter > Camera Raw Filter
Save a checkpoint. Select groups 01 STUDIO through 06 FOREGROUND SPLASH together. Convert them into one Smart Object named Scene master. Do not include any headline or campaign copy; those have not been built yet.
Choose Filter > Camera Raw Filter. Start with a restrained check: Exposure 0, Contrast +3, Highlights −8, Shadows +3, Texture +4, Clarity +2, Dehaze 0, Vibrance +2 and Saturation 0. Leave white balance unchanged initially.
Judge at 100%: no crunchy white rims, exaggerated droplet texture or oversaturated citrus. Return a slider to zero when it does not improve the actual scene. These are trial starting values, not mandatory finishing settings.
Confirm. Camera Raw should appear below Scene master as a Smart Filter. Toggle it to compare. Double-click the filter name to revise settings; double-click the Smart Object thumbnail to edit the layer construction.
Save. The packaging colours seen on curved metal can vary with light; external campaign type will stay outside this photographic grade.
Scene construction stays inside the object; the final photographic treatment stays in a Smart Filter outside it.
WHYA final grade can connect the visual elements, but it cannot repair bad geometry. Keeping it separate from the copy protects the graphic system.
CHECKScene master contains all the editable scene groups and has an editable Camera Raw filter. No global sharpening damages the text.
FIXOnly one uneditable pixel layer remains? Undo the merge. Use Convert to Smart Object instead. Camera Raw missing? Use the documented adjustment-layer alternative and record that access limitation.
Method basis: A10 · A13. Values and project sequence are authored for this source pack.
DOCUMENT: Ad_Main.psd SELECT: New 07 COPY group above Scene master TOOLS / ROUTE: Type; Character; guides; Move
Create an empty group 07 COPY above Scene master. Use installed Arial Bold or a comparable sans serif. Reset tracking, baseline shift and both character scales; keep scales at 100%.
Create point Type FRESH: 181 px, colour #F3F5DC, left-aligned, tracking 0. Place its left baseline near (64,240).
Create IMPACT. separately: 178 px, colour #D3EF55, baseline near (62,405). Keep the full stop. Use the actual visible letter edges to align the two lines optically.
The headline must not touch the can rim or upper-right citrus. Keep the composition open; do not add a glow or heavy bevel because a product poster “needs effects”.
Check at 25%. The intended first read is FRESH IMPACT, followed by the product. The reference uses an Arial-compatible font; exact glyph widths may differ.
The headline is constructed in the final ad, not baked into a supplied scene.
WHYThe complex product scene needs a simple, strong reading path. Sophistication is not the number of simultaneous text effects.
CHECKThe two headline layers are live and read together. They are outside Scene master and unaffected by the Camera Raw treatment.
FIXThe headline changes the can’s printed ZUNO instead? You are inside the label object. Return to the main advertisement tab.
Original classroom construction and design direction.
28
Complete the identity, supporting copy and action
DOCUMENT: Ad_Main.psd SELECT: New Type and Shape layers in 07 COPY TOOLS / ROUTE: Type; Rectangle in Shape mode; alignment
Add ZUNO / CITRUS STUDIO: Bold 21 px, #F3F5DC, left baseline (78,73). Add a lime rule at X80, Y459, W104, H7, fill #D3EF55, no Stroke.
Add LIME. LIGHT. LIVELY.: Bold 32 px, cream, baseline (80,520). Add two separate Regular 24 px lines in #BDD0B6: A sparkling-water concept at (80,565), and built around a citrus burst. at (80,598).
Create a lime Rectangle at X80, Y1530, W280, H63. Above it add centred MEET ZUNO, Bold 27 px, #123628, baseline (220,1572). This is a visual call to action, not a functioning website button.
Add right-aligned FICTIONAL CLASSROOM BRAND in the same 16 px style, right baseline (1320,1740). Check all words, margins and spacing; no made-up nutrition or environmental claims belong in this brief.
Complete main-reference layout. All wording, shapes and label art are constructed by the learner.
WHYA finished advertisement has an identity, product message and next action. The supplied wording keeps the lesson focused on production decisions.
CHECKEvery line is present and editable. The lower-left action remains distinct from the reflected can and foreground fruit.
FIXSmall text collides with the fruit? Recheck placement first. Do not squeeze the whole advertisement to make one text line fit.
Original classroom construction and design direction.
29
Run a realism check and a communication check
DOCUMENT: Ad_Main.psd SELECT: Scene contents or copy, according to the problem TOOLS / ROUTE: 100% detail; 25% overview; brief viewer check
At 100%, check the twelve-point can outline, the top and bottom label arcs, side compression, shoulder repair, fruit rind and foreground-water boundary. Repair the relevant source or control—not the flattened view.
Toggle the label’s shade and sheen inside Can master when needed. Compare the contact shadow and reflection separately. Confirm that water crosses at two depths without hiding the product name.
At 25%, check FRESH IMPACT, ZUNO and MEET ZUNO. Ask a viewer what they noticed first and what the advertised object seems to be. Record the actual answer.
Make one deliberate improvement: a gentler sheen, a cleaner water crossing, a tighter label fit or clearer copy spacing. Save before/after evidence and explain its visual purpose.
Do not count a source’s generated imperfections as student errors. Assess the corrections and integration students can control with the supplied assets.
Inspect geometry and material at 100%; inspect reading order at a smaller size. Both are needed.
WHYPhotographic construction and graphic communication are separate quality checks. A convincing object can still be part of an unclear advertisement.
CHECKYou can point to one improved technical relationship and one improved communication decision, with visible evidence.
FIXYou keep adding elements but the advertisement reads less clearly? Stop. Remove or reduce the competing element instead of adding another effect.
Original classroom construction and design direction.
30
Answer a nested-label revision and check the reflection
DOCUMENT: Separate Ad_Revision.psd SELECT: Scene master → Can master → Print artwork → label Type TOOLS / ROUTE: Image > Duplicate; Edit Contents; Save outward
Duplicate the main ad with layers intact and save Lastname_Zuno_Ad_Revision.psd. The original main must remain unchanged.
The client requests the small label line CITRUS EDITION become STUDIO EDITION. Open Scene master; inside it open Can master; inside that open Print artwork. Edit the existing Type layer only.
Save and close Print artwork. Check the wrapped can. Save and close Can master. In Scene master, inspect both the upright can and its reflected duplicate: the printed update should be shared.
Save and close Scene master to return to the final ad. Change the external LIME / 01 line to STUDIO / 02. Leave flavour imagery, headline and composition intact.
Compare main and revision. The revised nested text and reflection should be correct without a new warp or recut. Check that the main file still shows CITRUS EDITION before submitting.
Save from the deepest contents outward. A normal duplicate shares source contents, not every external mask or transform.
WHYThis is the practical value of the whole workflow: the editor changes packaging copy and the campaign updates through a controlled chain.
CHECKThe label wording updates under the existing warp and material layers, and its reflection updates too. The original main remains unchanged.
FIXOne level does not update? Save that contents document before closing it. A separately placed reflection is not a shared duplicate; rebuild it from Can master.
Method basis: A6 · A9 · A11. Values and project sequence are authored for this source pack.
31
Demonstrate the new skills without another recipe
DOCUMENT: Separate Practical.psd SELECT: Your own editable construction TOOLS / ROUTE: Practical task card; choose the controls
Save a separate Lastname_Zuno_Practical.psd. The teacher selects two of the three task-card requests and allows a short menu-location reference, not a completed repair recipe.
Path request: correct a small deliberately misplaced shoulder or rim anchor while preserving the can’s proportions. Keep the result as a vector mask; do not convert it to a painted pixel edge.
Surface request: revise one short line inside the label while retaining its curve and readable surface detail. Show the same change in the reflected can.
Depth request: reduce one obstructing foreground-water highlight without removing rear water, changing the can outline or lowering the opacity of the entire photograph.
Show the control used, explain why it was appropriate, and save. Record any support. This is evidence of new skill control, not another mark for matching the guided example.
The assessment is separate from the guided steps. Teacher answer guidance is in the teaching pack.
WHYThe assessment targets the skills added in this build: paths, curved editable artwork and independent depth control.
CHECKYour relevant mask, path, Smart Object and blend controls remain inspectable. You can explain the local change.
FIXAn access problem blocks a filter or file? Tell the teacher and record that limitation. Do not replace the task with a flattened finished reference.
Original classroom construction and design direction.
32
Export, reopen and hand over the complete job
DOCUMENT: Main, Revision and Practical PSDs SELECT: Whole document in each tab TOOLS / ROUTE: File > Save; Export As; reopen output
Save Label.psd, Can_Prep.psd and Lime_Prep.psd. Save the main, revision and practical ad PSDs. Do not flatten them or rename a PNG with a PSD extension.
From Main and Revision, choose File > Export > Export As. Use PNG, 1400 × 1800 px, scale 100%, Convert to sRGB and Embed Color Profile where offered. Export one Practical PNG as evidence as well.
Open the exported files outside Photoshop. Check the complete wording, product outline, label legibility, reflection, fruit edges and full canvas dimensions. No temporary grid or check background should be visible.
Submit your organized job folder with the three preparation PSDs, three ad PSDs, PNG proofs and the short evidence response. The teacher may collect only the main and practical PSDs when storage is limited.
This is a screen-sized classroom mock-up. A production-ready can label would require a manufacturer’s measured dieline, print specifications and applicable packaging requirements; those are not supplied in this exercise.
Final workflow: prepare → design → wrap → restore material → integrate → revise → deliver.
WHYThe handover includes editable construction and checked viewing files. A visually appealing PNG alone does not preserve the production work.
CHECKThe outputs open at the correct size and the nested editable job reopens. Main and revision contain the intended different wording.
FIXA source rectangle or wrong edition exports? Return to the correct main tab and inspect visibility. Export the whole document, not an individual selected layer.
Method basis: A14. Values and project sequence are authored for this source pack.
Know which document owns the edit.
AD_MAIN.psd
07 COPY [live Type and Shape layers]
Scene master [Smart Object + Camera Raw Smart Filter]
06 FOREGROUND SPLASH
Front splash [Screen + local pixel mask]
05 FOREGROUND FRUIT
Local adjustments [clipped to Front lime]
Front lime [Smart Object]
04 PRODUCT
Can master [Smart Object]
03 REAR ELEMENTS
Back lime [Smart Object + Gaussian Blur]
Rear splash [Screen]
02 FLOOR DETAILS
Can contact + Fruit contact [Multiply]
Can reflection [shared can contents + fade mask]
Fruit reflection [shared fruit contents + fade mask]
01 STUDIO
Floor glow / Back light / Studio field
CAN MASTER contents
Can assembly [VECTOR MASK]
Metal sheen [Normal 20%; Blend If; clipped]
Metal shade [Multiply 70%; clipped]
Print artwork [Smart Object + Cylinder Warp]
LABEL contents → 02 LABEL COPY / 01 LABEL ART / Label stock
Metal base [Smart Object]
Tape repair / Source
Original backup [hidden]
The separate external preparation PSDs are backups/reusable sources. Changes to an embedded instance do not automatically rewrite those external files. Save from the deepest contents outward, then inspect the final advertisement.
Pen anchor card
Can source: 800 × 1200. Draw clockwise. These targets are a starting scaffold; use the visible boundary to judge the actual curve. A drag direction describes the forward handle while you create that point.
Point
Canvas position
Initial drag direction
Boundary
1
400,85
Right ≈80 px
Top-centre rim
2
581,118
Down ≈16 px
Right rim
3
574,146
Down ≈14 px
Narrow neck
4
610,222
Down ≈64 px
Right shoulder into side
5
610,1019
Down ≈29 px
Lower right side
6
574,1090
Down-left ≈34 px
Lower-right round
7
400,1113
Left ≈60 px
Bottom centre
8
226,1090
Up-left ≈16 px
Lower-left round
9
190,1019
Up ≈26 px
Left side
10
190,222
Up ≈35 px
Left shoulder
11
226,146
Up ≈11 px
Narrow neck
12
219,118
Up ≈18 px
Left rim; close at point 1
Remember: click = corner; click-drag = smooth point. White-arrow Direct Selection moves a point or handle. Alt/Option separates a handle direction when necessary. A long straight side needs few anchors. Save the closed path as Can outline.
Do not include the floor shadow. Do not add extra points simply to chase pixel texture. Inspect at 200% for editing and 100% for the final edge. The full labelled map is included in the separate Pen card.
Practical check: the production changes.
Use a separate Practical.psd. Your teacher chooses two requests. Allow approximately 15–20 minutes. A menu-location reference is allowed; another person completing the edit or supplying a finished mask is not independent evidence.
Request
Task
Evidence
P · Precision edge
Correct one deliberately displaced vector anchor on the shoulder or rim. Keep the source shape and an editable vector mask.
A corrected curve; direct selection/path control, not a repainted raster edge.
S · Surface revision
Change one short line inside the flat label; preserve its warp and surface appearance. Check the reflected can too.
Live wording updated through the nested object route, including its shared reflection.
D · Depth control
Reduce one selected foreground-water highlight without altering rear water, product shape or the whole photograph.
A local edit to the correct foreground-water mask and a clear explanation.
Explain the control, not just its name
“I changed ___ because ___. This affects ___ but leaves ___ alone. I checked ___.” Show the relevant thumbnail, path or object contents plus the result.
Level
Descriptor
4 · Transfer
Independently adapts the control, diagnoses the problem and explains a sound correction.
3 · Secure
Independently completes a comparable correction with accurate control and a useful check.
2 · Developing
Some correct control is evident, but corrective prompts or a significant unresolved error remain.
1 · Supported
Needs step-by-step assistance to carry out or explain the essential operation.
Score only the two observed target competencies, optionally /8 for this local checkpoint. Record the untested third skill as not observed, not as a failure. An access support is recorded; approved access accommodations are not themselves evidence of weak understanding. These are local competency labels, not official course-outcome codes.
Keep the evidence short and specific.
These fields save locally in this browser when permitted. They are not sent to your teacher. Export the text before closing a shared or school-managed browser.
Technique sources and authorship
This is an original classroom production brief, label, can source, scene and step sequence. The books provide technique references; they do not contain this ZUNO advertisement. Their photography, completed exercise files and text are not republished here.
B1 · Gary Bradley, Mastering Adobe Photoshop 2026, second edition. Chapter 5, printed pp.159–162 / PDF pp.190–193: applying Cylinder Warp to bottle artwork, refining the fit with Distort, and blending with the source. Our can, label, geometry targets and material workflow are different.
B2 · Robert Klaßen and Jürgen Wolf, Adobe Photoshop: Der professionelle Einstieg, 13th edition. Section 10.5, pp.441–448: paths, smooth/corner points, handle correction and path-based selections. The lesson is authored in English for a new can exercise, not a line-by-line translation of the chapter.
Official documentation and source-book sections were consulted for the named operations. Document rendering, asset dimensions, HTML images and navigation can be checked programmatically. That does not verify an end-to-end Photoshop build, exact Cylinder Warp behaviour on a particular installation or student completion time.
The reference uses an illustrative cylindrical projection and a prepared light-element splash. It is a learning target, not a claim of physically accurate liquid refraction or actual beverage photography. All source provenance is recorded in README_ASSETS.txt.
No native finished exemplar PSD, external font file, manufacturer dieline or press-ready packaging specification is included. Students construct the editable masters as part of the lesson.
