Production Lab 02 · Communication 11 + Multimedia 12
DROP DAY.
Build a complete sneaker-launch graphic. Clean the product, construct its display, create convincing contact, and answer a client’s colourway revision.
Start the actual tutorial →Target reference assembled from this pack’s source. AI-generated footwear concept; illustrative assembly outside Photoshop, not an application screenshot.
Download the real starter file before you begin. The guide also contains an embedded fallback copy, but the packaged asset is the canonical student source.
Before or after the build, compare this fictional launch with Nike's Air Max Dn8 campaign. Notice how product silhouette, colourway identity, motion/energy and campaign consistency help a footwear launch communicate.
Quick lens: What do you notice first? What changes between colourways? What stays consistent so the campaign still feels like one system?
Your production brief
You are producing a studio launch concept for THE STUDIO / FOOTWEAR EDIT. The product must feel supported by a display block, not pasted onto a poster. The layout needs a large editable headline, restrained supporting copy, and two controlled colour treatments.
Deliver: one repaired product PSD, two layered ad PSDs, two 1200 × 900 PNGs, and a brief practical revision. This is the second build in the ten-class boot camp—not a separate ten-class unit.
You construct the studio backdrop, accent disc, three-face display block, shadows, lettering and action panel. No paid stock, external fonts, plug-ins or generative credits are needed to complete the steps.
Use installed Arial Regular/Bold. A similar installed sans serif is acceptable. Reference lettering uses a compatible substitute; do not distort letters to chase an exact match.
The source is a prepared crop of an AI-generated footwear concept, not a real product photograph. Visible decorative marks do not imply a genuine product, collaboration or endorsement. The supplied copy makes no performance claims.
Production note: the illustrated reference uses the same supplied asset. The full workflow has not been executed end-to-end in Photoshop here; selection results and brush repairs will vary. No native finished exemplar PSD is supplied. The teacher guide records the checks still needed.
Read the targets before clicking
DOCUMENT prevents editing the wrong file. SELECT names the active layer or thumbnail. TOOLS / ROUTE shows the command. Why / Check / Fix explains the purpose and the recovery. Save at the checkpoints.
Coordinates start at each canvas’s upper-left. Source steps use 800 × 650; the advertisement uses 1200 × 900. Windows Ctrl/Alt corresponds to Mac Cmd/Option where paired. Use menu routes when shortcuts differ.
Three classes. One complete build.
Construction references from the provided source—not screenshots from Photoshop.
Class
60-minute rhythm
Stop with
4 · Prepare
0–5 brief; 5–25 repairs; 25–48 select and mask; 48–55 ad setup; 55–60 check/save.
Steps 1–8: repaired, masked prep PSD and blank ad.
5 · Construct
0–5 reopen; 5–20 backdrop/block; 20–35 placement and shadows; 35–55 colour and contrast; 55–60 save.
Planning estimates, not measured student times. Optional extensions replace spare practice; they do not expand this three-class core. The magazine-cover build follows in classes 7–9.
What is new after Below the Surface?
New: deliberate sampling with three retouching brushes; Color Range; two different mask purposes; shaped contact shadows; outline type using Fill versus Opacity; controlled colourway changes.
Revisited: layer order, Smart Objects, precise selections, editable masks, clipping, adjustments, text and checked exports.
Class 4 / 60 minutes
Prepare the product. Preserve the details.
Steps 1–8 · source repair, clean edges, recoverable masks and a new ad document.
Extract the ZIP. Open __DROP_ASSET_A002__, not the finished reference. The prepared source is 800 × 650 pixels. It contains three deliberately added repair marks.
Choose File > Save As. Save on your computer as Lastname_Sneaker_Prep.psd. Keep the source PNG untouched. Keep Layers enabled when the option appears.
If the opened layer is called Background and shows a padlock, click that padlock to make it a normal pixel layer. Rename it Source. Open Window > Layers and Window > Properties. Turn View > Rulers on; right-click a ruler and choose Pixels.
Use Ctrl+0 / Cmd+0 to fit the image. Zoom in to examine marks A, B and C on the repair map. The coordinates refer to the source canvas, not your monitor.
Click the New Layer button at the bottom of Layers. Name the blank layer Retouch and leave it selected above Source. Do not paint on Source.
A: small dust spot. B: pale thread. C: dark scuff on the pale sole. These were added for this lesson.
WhyThe preparation file is a reusable product asset. Separate repairs let you compare your decisions with the original without relying on History.
CheckTwo layers: Retouch above Source. The three marks are visible; no repair has been applied yet.
FixA Smart Object opens instead of a pixel source? Close it and use File > Open on the supplied PNG. Do not place the PNG into the final ad yet.
Zoom to 200–300% around mark A, near source x536, y360. It is the beige circular speck on the forefoot, not the shoe’s existing knit texture.
Click and hold the J tool group; choose Spot Healing Brush. Set Type: Content-Aware, Mode: Normal, brush Size: 15 px, Hardness: 70%. Turn Sample All Layers on.
Confirm that Retouch is selected. Click once on the centre of the speck. The brush should cover the mark plus a thin margin of surrounding knit.
Toggle the Retouch eye off and on. The spot should disappear while the surrounding threads remain believable. Undo and try a slightly smaller brush if the repair becomes a smooth blob.
Return to 100% zoom to judge the repair at a normal viewing size. Save. Do not scrub across the whole toe.
Compare A before and target. Targets use the same source; they are not captured Photoshop repair results.
WhySpot Healing chooses nearby source information for you. A small isolated speck is a sensible place to use that speed.
CheckThe unwanted dot has gone; no large soft patch or repeated dark hole replaces it. The change is visible on Retouch, not Source.
FixNothing happens on the blank layer? Enable Sample All Layers. The wrong detail disappears? Undo, zoom closer, and reduce the brush diameter.
Locate mark B around x425, y393: the short pale zigzag crossing dark mesh. Switch from Spot Healing to Healing Brush in the same tool group.
Set Mode: Normal; Source: Sampled; brush Size: 12 px; Hardness: 50%; Aligned: on; Sample: Current & Below; Diffusion: 2 where available.
Alt-click / Option-click an intact patch of similar mesh roughly 25 px above B. Avoid a lace, seam, coloured panel or the white sole. Release Alt / Option.
Paint along the unwanted thread in two or three short strokes. Watch the sampling cross: it must not move onto a different material. Resample when necessary.
Compare the repaired texture with nearby mesh and toggle Retouch. Undo the latest stroke if it introduces a pale halo. Save when the material reads consistently.
B uses an intentionally chosen patch of similar mesh, rather than accepting automatic sampling.
WhyYou choose where Healing Brush obtains texture; Photoshop blends the repair with its surroundings. The sample should match the material and lighting.
CheckThe pale thread is removed without flattening the weave or borrowing white pixels from the sole.
FixA message asks for a source? Alt-click / Option-click first. A dark or pale halo appears? Sample farther from a material boundary and use a smaller stroke.
Locate mark C near x491, y451: the added dark horizontal scuff on the pale midsole. Select Clone Stamp, not Pattern Stamp.
Set Size: 10 px, Hardness: 60%, Mode: Normal, Opacity: 100%, Flow: 100%, Aligned: on, Sample: Current & Below.
Alt-click / Option-click a clean patch on the same pale band, slightly left of the mark. Keep the source at the same distance from the band’s edge so the texture and brightness match.
Cover the scuff with short strokes. Resample from a second nearby point if the pattern repeats. Do not copy the green outsole over the pale band.
Toggle Retouch and inspect all three repairs at 100%. Save. In your own words: which tool made you choose a source point, and why was that useful?
C: reconstruct only the introduced scuff. The original speckled sole is part of the product’s material.
WhyClone Stamp copies pixels directly. It gives you control when automatic blending borrows the wrong colour or softens an important edge.
CheckA, B and C are removed. The sole still has a continuous boundary and its original speckled material, not a large featureless patch.
FixThe repair copies the green sole or stitches? Undo and resample from the pale band. A repeated spot appears? Resample before the next stroke.
Click Source. Choose Object Selection from the W tool group. Use Rectangle mode; leave Sample All Layers off for this initial silhouette selection.
Drag a loose rectangle from approximately (115,155) to (685,495). Include the pull tab, tongue, laces, toe and entire outsole.
Inspect the outside boundary at 200% zoom. Switch to Quick Selection with a brush around 15 px to add missing product areas. Hold Alt / Option to subtract background.
Do not remove the dark opening inside the collar: it is part of the shoe, not a hole through which the studio background should show.
Leave the selection active. Do not press Delete, rasterize a mask, or use a generated replacement product.
The white silhouette inset shows the intended subject area, not the exact result of an automatic tool.
WhyA silhouette mask must retain the product’s manufactured shape. Automatic selection is a starting proposal, not proof that every edge is correct.
CheckThe selected area contains the complete shoe rather than the rectangular source photograph. Check the pull tab and the thin pale sole carefully.
FixAutomatic detection is unavailable? Use Quick Selection to build the silhouette in several short strokes. Use the Lasso with Alt / Option for a small unwanted background area.
Compare the heel, toe and sole on both On Black and On White views. Reduce the negative Shift Edge if it trims the pale sole. These are starting values, not a promise that every edge needs them.
Use the ordinary Brush inside Select and Mask for a missed solid piece. Do not brush the entire shoe with Refine Edge Brush: this subject is mostly solid manufactured edges.
Choose Output To: Selection and click OK. The marching ants should return. Keep the selection active for the next step.
A dark background exposes pale fringe; a pale background can expose missing dark edges. Both checks matter.
WhyA tiny edge adjustment can remove background fringe. Large feathering would make the product look soft or translucent.
CheckThe outline remains crisp, the pale sole has not been eroded, and the output is still an active selection.
FixThe result loses detail? Reduce Smooth or Shift Edge before accepting it. A very soft halo? Reset Feather near zero and compare at 100%.
DOCUMENT: Sneaker_Prep.psd SELECT: New SHOE CUTOUT group, then its MASK thumbnail TOOLS / ROUTE: Layer > Group Layers; Layer > Layer Mask > Reveal Selection
With the selection still active, select Retouch and Source together in Layers. Choose Layer > Group Layers or Ctrl+G / Cmd+G. Name the group SHOE CUTOUT.
Confirm the group itself is active. Choose Layer > Layer Mask > Reveal Selection. The mask belongs on the group so it controls both Source and Retouch.
Choose Select > Deselect. The former grey background should now be transparent. If a grey rectangle remains, expand the group and check that no unmasked source layer sits outside it.
Click the group’s mask thumbnail. With Brush B, Size 8–15 px, Hardness 80%, Opacity 100%, Flow 100%, paint black to hide a small background remnant or white to restore a missing solid edge.
To inspect against two backgrounds, temporarily create a Solid Color fill below the group, test dark and pale colours, then hide that test layer. Save the prep PSD with transparency outside the shoe.
At this point you have only the cutout mask. The separate colour mask will be created later in the advertisement.
WhyOne group mask keeps the repair strokes and the original photograph together. It also lets you restore hidden material without undoing later steps.
CheckSHOE CUTOUT contains Source and Retouch. Its mask controls the silhouette; the original pixels remain recoverable.
FixBlack paint appears on the photo? Undo and select the mask thumbnail. Repairs remain outside the shoe? The mask is probably on Source instead of the whole group.
Start the advertisement with a clear document size
DOCUMENT: New ad / 1200 × 900 SELECT: New empty advertisement document TOOLS / ROUTE: File > New; Save As; View > Guides > New Guide
Choose File > New. Set Width 1200 px, Height 900 px, RGB Color, 8 Bits/Channel, 72 pixels/inch, white background and sRGB IEC61966-2.1 where available. Turn Artboards off.
Save locally as Lastname_Drop_Day_Teal.psd. Keep the prep PSD open in its own tab; they are different working documents.
Open Layers, Properties and Character from Window. Turn rulers on and set their units to Pixels. Disable Move tool Auto-Select so layer targeting remains deliberate.
Add vertical guides at 64 px, 580 px and 1136 px, and a horizontal guide at 764 px. Use View > Guides > New Guide for each position.
The left area is for copy; the right is for the shoe and its display. Save, then stop here for the end-of-class check.
Forward-looking layout map. Do not copy the finished picture into your file; you will build each element.
WhyThis is a screen-size launch graphic with an intentional reading area. The fixed canvas lets the following placement instructions refer to real locations.
CheckThe ad is a blank 1200 × 900 document. The prepared shoe is saved separately with an editable cutout and repairs.
FixYou see a shoe instead of a blank canvas? Select the new ad tab. Do not use Image Size on the prep document to create the ad.
DOCUMENT: Drop_Day_Teal.psd SELECT: Above Background, outside any group TOOLS / ROUTE: Gradient Fill; Rectangle Tool in Shape mode
Choose Layer > New Fill Layer > Gradient and name it Background gradient. Use two opaque colour stops: 0% #d3e2de and 100% #edf4f1; Style Linear, Angle 90°, Scale 100%. The upper area should be lighter.
Choose the Rectangle Tool (U group). Set mode Shape, Fill #e7ece8 and Stroke None. Draw a rectangle from (0,764) to (1200,900), or enter X 0, Y 764, W 1200, H 136 in its Properties.
Name the shape Floor. Keep the background gradient and floor separate. The floor is a pale studio surface, not a painted shadow.
Select both new layers and group them as 01 BACKDROP. Leave the original locked Background outside the group.
Reopen the gradient by double-clicking its fill thumbnail, then cancel. This confirms that its colours are still editable. Save.
Background checkpoint. The pale floor and accent disc appear in the next complete scene view.
WhyA quiet studio setting leaves room for both a complex product texture and a large headline. Separate layers keep later colour changes controlled.
CheckA very light vertical gradient fills the canvas; the floor starts at y764. There is no distracting horizon through the main product area.
FixThe gradient is reversed? Turn Reverse on in the fill dialog. A selection limits the fill? Deselect and recreate that fill layer.
DOCUMENT: Drop_Day_Teal.psd SELECT: 01 BACKDROP; then a new layer ABOVE it TOOLS / ROUTE: Ellipse Shape; Elliptical Marquee; Smart Filter
Inside 01 BACKDROP, create an Ellipse shape named Accent disc. Set Fill #75c9be, Stroke None, X 652, Y 233, W 490, H 490. Keep it above the gradient and below Floor.
Collapse 01 BACKDROP. Create a new blank pixel layer above it called Ground shadow. Choose Elliptical Marquee, Feather 0, and drag approximately from (596,759) to (1210,815); the last part extends beyond the canvas.
Choose Edit > Fill > Black, Normal, 100%. Deselect. Right-click Ground shadow and choose Convert to Smart Object.
Choose Filter > Blur > Gaussian Blur, Radius 20 px. Set Ground shadow blending mode to Multiply and layer Opacity to 22%.
Keep this shadow below all display-block faces. It supports the display block, not the shoe. Save.
Accent-disc position. The large ground shadow will become meaningful once the block is constructed.
WhyThe disc creates a clear colour relationship with the product. The large ground shadow stops the display block from looking detached from the floor.
CheckA mint disc sits on the right. The ground shadow is very soft and low on the canvas, with no hard black ellipse.
FixA filled ellipse covers the whole design? Undo and check that only your marquee was selected before filling. A black shape looks too heavy? Check layer opacity, not brush opacity.
DOCUMENT: Drop_Day_Teal.psd SELECT: Three new PIXEL layers above Ground shadow TOOLS / ROUTE: Polygonal Lasso; Edit > Fill; grouping
Create a pixel layer named Front. Set the foreground colour to #bac8c4. With Polygonal Lasso, Feather 0 and Anti-alias on, click (610,621), (1125,687), (1125,789), (610,723), then the first point. Fill Foreground Color and deselect.
Create Side above Front. Use #8ea7a2. Make a closed polygon through (1125,687), (1195,638), (1195,740), (1125,789). Fill and deselect.
Create Top above Side. Use #f0f5f1. Make a closed polygon through (610,621), (1125,687), (1195,638), (693,578). Fill and deselect.
Zoom in on shared corners. Adjacent faces should meet without gaps. Small coordinate differences can be corrected on the relevant face; do not merge the three faces.
Group Top, Side, Front and Ground shadow as 02 DISPLAY. Top is the lightest face; Side is the darkest. Save.
Construction diagram of the three faces. This is not a Photoshop interface screenshot.
WhyShared corners and different face values make three flat polygons read as one display block. The perspective comes from the shape relationships, not an old 3D feature.
CheckA coherent block sits under the future shoe. Top, Front and Side remain separate, named layers.
FixA triangle appears instead of a four-sided face? Undo, deselect and repeat the four corners. A crack appears? Inspect which shared vertex is misplaced before editing.
12
Place the prepared shoe without flattening your work
DOCUMENT: Drop_Day_Teal.psd SELECT: Above 02 DISPLAY, outside that group TOOLS / ROUTE: File > Place Embedded; Edit > Free Transform
Confirm that Lastname_Sneaker_Prep.psd is saved with its background test layer hidden. In the ad tab, select the collapsed 02 DISPLAY group.
Choose File > Place Embedded and select your own prep PSD. Confirm placement and rename the new layer Shoe master. This is not the supplied teacher cutout.
Choose Edit > Free Transform. Enable the reference-point control and choose its centre point. Set the source canvas to 800 × 650 px; keep the width/height link on. Enter X 900 px and Y 520 px; Angle 0°.
If the size fields show percentages, use 100% for this unscaled 800 × 650 source. Confirm with the checkmark. The source canvas top-left should be (500,195), and the actual shoe should sit above the block.
Group Shoe master as 03 PRODUCT. Keep the whole group above 02 DISPLAY. Save.
The source canvas is 800 × 650, but the visible shoe occupies only part of it. Keep its proportions intact.
WhyPlacing the preparation PSD keeps a reusable embedded source. It separates repairing the product from designing the advertisement.
CheckOnly the shoe appears, not the old studio rectangle. Shoe master has a Smart Object icon and is positioned on the display’s top face.
FixA grey rectangle appears? Hide the test fill in the prep file, save, then use Layer > Smart Objects > Replace Contents. If transform bounds trim transparency, keep the visible shoe about 541 × 310 px, with top-left near (630,365); do not stretch it to 800 px wide.
DOCUMENT: Drop_Day_Teal.psd SELECT: New layer inside 02 DISPLAY, ABOVE Top TOOLS / ROUTE: Elliptical Marquee; Free Transform; Gaussian Blur
Expand 02 DISPLAY and click Top. Add a blank pixel layer named Ambient shadow. Do not place it in 03 PRODUCT.
With Elliptical Marquee, Feather 0, draw from approximately (646,618) to (1150,672). Fill Black and deselect.
Convert the layer to a Smart Object. Use Edit > Free Transform; rotate about 8° clockwise so the ellipse follows the diagonal top face. Confirm.
Apply Filter > Blur > Gaussian Blur at 18 px. Set blending mode Multiply and layer Opacity to 16%.
Toggle the shadow while watching the shoe’s underside. It should add a broad, soft grounding effect without forming a black stripe. Save.
Compare ambient-only with the no-shadow version before adding small contact shadows.
WhyAmbient shadow is spread out and soft. It suggests the general reduction of light under the object, but it is not enough to establish close contact.
CheckThe effect sits below the shoe and above the top face. It follows the display’s direction and does not darken the laces or upper.
FixThe shoe becomes darker? The shadow layer is above the product. Move it into 02 DISPLAY above Top. A long black oval dominates? Check the 16% layer opacity.
DOCUMENT: Drop_Day_Teal.psd SELECT: New pixel layer ABOVE Ambient shadow in 02 DISPLAY TOOLS / ROUTE: Brush; brush roundness; layer opacity
Create a layer named Contact shadows above Ambient shadow. Set blending mode Multiply. Set foreground to black.
Choose a Soft Round Brush: Size 155 px, Hardness 0%, Opacity 45%, Flow 100%. In Brush Settings > Brush Tip Shape, set Roundness about 12% and Angle about −8° so the tip is a shallow ellipse following the display.
Click once beneath the heel, around (731,624). Increase Size to 180 px and click once beneath the forefoot, around (1046,663). Keep each mark on the top face and mostly concealed by the sole.
Judge at 100% and then fit on screen. The closest parts of the sole need a small darker contact zone; the curved arch should not receive an equally thick dark line.
Adjust Contact shadows layer opacity if necessary. Reset the Brush tip to a normal round brush before later mask painting. Save.
The final panel shows the intended relationship: broad ambient shading plus tighter contact at the closest points.
WhySmall, darker contact zones distinguish a product sitting on a surface from a floating cutout. Different parts of this curved sole do not touch equally.
CheckThe heel and forefoot feel anchored. There is no uniform cartoon outline around the entire shoe.
FixThe ellipse tilts the wrong way? Reverse the brush Angle after checking the preview. Harsh spots? Reduce opacity or hardness; do not keep stacking clicks.
Click Shoe master. Ensure no selection is active. Choose Select > Color Range. Set Select to Sampled Colors, Fuzziness initially 55, Localized Color Clusters off and Invert off.
Click a bright lime eyelet on the shoe. Use the + eyedropper or hold Shift to add the lime heel stripe and toe/outsole accents.
Choose the Selection preview in the dialog. White should cover the accent areas; most of the pale sole, grey knit, dark laces and background should stay black. Grey means partially selected.
Add one darker lime sample if required. Reduce Fuzziness if grey fabric or the backdrop becomes strongly selected. Do not choose a threshold solely to match a number.
Click OK and leave the selection active. It is normal that marching ants do not describe every partially selected pixel.
The right-hand inset illustrates a colour mask: only selected accent pieces should be white.
WhyThe colour selection becomes a second, local mask. It has a different purpose from the prep file’s outer cutout mask.
CheckThe bright accent pieces are selected while the neutral shoe materials are mostly protected.
FixThe mint disc is selected? Narrow Fuzziness and resample the original lime on the shoe. We will also clip the adjustment to Shoe master, but the colour mask still needs inspection.
Create the teal colourway and a controlled contrast adjustment
DOCUMENT: Drop_Day_Teal.psd SELECT: Accent colour ADJUSTMENT thumbnail, then its mask TOOLS / ROUTE: Layer > New Adjustment Layer > Hue/Saturation; Curves
With the colour selection active, choose Layer > New Adjustment Layer > Hue/Saturation. Name it Accent colour and enable Use Previous Layer to Create Clipping Mask. Confirm. The selection becomes its mask.
In Properties, choose the all-colours control: Master on older panels or the first multicolour circle on newer panels. Set Hue +105, Saturation −8, Lightness 0; Colorize off. The lime accents should become teal.
Click the adjustment MASK thumbnail. Restore Brush Roundness to 100%, Size 8–20 px, Hardness 70%, Opacity 100%, Flow 100%. Paint black over unintended neutral-material changes; white restores a missed intended accent.
Add Layer > New Adjustment Layer > Curves above Accent colour. Name it Product contrast and clip it too. In RGB, add points Input 64 / Output 58 and Input 192 / Output 204. Keep endpoints at 0/0 and 255/255. Set this adjustment’s layer opacity to 40% for a restrained effect.
Toggle each adjustment separately. Only the product should change. Save; finish this class with the shoe, display, shadows and teal accents complete.
Reference colour relationship. The exact teal varies with mask coverage; protect material detail rather than chase a pixel-perfect match.
WhyThe mask controls which details change, and clipping prevents the adjustment reaching unrelated layers. A restrained contrast adjustment should not destroy material detail.
CheckAccent colour and Product contrast both show clipping indicators above Shoe master. Laces, pale midsole and background stay neutral.
FixThe whole poster shifts colour? Check clipping and the adjustment mask. A mask brush paints a flat colour? Select the mask thumbnail rather than the image or adjustment icon.
Collapse 03 PRODUCT. Choose Layer > New > Group and name it 04 HEADLINE. Its folder must be above 03 PRODUCT at the same indentation. With 04 HEADLINE active, choose Type T, click once to make point text, and type DROP.
Use installed Arial Bold, Size 170 pt, Tracking 0, colour #12343c. At 72 pixels/inch, this size is 170 pixels per em. Keep horizontal and vertical character scaling at 100%.
Position the text’s left edge near x60 and its baseline near y305. Use the layout map as the visual target. Commit with the Type checkmark; rename the layer DROP - outline.
Choose Layer > Layer Style > Stroke. Set Size 2 px, Position Outside, Blend Mode Normal, Opacity 100%, Fill Type Color, colour #12343c. Confirm.
In the Layers panel set Fill to 0% but leave layer Opacity at 100%. The letters’ fill disappears while the stroke remains. Do not rasterize the text.
Typography construction reference. Installed fonts may differ slightly; keep live text and the intended hierarchy.
WhyThe thin outline is deliberately quieter than the solid word that follows. Fill and Opacity are not interchangeable when a layer style is present.
CheckDROP remains editable Type. You can see through the letters but their dark outline is visible.
FixThe whole word disappears? Restore Opacity to 100% and reduce Fill instead. A substitute font is wider? Reduce font size modestly; do not squash its horizontal scaling.
DOCUMENT: Drop_Day_Teal.psd SELECT: New Type layers; then 04 HEADLINE group TOOLS / ROUTE: Type; Character panel; Move and guides
Create a NEW Type layer named DAY - solid. Use Arial Bold, Size 225 pt, Tracking 0, colour #12343c, Fill 100%, Opacity 100%, with no layer effects. Type DAY.
Position its left edge near x56 and baseline near y493. The visible edges of DROP and DAY should align optically. Keep both words to the left of the product.
Keep both headline layers inside 04 HEADLINE. DAY must remain live text. Collapse the group, then create a separate group named 05 COPY above it at the same indentation.
With 05 COPY active, create NEW point-text layers for NEW COLOUR. at x64 / baseline560 and SAME ENERGY. at x64 / baseline597. Use Arial Bold 29 pt in #102f37.
Add A colour study for a fictional launch. at x64 / baseline633 in Arial Regular 18 pt. Check that all three supporting lines are inside 05 COPY. Save.
Full-layout reference for the text that is now being constructed. Do not use the reference as a background layer.
WhyThe outline-to-solid contrast creates a clear headline rhythm. Separate live layers let a client change individual lines without rebuilding an image effect.
CheckThe headline reads DROP DAY. Supporting copy remains clear and does not cross the shoe or display.
FixNew text is also hollow? Set its Fill to 100% and clear any inherited Stroke style. Text appears on the wrong layer? Commit the current edit, then click an empty area with Type to create a new layer.
Create THE STUDIO / FOOTWEAR EDIT in Arial Bold 20 pt, colour #102f37, with left edge x64 and baseline y79. This is fictional campaign copy, not the manufacturer of a real shoe.
Create DROP 01 in Arial Bold 18 pt near x1038 / baseline79. Keep its right edge inside the x1136 guide.
With Rectangle Tool in Shape mode, Fill #8baaa4 and no Stroke, make a thin rule at X64, Y105, W1072, H2. Name it Header rule.
Create two more rectangle shapes: X64, Y148, W87, H7 in #75c9be; and X163, Y148, W39, H7 in #12343c. Name them Accent bar and Dark bar.
Keep these layers inside 05 COPY. Use precise Properties values where available; zoom out to check that the small accents support the composition instead of dominating it.
The small header and rules are separate text/shape layers, not supplied logo artwork.
WhySmall repeated details connect the otherwise separate title, product and colour concept. The large graphic work still does the main communication.
CheckThe header aligns to the same margins as the main copy. The accent bar uses the same mint as the disc.
FixA rectangle has an unwanted border? Set Stroke to None. An accent is in the product group? Move it into 05 COPY so product-only adjustments cannot affect it.
Create a Rectangle shape at X64, Y672, W344, H58; Fill #10353d; Stroke None. Name it CTA panel. It must sit below its text in the layer order.
Create EXPLORE THE CONCEPT in Arial Bold 22 pt, colour #e9faf3. Position near x87 / baseline709. Keep comfortable space on all four sides of the panel.
Create TEAL / 01 at x64 / baseline800 in Arial Bold 17 pt and #102f37.
Add STUDIO CONCEPT / NOT A REAL PRODUCT OFFER at x64 / baseline846 in Arial Regular 15 pt. Add COLOUR + MATERIAL STUDY at x820 / baseline846 in Arial Bold 15 pt.
Check every word against the supplied copy. No performance claims, fake price, invented discount, or claim of a real product release is needed. Save.
The completed main layout. The underlying source is an AI-generated footwear concept, not verified product photography.
WhyA complete advertisement needs supporting information and a purposeful action, not just an impressive cutout. The footer keeps the exercise clearly fictional.
CheckAll copy is live and readable. The CTA is a graphic panel, not a real website button. Nothing is cut off at the margins.
FixSmall text is crowded? Check font size and tracking before shrinking it further. A panel covers its text? Move CTA panel below the relevant Type layer.
At 100%, inspect the heel edge, pull tab, pale sole, repaired toe mesh and colour boundaries. At fit-on-screen, inspect the reading order and the shoe’s contact with its display.
Toggle Contact shadows and Ambient shadow separately. Decide whether each adds useful grounding. Reduce an overly dark contact patch rather than blurring the entire shoe.
To repair the outer cutout in the ad, double-click the Shoe master Smart Object thumbnail. In the opened embedded document select the SHOE CUTOUT group mask, repair it, save with Ctrl+S / Cmd+S, and close that embedded tab.
Return to the ad and verify the update. Editing the embedded copy does not automatically rewrite your external Sneaker_Prep.psd. Keep the ad as the final assembled master.
Compare with the layer diagram. Save, then export one process screenshot showing the relevant masks and clipping indicators—not only a flat final image.
Conceptual layer map with the tutorial’s exact group names. This is a diagram, not a Photoshop screenshot.
WhySource repair, colour masking and integration are different decisions. Separate controls let you fix one without disrupting the others.
CheckThe file has named groups and recoverable masks. Repairs, colour changes and shadows can be inspected independently.
FixAn edit fails to update? Save the embedded tab before closing it. Updating the external prep file alone will not refresh an embedded instance automatically.
DOCUMENT: Drop_Day_Coral.psd / a separate duplicate SELECT: Accent colour adjustment; Accent disc shape; Accent bar shape TOOLS / ROUTE: Image > Duplicate; Hue/Saturation; shape Fill
Choose Image > Duplicate. Name it Lastname_Drop_Day_Coral. Leave Duplicate Merged Layers Only unchecked. Save the duplicate as Lastname_Drop_Day_Coral.psd.
In the duplicate, select Accent colour’s adjustment icon, not its mask. Set the global/master Hue to −60, Saturation −8 and Lightness 0; keep Colorize off. Preserve the existing mask and clipping.
Double-click Accent disc’s colour thumbnail and set its Fill to #e8a28a. Set Accent bar to the same colour. Do not change the background gradient or recolour the whole poster.
Edit the live TEAL / 01 footer to CORAL / 02. Keep all other campaign copy and neutral product materials consistent.
Compare the two documents. The main version must still be teal. Save the coral version and capture a comparison that clearly shows the controlled changes.
Illustrative versions from the same asset. They are fictional colour concepts, not verified manufactured colourways.
WhyA colourway revision tests whether you built reusable controls. It should not require another cutout, repainting the entire shoe, or rebuilding the typography.
CheckTwo separate layered files remain: teal and coral. Neutral knit, laces, pale sole and general background are unchanged.
FixBoth versions changed? Confirm that you duplicated the whole document and saved it under a new name. The mask disappeared? Undo; edit the adjustment controls, not the mask.
DOCUMENT: Assessment copy / your layered ad SELECT: The relevant mask, adjustment and Type layers TOOLS / ROUTE: Independent revision; no step-by-step coaching
Save a separate assessment copy. Read the task card: change the small drop label to WEEKEND EDIT; keep the large DROP DAY headline intact and the right margin clear.
Set one intended accent to the original lime while the other accent pieces remain coral or teal. Use the existing colour adjustment mask; do not paint a flat lime colour on the product.
Let a partner or teacher hide a tiny piece of the pull tab on your embedded SHOE CUTOUT group mask. Restore it without Undo, History, replacement imagery or the teacher’s reference mask.
Show the teacher the control used for each change. Explain why lowering the entire shoe’s opacity would not repair an unwanted background fringe.
Save the copy with _Check in its name. Record one repair decision, one mask decision and one client-change decision in the short evidence sheet. Menu references are allowed; copying completed masks is not.
Use the diagram to distinguish mask purposes. The independent task still requires operating your own layered file.
WhyMatching the reference shows you followed the build. A new revision reveals whether you understand which control does which job.
CheckYou can select and explain the right control, not just name a tool. The ad remains editable and visually coherent after the changes.
FixNot ready independently? Record Not yet demonstrated and return to the relevant construction step. Do not hide the support you needed.
DOCUMENT: Both final colourway documents SELECT: Whole document, with all final layers visible TOOLS / ROUTE: File > Save; File > Export > Export As
Save the layered teal and coral PSD files first. Do not flatten the masters or overwrite the source PNG.
In each colourway document choose File > Export > Export As. Select PNG, dimensions 1200 × 900, scale 1×. Leave Smaller File (8-bit) off if offered. Enable Convert to sRGB and Embed Color Profile where offered.
Export as Lastname_Drop_Day_Teal.png and Lastname_Drop_Day_Coral.png. PNG is the preview delivery; PSD is the editable working file.
Open both exported PNGs outside Photoshop. Check the title, footer, colour, margins and dimensions. An exported file can reveal missing layers or cropping that a zoomed-in workspace hides.
Submit your prep PSD, two final PSDs, two PNGs, assessment copy and short evidence response. Keep process captures focused on the actual controls you used.
WhyA professional handover includes an editable source and a checked output. Saving the layered file and exporting a viewing file are different actions.
CheckThe exported images open correctly at 1200 × 900. Both colourways exist and the masters still contain their editable layer structure.
FixTransparency appears where a background should be? Re-enable the backdrop group. Export dimensions are wrong? Set 1200 × 900 at 1× without rescaling the master.
Two source-based reference versions. Change the selected product accents, accent disc, accent bar and colour label—not every colour in the scene.
The important comparison
The repaired texture, pale sole, laces, headline hierarchy and source placement should remain consistent. A convincing variation is not simply a colour filter over the entire poster.
Before you submit:
Can you show the cutout mask, the colour mask, the clipping indicators, the repair layer inside the embedded source, and a live Type layer? These controls are part of the product you are handing over.
Multimedia 12 extension · only after the core is complete
Create a square 900 × 900 adaptation. Recompose the copy and product; do not squeeze the whole poster. Keep a recognisable relationship between the original and square versions. Explain one decision about negative space and one decision about product emphasis.
Communication 11: complete the two standard colourways and practical check. Students in either course may attempt the extension when ready.
The brief has changed.
Practical check · approximately 8–12 minutes. Work in a separately saved assessment copy. Menu references are permitted; step-by-step coaching and copied masks are not independent evidence.
Request
Visible evidence
Change DROP 01 to WEEKEND EDIT.
The live text changes and stays inside the right margin.
Return one coloured accent to its original lime.
Only that accent returns; the other altered details remain changed.
Restore a small piece hidden on the cutout mask.
Use the correct embedded group mask, without Undo or History.
Responses are saved only in this browser, not sent to your teacher. Use the text button or your teacher’s submission system to hand them in.
Evidence note: browser checkboxes and text boxes are for your own working notes. Official Knowledge/Reflection goes through the project Google Form; teacher Observation/Conversation/Product evidence is recorded separately and flows to the Outcome Evidence Map.
How the work will be assessed
The guided build is practice. Your PSD, the practical change, and a short conversation together support the judgment. Finishing every instruction is not automatically independent mastery.
Competency
What a secure demonstration looks like
Repair and selection control
Removes the intended defects without obvious material damage, checks the silhouette, and restores a masked detail.
Selective editing and editability
Uses the appropriate adjustment, mask and clipping relationship; keeps recoverable source content and live typography.
Integration and handover
Makes the shoe feel supported, keeps the copy readable, delivers two controlled colourways and checks the exports.
Level
Descriptor
4 · Extending
Independently adapts the technique to changed conditions, diagnoses a problem and explains an effective correction.
3 · Secure
Independently meets the expectation in a comparable task and explains the important control.
2 · Developing
Shows partial control, but an important control or explanation is inconsistent or a significant issue remains.
1 · Beginning
Shows initial understanding but cannot yet carry out or explain the essential technique reliably in a comparable task.
Not yet observed is recorded separately. Extra effects do not automatically earn a higher level. This is one learning occasion; revisit the skills in later projects for further evidence.
Teacher alternative: a fresh repair challenge
Your teacher may use 02_repair_challenge.png to check repair transfer instead of repeating the guided marks. It is not an extra compulsory project.
Original classroom brief, copy, layout, teaching defects, assessment and construction directions. The book provides technical background; it does not contain this exact Drop Day project. Official Adobe documentation was checked on 17 September 2026. Interface wording can vary by installed build.
B1. Gary Bradley, Mastering Adobe Photoshop 2026, 2nd ed., ch. 3, printed pp. 65–78 (uploaded book): retouching on separate layers and sampling decisions. Technical reference, not the source of this original sneaker brief.
What the references do—and do not—prove
The cited documentation supports tool behaviours and workflows. It does not prove that these exact values, this generated asset, or the three-class pacing have been tested inside Photoshop. Numeric settings are starting points selected for this classroom build.
The product was extracted from an AI-generated concept illustration, levelled and placed onto a neutral teaching canvas. Three repair marks were added deliberately. Reference cutouts, masks, diagrams and final previews were assembled programmatically from that same source. They are not fabricated Photoshop screenshots.
Do not submit the reference artwork as student work. Teacher-only support masks are provided for access needs and diagnosis; using one is not evidence of independently making that mask. No publisher photography, external font files or native finished Photoshop exemplar is included.