A zebra ironing its coat. A complete Photoshop compositing tutorial.
Build an impossible scene from real supplied photographs. Isolate a rearing zebra, pose its hoof, drape its stripes over an ironing board, and make the pieces share light, depth and a communication purpose.
Core reference · constructed from the supplied photographs. The separate plain-costume version is an optional extension, not a missing stage.
What you will build
Select and preserve
Isolate a subject with a recoverable mask and explain the difference between image pixels and mask pixels.
Transform with purpose
Adjust one limb without stretching the whole animal, then bend texture into a cloth-like surface.
Create believable contact
Use layer order, local shadows, coherent tone and edge quality to make separate photos read as one scene.
Communicate and justify
Design a clear visual joke, retain an editable master, and explain a specific revision using process evidence.
Teacher planning estimate: 4–5 classes of 70 minutes for the full raw-asset route; 2–3 with prepared cut-outs. Extensions need additional time. This is a planning estimate, not a fixed completion deadline.
Core / build the action
Complete Steps 01–30. Keep the animal striped and make a matching costume panel hang over the board. This is the complete, assessable project, not an unfinished version.
Supported / keep moving
With teacher approval, use left_zebra_cutout.png at Step 07, board_without_loose_cord.png at Step 08, or stripe_patch.jpg at Step 16. Still do the pose, warp, masking, shadows and explanation yourself. Name the support used.
Challenge / the coat comes off
Save a separate copy. X1–X2 create a smooth cream costume under the striped coat. X3–X4 replace the expression. These extensions are optional and need more time.
About the visuals and tool verification
The reference and checkpoints are programmatically assembled from the supplied photographs; they are teaching composites, not Photoshop screenshots. The Photoshop workflow is researched but has not been run end-to-end in a local Photoshop installation. Tool labels and automatic selections should be preflighted on the school version.
Use these exact starter files
Teaching composite from the supplied photographs; not a Photoshop screenshot. Click the image to inspect it.
img_8872.jpg
2048 × 1365
LEFT rearing zebra: body and working foreleg.
Begin at Step 04.
ironing_board.png
1494 × 1621
Transparent board + iron. The cable is distracting; the left frame is cropped.
Begin at Step 08.
zebra.jpg
2038 × 2048
Clean torso stripe texture; crop x 760–1260 and y 810–1260.
Begin at Step 15.
Zebra_in_South_Africa.jpg
2048 × 1365
Optional alternate head/expression. Not the core body source.
Extension X3.
Untitled-2.psd
2020 × 1032
Supplied rough layered draft. Construction reference only; preserve unchanged.
Save the four images into a folder named starters. The PSD is a rough reference, not the file you should overwrite. In the classroom ZIP, all five originals are already included.
Prepared support assets · use only with teacher approval
These shorten the initial extraction; they do not do the limb pose, cloth construction or explanation for you. Their use must be acknowledged. The full-source mask is also in the ZIP for teacher recovery.
Source photos and the rough PSD were supplied in this conversation. No licence or photographer attribution is asserted for them here. Keep attribution records and confirm rights before publicly redistributing the source pack. Adobe links document tools, not ownership of these images.
Before you click
Image thumbnail
Click it to transform the object or start a selection. A small Smart Object badge identifies embedded content.
Layer mask
Click its black-and-white thumbnail before masking. White reveals; black hides; grey gives partial visibility. Painting on the photo changes pixels instead.
Clipping mask
A separate layer uses the transparency of the base below it. Use it to keep painted folds or a colour adjustment on the coat. It does not replace the coat’s silhouette mask. [S7]
Nested Smart Object
Converting a masked object again encloses the cut-out and mask. Double-click the outer thumbnail to reopen the contents; save that embedded tab after editing. [S3]
Puppet Warp vs Transform Warp
Puppet Warp uses anchor pins for the foreleg. Transform Warp uses a mesh for the coat. This task does not use Perspective Warp. [S4–S5]
Starting values, not rules
Brush size, opacity and coordinates assume 1600 × 1200 px. Make small adjustments to fit your own selection and composition. A visual check matters more than matching a number.
Useful keyboard pairs
Move / Brush / Lasso
V / B / L
Free Transform
Ctrl/Cmd+T
Duplicate layer
Ctrl/Cmd+J
Deselect
Ctrl/Cmd+D
Group selected layers
Ctrl/Cmd+G
Fit / 100% view
Ctrl/Cmd+0 / Ctrl/Cmd+1
Undo / Save
Ctrl/Cmd+Z / Ctrl/Cmd+S
Read Ctrl/Cmd as Ctrl on Windows or Command on Mac. Read Alt/Option as Alt on Windows or Option on Mac. Tool shortcuts assume the standard mapping; menu paths are included when they matter.
The layout blueprint
Blueprint for the 1600 × 1200 canvas. It shows the final scene for orientation, not the appearance of a new document. Click the image to inspect it.
Canvas
1600 × 1200 px; RGB, 8 bit; 72 ppi
Visible animal
Approximately x 270–650, y 220–1120
Tabletop
Approximately x 420–1045, y 625–670
Hoof/handle contact
Near x 660, y 570
Coat top plane
Top y 622–631; fold y 651–660
Hanging hem
Corners y 843–852; centre near y 880
Floor / ground contact
Floor starts y 960; contact near y 1120
Type zone
Right of x 950; leave breathing room
Coordinates describe visible objects, not the hidden full rectangle of an embedded source photo. Use rulers, Info and the reference image rather than forcing an unrelated transform box to match these numbers.
Follow the actions, compare the checkpoint, then use Why / Check / Fix.
01
A / Plan & prepare
Read the illusion before editing
Select first: No Photoshop layer yet
Tools / menu: Visual planning
Source-matched teaching composite or annotation; not a Photoshop screenshot. Click the image to inspect it.
Do this
Compare the finished reference with img_8872.jpg, ironing_board.png and zebra.jpg. The rearing animal supplies the pose; a separate torso crop becomes the fabric.
Sketch three large shapes: the upright zebra on the left, a waist-height board, and a hanging striped coat. Leave the right side open for a headline.
Mark the three contact points: hoof on handle, iron on fabric, and feet on the floor. Draw a small arrow for light coming from the upper left/front.
Use the striped-animal version for the core task. The optional extension creates the joke that its coat has been taken off.
Why it works
The humour is the impossible action. The believable details are ordinary: overlapping surfaces, cloth hanging down, and objects touching the ground.
Check your result
A viewer should understand “zebra doing its ironing” without needing to read the headline.
When it goes wrong
Do not begin by trying to rotate a four-legged zebra upright. The rearing pose already solves most of that problem.
Layout blueprint shown with the completed scene for orientation; your new file will still be blank. Click the image to inspect it.
Do this
Extract the classroom ZIP. Keep starters, assets and support together. When using only the standalone HTML, download the starter images below into a folder named starters. Make YourName_Zebra for your own work.
Choose File > New: Width 1600 pixels, Height 1200 pixels, RGB Color, 8 bit, Resolution 72 pixels/inch, and a white background. Use sRGB when a profile is offered; leave Artboards off.
Choose File > Save As and save YourName_Zebra_Ironing_v01.psd on the computer. Keep Photoshop layers enabled.
Open Window > Layers, Window > Properties and Window > Info. Press Ctrl/Cmd+R; right-click a ruler and choose Pixels.
Why it works
Pixel dimensions control this screen-sized project. The 72 ppi setting also makes the suggested type sizes easier to follow; it does not add or remove detail by itself.
Check your result
The document is landscape, 1600 by 1200 pixels, and your first PSD exists in your own folder.
When it goes wrong
Do not enter 1600 centimetres or inches. Check the units before clicking Create. Save a local PSD, not only an exported JPG.
Source-matched teaching composite or annotation; not a Photoshop screenshot. Click the image to inspect it.
Do this
Choose Layer > New Fill Layer > Solid Color. Name it Background and enter #F1E7D0 in the colour picker.
Select the Rectangle tool (U). Set the tool mode to Shape, Fill to #E8DCC3 and Stroke to None. Draw a rectangle over the bottom 240 pixels: approximately x 0, y 960, width 1600, height 240. Name it Floor.
Drag a vertical guide from the left ruler to x 950. Drag a horizontal guide from the top ruler to y 1120. Use the Info panel or the moving ruler label to read the position.
Shift-select Background and Floor and press Ctrl/Cmd+G. Name the group 01 Studio. Keep later object layers above it.
Why it works
A plain studio removes the need to rebuild a zoo background. It also leaves the cut-outs, fabric and shadows easy to judge.
Check your result
There is a warm background, a slightly darker floor band, a type zone on the right and a ground-contact guide near the bottom.
When it goes wrong
A shape outline with no visible fill means Fill is set to None. If the whole canvas changes, check whether the wrong layer was selected.
Follow the actions, compare the checkpoint, then use Why / Check / Fix.
04
B / Isolate & arrange
Place the rearing-zebra source
Select first: Zebra Source — image thumbnail
Tools / menu: File > Place Embedded
Source-matched teaching composite or annotation; not a Photoshop screenshot. Click the image to inspect it.
Do this
Choose File > Place Embedded and select starters/img_8872.jpg. Press Enter/Return to accept the initial placement.
Rename the placed layer Zebra Source. Do not worry about its final size yet.
Click its image thumbnail, not an adjustment or mask. Select the Object Selection tool from the W-tool group; click and hold the toolbar icon to see the other tools.
Turn Sample All Layers off while selecting this source. Work on the photo itself, not the whole assembled scene.
Why it works
Placing the file as an embedded Smart Object keeps the source packaged inside the document and supports later resizing without repeatedly resampling the original.
Check your result
The Layers panel shows the source photo and a small Smart Object badge. Both zebras are still visible.
When it goes wrong
Changing a mask rather than the image is a common wrong-target error. Select the image thumbnail before making the object selection.
Tool references: S1S3. Project settings and composition choices are authored starting points.
Source-matched teaching composite or annotation; not a Photoshop screenshot. Click the image to inspect it.
Do this
With Object Selection, draw a rectangle around the left, upright zebra. Keep its ears, tail, hind feet and raised foreleg inside the rectangle.
If both animals are included, switch the tool to Subtract from selection and draw around the right-hand zebra. Use the tool’s plus/minus controls rather than guessing a shortcut.
Use Lasso (L) in Add to selection mode to restore missed ears or hooves. Use Subtract mode to remove fence and grass between the limbs.
Zoom to at least 100% with Ctrl/Cmd+plus. Inspect where the two animals overlap; correct that boundary manually before moving on.
Why it works
Automatic selection provides a starting boundary. The overlapping legs are a design judgement the student must check.
Check your result
Only the left animal is selected. The neighbouring zebra and the empty spaces between legs are outside the selection.
When it goes wrong
A global Select Subject command may select both animals. Return to a local rectangle/lasso and subtract unwanted regions.
Tool references: S1. Project settings and composition choices are authored starting points.
Source-matched teaching composite or annotation; not a Photoshop screenshot. Click the image to inspect it.
Do this
Choose Select > Select and Mask. Check the edge using both On Black and On White preview modes.
Start gently: Smooth 1, Feather 0.5 px, Contrast 10%, Shift Edge -3%. Treat these as starting values, not a preset that must suit every edge.
With the Refine Edge Brush, make short strokes across the mane and tail edges only. Do not brush across the interior stripes or the entire body.
Under Output Settings, choose Layer Mask and click OK. Leave Decontaminate Colors off for this first pass. Paint black on the resulting mask to hide remaining fence; paint white to restore lost fur.
Why it works
A mask hides pixels instead of permanently erasing them. Black-and-white preview backgrounds expose different edge problems.
Check your result
The zoo background is hidden. The mask thumbnail is white over the animal and black over the surroundings; the original pixels remain recoverable.
When it goes wrong
A large Feather value creates a blurred halo. Undo and reduce it. If brushing changes the animal’s colour, select the mask thumbnail first.
Tool references: S2. Project settings and composition choices are authored starting points.
Tools / menu: Free Transform; Convert to Smart Object
Source-matched teaching composite or annotation; not a Photoshop screenshot. Click the image to inspect it.
Do this
Click the source image thumbnail and choose Edit > Free Transform or press Ctrl/Cmd+T. Keep the width/height link enabled for proportional scaling.
Scale and move the visible animal to roughly x 270–650, y 220–1120. The feet should sit near the ground guide; leave the right side open.
Press Enter/Return. Rename the layer Zebra Body. Keep its image and mask linked so they move together.
Choose Layer > Smart Objects > Convert to Smart Object once more. This nests the refined mask with the image. Double-clicking the new thumbnail later opens the embedded source and its original mask.
Why it works
The second Smart Object encloses the cut-out, so later posing acts on the isolated animal rather than on a hidden rectangular photo.
Check your result
The complete animal is upright, both hind feet fit on the page, and no new background appears after resizing.
When it goes wrong
Do not rely on an old instruction to always hold Shift while scaling. Inspect the width/height link; Photoshop’s transform behaviour depends on its settings.
Tool references: S3. Project settings and composition choices are authored starting points.
Placement target shown after cable cleanup and frame repair (Steps 09–10). Click the image to inspect it.
Do this
Use File > Place Embedded to place ironing_board.png. Name it Board Base and drag it below Zebra Body, but above 01 Studio.
Scale proportionally. Target a visible tabletop from approximately x 420 to 1045, near y 625–670. The right frame foot should reach about y 1115.
The iron is already part of this PNG. Its handle should be near x 650–700, y 570–595. Use this as the target for the hoof in a later step.
Accept the transform. Keep the board level. Do not stretch the entire board vertically just to make the handle meet the hoof.
Why it works
The board’s placement establishes the action. We adjust a small independent foreleg later instead of distorting the entire animal or iron.
Check your result
The board is behind the torso, the iron is near the raised leg, and the frame is close to the floor.
When it goes wrong
A PNG is not automatically background-free, but this supplied one contains transparency. Do not use Select > Color Range to delete all white; that could remove the iron itself.
Tool references: S3. Project settings and composition choices are authored starting points.
Target after prop cleanup; the frame repair is completed in Step 10. Click the image to inspect it.
Do this
Select Board Base and click the Add Layer Mask button at the bottom of Layers.
Click the new white mask thumbnail. Press B, set a soft round brush to about 20–35 px, Opacity 100%, and set the foreground colour to black.
Paint over the loose cable arcing above the left end of the board. Stop before the iron housing and tabletop. Work at 200% near those edges.
Use a smaller brush near the cable plug; press X to switch black/white when you need to restore a mistake. Leave the original iron visible on this lower layer.
Why it works
This is a selective cleanup, not a second background removal. Keeping the original iron will make an aligned duplicate easier to manage.
Check your result
The distracting cable is hidden, while the cream iron, handle opening and board cover remain intact.
When it goes wrong
Do not paint on the image thumbnail. Do not remove a large rectangle above the board: it may also cut off the iron.
Source-matched teaching composite or annotation; not a Photoshop screenshot. Click the image to inspect it.
Do this
The supplied board is cropped on the left. Inspect the lower-left diagonal support: it can appear to stop before the floor.
Create a blank pixel layer named Frame Repair below Board Base. Select Brush, Hardness about 85%, Opacity 100%, diameter about 12 px. Hold Alt/Option briefly to sample the metal’s midtone.
Click at the existing lower-left support end, then Shift-click at the floor behind the zebra’s left hind foot. In the reference this runs roughly from (425,1015) to (333,1120).
With a 3 px brush, sample a lighter edge and add one parallel highlight; add a narrow darker edge on the opposite side. Mask any excess and keep the repaired support behind the animal.
Why it works
A cropped prop needs a deliberate solution. This short, shaded extension is more convincing than a frame that floats halfway down.
Check your result
The support continues along its original diagonal and meets the same floor as the other foot. It is largely hidden behind the zebra.
When it goes wrong
Do not invent a differently angled support. Extend the direction already visible. A uniformly thick black stroke will look drawn rather than metallic.
Follow the actions, compare the checkpoint, then use Why / Check / Fix.
11
C / Make the action
Lift the iron into a separate top layer
Select first: Iron Top — duplicate of Board Base
Tools / menu: Duplicate; replace duplicate mask
Final close-up explains the iron/coat/hoof relationship. Fabric and contact shadows come later. Click the image to inspect it.
Do this
Select Board Base and press Ctrl/Cmd+J. Rename the copy Iron Top and move it above Zebra Body. Do not move or resize it.
On the copy only, right-click its mask and choose Delete Layer Mask, not Apply. This removes the cleanup mask from the copy, not from Board Base.
Click the copy’s image thumbnail. Use Lasso to trace the complete iron housing and soleplate. Exclude the cable and board, but do not cut into the handle.
Click Add Layer Mask to reveal only the selected iron. The existing transparent handle opening stays transparent. Later, put the coat between Board Base and Iron Top.
Why it works
This creates a sandwich: board underneath, coat in the middle, iron on top. The lower original iron is concealed by its perfectly aligned duplicate.
Check your result
Turning Iron Top off and on does not make the iron jump. There is still only one visible iron.
When it goes wrong
A doubled edge means the duplicate moved. Undo or realign it precisely. Do not move Iron Top independently unless you also remove the lower original.
Select first: Foreleg — duplicate; then Zebra Body mask
Tools / menu: Duplicate; Lasso; layer masks
Target foreleg pose and pin locations. You will apply the actual pose in Step 13. Click the image to inspect it.
Do this
Duplicate Zebra Body, name the copy Foreleg, and move it above Iron Top. Keep it aligned with the body for now.
On the Foreleg image thumbnail, use Lasso to select the forward bent foreleg, including a short overlap into the shoulder. Click Add Layer Mask. Only this limb should remain visible on the duplicate.
Convert Foreleg to a Smart Object so its limb mask is nested inside. This keeps the upcoming Puppet Warp mesh limited to the cut-out.
On Zebra Body, add a new outer mask. With black, hide the old working foreleg and the spare hanging forehoof. Do not remove the shoulder; leave a 10–20 px overlap under the separate limb.
Why it works
A separate limb can move without dragging the face, stripes or entire body. The shoulder overlap is material for blending, not a mistake.
Check your result
Hide Foreleg temporarily: the base should have no duplicate bent foreleg. Show it again: there is one working limb, joined at the shoulder.
When it goes wrong
If the old limb reappears after posing, you missed part of it on the body mask. If a gap opens at the shoulder, restore a little overlap with white.
Tool references: S3. Project settings and composition choices are authored starting points.
Annotated posing target, not a capture of Photoshop’s Puppet Warp mesh. Click the image to inspect it.
Do this
Select the Foreleg image thumbnail and choose Edit > Puppet Warp. Start with Mode Normal, Density Normal and Expansion about 2 px.
Add a pin near the shoulder, one at the elbow and one inside the hoof. The shoulder pin is the anchor; it should not move.
Drag the hoof pin toward the top of the iron handle, roughly (660,570) in this layout. Adjust the elbow pin a little to keep a natural bend. Avoid stretching the limb longer than necessary.
Turn Show Mesh off briefly to judge the pose. Press Enter/Return to apply. Add a fourth stabilizing pin only when an area bends unintentionally.
Why it works
Pins allow local posing. A small believable change is stronger than a rubbery limb forced across a large gap.
Check your result
The hoof meets the handle, the shoulder still joins the torso, and the leg’s stripe widths remain reasonably consistent.
When it goes wrong
A huge rectangular mesh means you are warping the full source photo. Cancel and enclose the masked limb in a Smart Object first. If the pose needs extreme distortion, move the board closer.
Tool references: S4. Project settings and composition choices are authored starting points.
Close-up of the finished overlap. Additional fabric and shadow work is introduced next. Click the image to inspect it.
Do this
Add an outer mask to Foreleg. Zoom to 200% at the shoulder and iron handle.
With a 10–20 px soft brush, paint black on the mask to blend the shoulder overlap. Keep enough limb visible to preserve its volume.
At the handle, use a 3–8 px brush at higher hardness. Keep the near edge of the hoof in front of the handle. Hide stray pixels that spill into the iron body.
Compare at Fit on Screen, then return to 100%. This is a playful hoof resting on a handle, not a human hand with fingers. Do not carve artificial fingers into it.
Why it works
The small overlap is the visual proof that the zebra is operating the iron. A clean shoulder join prevents the limb looking pasted on.
Check your result
The limb reads as one connected foreleg and its hoof touches rather than floats above the handle.
When it goes wrong
A perfectly soft edge against the hard iron looks blurred. Use a firmer mask edge there and a softer transition only at the furry shoulder.
Follow the actions, compare the checkpoint, then use Why / Check / Fix.
15
D / Build the striped coat
Extract a clean stripe patch
Select first: zebra.jpg — separate source document
Tools / menu: Rectangular Marquee; Layer via Copy
Source-matched teaching composite or annotation; not a Photoshop screenshot. Click the image to inspect it.
Do this
Choose File > Open and open starters/zebra.jpg in a separate tab. This is the nearly square, full-body zebra, not the close-up portrait.
Select Rectangular Marquee (M). Set Style to Fixed Size, Width 500 px, Height 450 px. Watch Window > Info as you move the cursor; click near x 760, y 810 to place the selection’s upper-left. Drag inside it to correct its position.
Confirm the selection ends near x 1260, y 1260 and contains only striped torso: no grass, mane, head, belly outline or legs. Press Ctrl/Cmd+J to copy those pixels to a new layer.
Name the new layer Coat Texture. Set the Marquee tool’s Style back to Normal when finished. The support folder contains this exact crop as stripe_patch.jpg for recovery.
Why it works
A rectangular piece of texture is easier to turn into fabric than a cut-out animal torso with recognisable legs and anatomy.
Check your result
The patch is filled edge-to-edge with black and cream stripes. There are no background holes or recognisable body parts.
When it goes wrong
A pale triangle at an edge is probably background or the belly contour. Move the selection inward rather than cloning a large repair.
Source-matched teaching composite or annotation; not a Photoshop screenshot. Click the image to inspect it.
Do this
Choose Edit > Transform > Warp. In the Options bar set Grid to 3x3. The first interior horizontal row will become the board’s front fold.
Move the four top-row points close to a line from (600,622) to (1000,631). Move the first interior row to a line from roughly (602,651) to (1002,660). This compresses the upper third into the top surface.
Pull the bottom row down: outer corners near (614,852) and (980,843); middle points around y 880. Let the centre sag lower than the sides.
Use the remaining interior row to make two gentle vertical folds. Adjust curve handles slightly so the hem is smooth, not angular. Accept the warp.
Why it works
One texture crossing the fold keeps stripe continuity. The compressed upper region reads as a surface receding away from the viewer.
Check your result
The fabric bends over the board edge and hangs in front. Stripes flow continuously between the top and front, rather than restarting at a seam.
When it goes wrong
Do not use Perspective Warp for this task. That is a different command. If the mesh folds over itself, undo that movement and keep the top rows in order.
Tool references: S5S6. Project settings and composition choices are authored starting points.
Source-matched teaching composite or annotation; not a Photoshop screenshot. Click the image to inspect it.
Do this
Add a layer mask to Coat Texture after the warp. Zoom in on the top corners and hanging side edges.
Use a 10–20 px brush, Hardness about 70%, with black on the mask to remove sharp corner spikes and any texture extending behind the back edge of the board.
Round the bottom corners gently. Keep a continuous curved hem; do not erase large random scallops. Preserve the top strip directly underneath the iron.
Check at Fit on Screen. The coat can hang like a loose blanket or costume panel; it does not need recognisable sleeves to communicate the visual joke.
Why it works
The silhouette sells the material before fine texture does. A clean, weighted hem is more convincing than the original rectangular crop.
Check your result
The iron has fabric under its entire soleplate, and the hanging front covers part of the stand naturally.
When it goes wrong
If the entire front disappears, the mask was inverted or painted too broadly. Paint white to restore it, then trim only the outer edge.
Select first: Coat Shadows — clipped to Coat Texture
Tools / menu: New layer; Multiply; clipping mask
Illustrated fold-lighting target, including the restrained highlights added in Step 20. Click the image to inspect it.
Do this
Create a blank layer immediately above Coat Texture. Name it Coat Shadows. Choose Layer > Create Clipping Mask, then change its blend mode to Multiply.
Choose a soft round brush, Hardness 0%, size about 50–80 px, Opacity 10–15%. Sample a dark warm grey rather than a bright colour.
Paint narrow, vertical shadow bands down the hanging front, following the curves already made in Warp. Add a slightly darker band just below the board’s fold.
Build the effect with a few strokes. Toggle the layer on and off; reduce its layer opacity if the cream stripes become muddy. Keep the tabletop lighter than the front.
Why it works
Warp changes the outline and stripe direction, but it does not automatically create convincing light. Clipped shadow painting supplies the fabric’s depth.
Check your result
The shadows stay inside the coat. The folds affect black and cream areas together, not just one stripe colour.
When it goes wrong
Shadow paint outside the cloth means the layer is not clipped to the correct base. Look for the clipping arrow and keep the clipped layers consecutive.
Tool references: S7S9. Project settings and composition choices are authored starting points.
Cloth/board contact added. The underlying frame remains visible around the fabric. Click the image to inspect it.
Do this
Create Cloth Contact directly below Coat Texture but above the board/body layers. Set it to Multiply.
With a soft 8–15 px brush at 15–20% opacity, darken the small visible board-cover areas just beneath the coat edge.
Add only a little shadow where the hanging cloth is close to the stand. A support much farther behind the cloth should not receive the same sharp dark outline.
Use a mask to remove spill onto the studio. Toggle the layer to confirm that it separates surfaces rather than drawing a black border around the whole coat.
Why it works
The cloth and board occupy different depths. A local shadow helps describe that relationship without outlining every edge.
Check your result
A small shadow is visible on the board; the fabric’s entire silhouette is not surrounded by black.
When it goes wrong
A uniform outline is not a cast shadow. Remove it and paint only on the surfaces that would actually receive the shadow.
Tool references: S9. Project settings and composition choices are authored starting points.
Integration target with broad and tight ground shadows. Click the image to inspect it.
Do this
Create Ground Shadow above 01 Studio and below all objects. Use Elliptical Marquee to draw a broad, shallow oval under the scene. Choose Edit > Fill > Color and use a dark warm grey. Deselect with Ctrl/Cmd+D.
Choose Filter > Blur > Gaussian Blur, start around 18 px, and lower the layer opacity to roughly 15–25%. Offset this broad shadow slightly right.
Create Foot Contacts above it. Paint smaller, darker ovals immediately under each hind hoof and visible stand foot. Use about 3–5 px blur, or a small soft brush.
Keep all contact patches centred on actual points of contact. Do not add a patch where the coat merely hangs above the floor.
Why it works
The broad shadow suggests cast light; the smaller dark patches anchor weight. They solve different visual problems.
Check your result
Every supporting foot meets the floor. The darkest small shadow touches each foot, while the wider shadow stays softer.
When it goes wrong
A dark oval separated from a foot makes that foot float. Move the oval up to the contact point rather than making it larger.
Source-matched teaching composite or annotation; not a Photoshop screenshot. Click the image to inspect it.
Do this
Inspect the zebra, iron and coat at Fit on Screen. Decide which piece looks too bright, too warm or too high-contrast.
Select the affected base layer and choose Layer > New Adjustment Layer > Curves. Place it immediately above that object and clip it to that base. Move the curve’s middle gently; do not apply one guessed setting to every object.
For a colour mismatch, add a clipped Hue/Saturation adjustment and start with a small Saturation reduction, about -10. Keep enough warm colour to match the studio.
Temporarily add a Black & White adjustment at the very top to compare brightness without colour. Hide that diagnostic layer before export. Recheck the separately posed Foreleg as well as the body.
Why it works
These photos were not shot together. Small object-specific adjustments help them appear to share the same lighting; the greyscale check isolates brightness differences.
Check your result
No piece looks like a bright cut-out pasted into a darker scene. The separate foreleg still matches the torso.
When it goes wrong
An adjustment affecting the entire studio is not clipped. Move it beside the intended base and use Layer > Create Clipping Mask. Do not leave the diagnostic Black & White layer visible.
Tool references: S7. Project settings and composition choices are authored starting points.
Use the source mask diagram as a reminder; inspect your actual completed scene against both light and dark backdrops. Click the image to inspect it.
Do this
Inside 01 Studio, temporarily place one dark and one white Solid Color layer above the normal background. Toggle them one at a time to inspect each cut-out.
At 100%, check the back, belly, tail and hooves for green grass or grey fence. Correct the mask locally with a small brush; avoid shrinking the whole animal to fix one edge.
For coloured fringe inside an otherwise correct edge, add an Edge Cleanup pixel layer directly above the object and clip it. Use Clone Stamp with Sample: Current & Below, a small brush, and Alt/Option-click a nearby clean colour/texture before painting.
Hide the temporary inspection backgrounds. Check the whole picture at normal viewing size. Save a new version before adding type.
Why it works
A mask controls visibility; a fringe is sometimes a colour problem inside a visible edge. The two need different fixes.
Check your result
No fence wedge, grass halo or leftover second zebra remains. The cut-outs look clean on both test backgrounds.
When it goes wrong
Clone Stamp on an empty layer with Sample: Current Layer has nothing to copy. Use Current & Below and keep other foreground objects hidden while sampling.
Tool references: S2S8. Project settings and composition choices are authored starting points.
Tools / menu: Horizontal Type; Character panel; Shape tool
Source-matched teaching composite or annotation; not a Photoshop screenshot. Click the image to inspect it.
Do this
Select Horizontal Type (T). Choose an available bold sans serif, such as Arial Bold or a similar school-installed font. Set colour to #123F42. Keep all type editable.
At roughly x 970, y 240, create three lines: PRESS / YOUR / STRIPES. Start around 95 pt at this document’s 72 ppi, with leading around 110 pt. Adjust the size so the block fits before x 1500.
Add a short orange rectangle below the headline. Add A wild take on / laundry day. at about 27 pt, positioned to the right of the cloth, around x 1070, y 665. Keep it clear of the board.
Add the fictional brand FRESH COAT near the lower right and a small line identifying it as a fictional campaign. Replace the copy with your own short, relevant idea only after the layout works.
Why it works
The image earns attention; the headline gives the joke a communication purpose. Clear hierarchy keeps the advertising task from becoming a random collage.
Check your result
The headline is read first, the action is read second, and the small copy does not collide with the coat or board.
When it goes wrong
Different fonts have different widths. Fit the text visually rather than forcing the same numeric size. Do not flatten or rasterize the type just to resize it.
Follow the actions, compare the checkpoint, then use Why / Check / Fix.
28
F / Check & submit
Audit the layer stack and save the master
Select first: Entire document
Tools / menu: Layers panel; Save As
Explanatory layer-order schematic, not an application screenshot. Add clipped corrections directly above their own object. Click the image to inspect it.
Do this
Turn key layers off and on: Foreleg, Iron Top, Coat Texture and Ground Shadow. Each should have a clear job. Confirm that no duplicate hoof or displaced lower iron appears.
Rename layers clearly. Keep the consecutive clipped coat stack together. Group finished work into Studio, Grounding, Scene and Type without changing the internal order.
Check at 100% for fringes, then Fit on Screen for the story. Hide all guides, selection outlines, test backgrounds and diagnostic adjustments.
Save YourName_Zebra_Ironing_FINAL.psd. Retain masks, Smart Objects and editable type. Close and reopen this saved file to confirm that it is your layered master.
Why it works
A convincing flat image is only part of the evidence. The layered master shows how the student constructed and can revise the result.
Check your result
The final PSD opens correctly and retains editable construction. The supplied Untitled-2.psd has not been overwritten.
When it goes wrong
A JPG is not a layered master. If the Layers panel contains only Background, return to the PSD saved before export.
Source-matched teaching composite or annotation; not a Photoshop screenshot. Click the image to inspect it.
Do this
Choose File > Export > Export As. Select JPG for a complete poster with its background, or PNG when your teacher specifically asks for it.
Check the output dimensions: 1600 × 1200 px. Choose a high JPG quality setting; interfaces may show different numeric scales.
Enable Convert to sRGB and Embed Color Profile where those options are available. Save as YourName_Zebra_Ironing_FINAL.jpg.
Open the exported file outside Photoshop. Look for clipping, missing layers, unwanted guides or accidental black-and-white output. Keep the PSD as well as the export.
Why it works
The export is easy to view or upload; the PSD preserves editing. A final outside-the-app check catches mistakes that are easy to miss in the working document.
Check your result
Your JPG matches the intended final scene, opens normally, and has the correct filename and dimensions.
When it goes wrong
Do not overwrite the PSD with a flat format. A transparent PNG is not needed for a complete poster that includes a designed background.
Tool references: S10. Project settings and composition choices are authored starting points.
Source-matched teaching composite or annotation; not a Photoshop screenshot. Click the image to inspect it.
Do this
Submit your final PSD and JPG, plus three process screenshots: refined animal mask, posed foreleg with layer structure, and warped coat with the mesh or relevant layers visible.
Write three brief responses: Which contact point makes the illusion work best?Why is the coat below the iron but above the board?What did you change after a failed test?
Identify every supplied or outside image used. Record any prepared support asset you used and any teacher-approved AI assistance; do not claim a prepared cut-out as your own selection work.
Perform one final partner check: can they read the action in five seconds, and can they find the strongest piece of masking, warping and shadow work?
Why it works
The evidence shows both the product and the thinking behind it. A useful reflection identifies a specific decision, not just that the task was fun or difficult.
Check your result
Your submission contains the editable master, viewing image, three process captures and three short explanations.
When it goes wrong
Missing an earlier screenshot? Demonstrate the live mask or warp controls to the teacher. Do not fabricate process evidence.
The core scene is complete after Step 30. Save another PSD before trying an extension. X1–X2 use a smooth cream costume panel; X3–X4 attempt an alternate expression. Neither is required for the core assessment.
Core: a zebra ironing a matching striped coat. Click the image to inspect it.Extension: the plain panel is an illustrated costume finish, not photorealistic fur reconstruction. Click the image to inspect it.
X1
Optional extension
Build a plain cream costume panel
Select first: Plain Coat Base — clipped fill above Zebra Body
Tools / menu: Lasso; Solid Color; layer mask
Source-matched teaching composite or annotation; not a Photoshop screenshot. Click the image to inspect it.
Do this
Save an extension copy of your PSD. Keep the successful striped-animal version. This option is a stylised costume illusion, not a claim about real zebra anatomy.
Above Zebra Body, create a Solid Color fill named Plain Coat Base, using a sampled warm cream, approximately #ECDEC4. Clip it to Zebra Body.
Click its white mask and press Ctrl/Cmd+I to make the mask black. With a soft white brush, reveal the fill across the torso only. Leave the head, mane, tail, hoof tips and most limbs striped.
Keep the fill at Normal, 100% where the black stripes must disappear. Do not use Color blend mode or desaturation to remove black-and-white stripes. Preserve a little natural edge fur with the mask.
Why it works
A plain costume beneath the striped fabric makes the “coat taken off” joke explicit. The full-opacity replacement is intentional; lowering saturation cannot erase a luminance pattern.
Check your result
The torso becomes a cream costume shape, while the separate striped fabric and recognisable zebra features remain.
When it goes wrong
A Curves lift only fades stripes. That can be a valid alternate style, but it is not complete stripe removal. Name and judge the result honestly.
Tool references: S7. Project settings and composition choices are authored starting points.
Source-matched teaching composite or annotation; not a Photoshop screenshot. Click the image to inspect it.
Do this
Above Plain Coat Base, add a blank Costume Shade layer. Restrict it to the same torso area with a copy of the fill’s mask: Alt/Option-drag that mask onto the new layer. Set the layer to Multiply.
With a large soft brush at 5–10% opacity, shade the body’s right edge, lower belly and area beneath the shoulder. Build broad form, not thin outlines.
Add Costume Light with the same mask and a very low-opacity Screen brush along the upper-left-facing body. The reference deliberately uses a smooth, illustrated costume finish.
For a textured challenge, add a masked pixel layer and use Clone Stamp to sample clean cream fur from the original photo into small areas. Use several source points and follow fur direction. Do not stretch one tiny sample over the entire torso.
Why it works
Covering the stripes also covers the shading that described the animal. Rebuilding light and shadow prevents the plain section from looking like flat white paint.
Check your result
The body still looks rounded. Its lighting agrees with the head, board and fabric, even though the costume treatment is stylised.
When it goes wrong
A smooth cream panel is acceptable for the illustrated extension, but should not be described as photorealistic fur restoration. Retaining texture takes additional careful retouching.
Tool references: S8S9. Project settings and composition choices are authored starting points.
Select first: Head Source — separate source document
Tools / menu: Object Selection; Select and Mask
Source-matched teaching composite or annotation; not a Photoshop screenshot. Click the image to inspect it.
Do this
Open Zebra_in_South_Africa.jpg. This close-up supplies an alternate expression; it is not the body-pose source.
Select the head, both ears, central mane and a generous short section of neck. Exclude the other zebra crossing the foreground and the green background.
Refine the ear and mane edges in Select and Mask. Output a layer mask, then convert the masked result into a Smart Object.
Duplicate the head layer into the main PSD and place it above Zebra Body. Name it Alternate Head. Keep the original head until the new head’s scale and neck overlap have been checked.
Why it works
An expression change can increase personality, but it adds an alignment and lighting problem. It is optional, not necessary to complete the ironing illusion.
Check your result
The new head is a separate, recoverable cut-out with enough neck to blend. No second animal or green rectangle comes with it.
When it goes wrong
A full front-facing head cannot be made into a true side view with a small warp. Accept a deliberate head turn or keep the original head.
Tool references: S1S2S3. Project settings and composition choices are authored starting points.
Select first: Alternate Head mask; Zebra Body mask; clipped adjustments
Tools / menu: Free Transform; mask; Curves
User-supplied PSD draft, shown on a coloured inspection background. It documents the alternate-head idea and still contains unfinished edges. Click the image to inspect it.
Do this
Scale the head proportionally. Align the base of its neck with the body neck and keep the head size comparable to the original. Rotate only enough to make the connection plausible.
Once placed, use the Zebra Body outer mask to hide the old head where it would show behind the replacement. Do not erase it.
On the Alternate Head mask, blend only the overlapping neck. Preserve the outer jaw and ear edges. Match brightness and warmth with clipped Curves and Hue/Saturation adjustments.
Check at 100% and Fit on Screen. A sharp stripe mismatch across the neck may need a small texture patch or a different overlap position. Keep the simpler original head when the replacement weakens the illusion.
Why it works
A head swap is not just pasting a face. Scale, pose, neck continuity, edge quality and tone all have to agree.
Check your result
There is one head, a believable neck attachment, and consistent lighting. The source PSD image here is an earlier draft, not a finished quality target.
When it goes wrong
Do not cover a broken neck join with a huge soft brush. Reposition first, then use restrained masking and local texture repair.
Tool references: S7S8. Project settings and composition choices are authored starting points.
Start with the exact layer or mask. Undo a wrong-target edit before trying a different tool.
Both zebras selected Step 05 · selection
Use Object Selection locally, then Subtract the right-hand animal. Check the gap between legs with Lasso rather than trusting a single automatic click.
White or green edge halo Steps 06, 26 · mask / edge pixels
Check on light and dark backdrops. Refine the mask first. Where colour remains inside the silhouette, use a clipped correction or short Clone Stamp repair; do not blur the entire subject.
Puppet Warp shows a large rectangle Steps 07, 12–13 · Foreleg Smart Object
Cancel. Enclose the isolated, masked limb in a fresh Smart Object. Select its image thumbnail, not the mask, before opening Puppet Warp.
Two hooves or a shoulder gap Steps 12–14 · Zebra Body / Foreleg masks
Hide the old limb on the body mask. Restore a little shoulder overlap. Adjust pose before trying to paint over a badly placed joint.
The iron has doubled edges Step 11 · Iron Top
The copy must stay aligned with Board Base. Undo a move or realign it. Do not shift the top iron while the original remains visible underneath.
The coat looks like a flat rectangle Steps 17–20 · mesh / clipped paint
Compress the upper row into a shallow tabletop plane. Let the hem sag and add broad, restrained light and dark folds. A dropped shadow alone will not create cloth volume.
Fabric covers the iron or vanishes behind the board Steps 16, 28 · layer order
Coat Texture belongs above Board Base and Zebra Body, but below Iron Top and Foreleg. Keep fold paint clipped to the coat. See the layer sandwich diagram.
Objects float above the floor Steps 21–24 · contact shadows
Check position first. Then add small dark contact shadows at touching surfaces and a softer, broader ground shadow. A large black oval does not prove contact.
A pale torso still has black stripes X1 · Plain Coat Base
Desaturation cannot erase a black-and-white pattern. For the illustrated extension, use an opaque cream fill restricted by a torso mask, then restore volume with local shading.
Only a flat final image remains Steps 28–30 · saved files
Return to the layered PSD. Export a separate JPG. Keep the source files and earlier versioned PSD until the final master has been reopened and checked.
Evidence, reflection and a quick rubric
Submit: layered PSD + final JPG + three genuine process captures (mask, foreleg pose and coat mesh) + three short explanations. Keep the source images and any support/AI acknowledgement with your record.
One connected working foreleg; hoof meets the handle; fabric crosses the board edge with continuous stripes and a shaped hem.
Integration & communication
Appropriate occlusion, contact and ground shadows; coherent tone; a readable visual joke and clear type hierarchy.
Evidence & explanation
Layered PSD and JPG; three authentic process captures; specific revision explanation; source/support acknowledgement.
Three reflection prompts
1. Point to the contact that most convincingly connects the photographs. Explain the layer order and shadow at that point.
2. Explain why the fabric sits above the board but below the iron. What would a wrong order look like?
3. Describe one failed attempt, the visual evidence that it was not working, and the specific change you made.
Suggested classroom scale
4
Secure and intentional; can explain and revise choices independently.
3
Meets the core expectation with minor errors.
2
Partly demonstrated; a key construction or explanation needs support.
1
Minimal evidence; substantial guided rebuilding is needed.
0
No assessable evidence yet; provide another opportunity to demonstrate.
Optional teacher-made rubric: score each of the four criteria 0–4 for a total out of 16, or record descriptive feedback only. This is not an official IB or jurisdictional grading conversion. Prepared support changes what evidence of independent skill is available; it does not automatically determine the grade.
Teacher preflight and pacing
Check the installed Photoshop
Use Photoshop on desktop for this walkthrough. In one test file, verify Place Embedded, Select and Mask, Puppet Warp on the nested limb, and a 3x3 Transform Warp. Do not assume web or tablet controls match.
Walk through the difficult joins
Test the left-animal overlap, shoulder separation, iron duplicate and first cloth-fold row. The guide’s coordinates are targets; selections and fonts can vary. Do a teacher sample before assigning independently.
Choose a route before class
Decide who starts with raw images and who may use prepared cut-outs. Prepared supports preserve access to later skills, but they are not evidence of a student-created selection.
Protect the thinking
Ask students to show a live mask, pin or mesh and explain why it is there. No generative fill is required for the core task. Record any permitted AI assistance rather than treating a finished image as sufficient process evidence.
Respect imagery and provenance
The photos and rough PSD were supplied by the teacher/user. Their original licences and creators were not established here. Verify permission and attribution before public redistribution or posting the source files.
Know what was verified
The HTML/PDF layout and assets can be checked here. The illustrations are programmatic photo composites, not genuine Photoshop screenshots. Adobe documentation was researched; an end-to-end local Photoshop run was not performed.
Suggested 70-minute-class sequence
Class 1
Steps 01–10: plan, isolate the animal, arrange and repair the prop.
Class 2
Steps 11–18: separate the iron/foreleg, pose the hoof, extract and warp the cloth.
Class 3
Steps 19–26: fold shading, contact shadows, ground, tone and edge inspection.
Class 4
Steps 27–30: advertisement, file audit, evidence and reflection.
Class 5 / flexibility
Revisions, conferencing or an extension. Raw-asset beginners may need this time; prepared cut-outs can shorten the route.
Possible conference: “Show me the layer that makes the hoof touch the iron. Hide it. What changes? Now show the layer that makes the fabric bend.” Assess the explanation as well as the rendered image.
Research and visual provenance
Adobe documentation was checked on 17 September 2026. This is an original classroom reconstruction using the supplied assets and the rough layered PSD as a construction reference, not a verified transcription of an original zebra tutorial. Project coordinates, brush values and timing estimates are authored starting points.
Confirms File > Export > Export As and format-specific export controls.
Source photos and the rough PSD were supplied in this conversation. No licence or photographer attribution is asserted for them here. Keep attribution records and confirm rights before publicly redistributing the source pack. Adobe links document tools, not ownership of these images.
The reference and checkpoints are programmatically assembled from the supplied photographs; they are teaching composites, not Photoshop screenshots. The Photoshop workflow is researched but has not been run end-to-end in a local Photoshop installation. Tool labels and automatic selections should be preflighted on the school version.
The aligned PNG layers in support/aligned_layers are a raster construction study. Their pixels include baked transformations and shading; they do not contain the editable Photoshop masks, adjustments or Smart Objects that students are asked to build.
