Production Lab 03 · Communication 11 + Multimedia 12
ON THE COVER.
Build a complete music-magazine cover. Refine the curls, put the subject in front of the masthead, shape the photographic treatment, and construct every cover line.
Illustrative cover constructed from this pack’s AI-generated portrait. Not a Photoshop screenshot or a real magazine publication.
Your production brief
You are creating the front cover of AMPLIFY: The New Voices Issue, a fictional music and culture magazine. The portrait should feel part of the publication’s identity—not a cutout pasted beside some words. The masthead remains recognisable while curls cross its lower edge.
Deliver: a layered lime cover, a layered night revision, two 1000 × 1400 PNG proofs, and a short practical revision in a separate PSD. This is the third build in the ten-class boot camp; class 10 remains the separate practical skills check.
You construct the background, readable photo treatment, masthead, editorial badge, two story blocks, lead headline, and footer. All copy is supplied.
Use installed Arial Regular/Bold, or a similar installed sans serif. References use a metric-compatible substitute. No font files, paid stock, plug-ins or generative credits are required to follow the core workflow.
The source depicts a fictional adult. It is not evidence of a real artist, interview, endorsement or event. The cover is an educational design proof, not a press-ready commercial magazine file.
Production note: references use the supplied source and labelled construction diagrams, not fabricated Photoshop screenshots. The layout and files have been checked; the full workflow has not been executed end-to-end in Photoshop. No native finished exemplar PSD is included. Selection behaviour, font metrics and timing need a classroom pilot.
Read the targets before clicking
DOCUMENT prevents editing the wrong file. SELECT names the layer or thumbnail. TOOLS / ROUTE gives the command. Why / Check / Fix supplies the purpose, the visible check and a recovery. Save at the checkpoints.
Coordinates begin at the upper-left of the cover, not your monitor. Text positions refer to approximate baselines unless the guide specifies a shape or box’s top-left. Enter px after type sizes. Use Windows Ctrl/Alt or Mac Cmd/Option where paired. Commit text and transformations before changing tools.
Three classes. One complete cover.
Construction references made from the provided portrait—not captured Photoshop results.
Steps 17–24: two covers, an editable check file and evidence.
Planning estimates, not measured student completion times. Teacher support can protect the three-class pace; record it. Optional Multimedia work replaces spare practice or the guided palette revision, rather than silently adding another class.
What is new after Drop Day?
New: fine hair against a changed background; local versus silhouette masks; editable monochrome; Curves input/output control; masthead occlusion; point versus paragraph text; leading, tracking, alignment and overflow.
Revisited: source protection, named layers, Smart Objects, precise placement, clipping, brush control, local adjustment and checked exports.
Your target is a believable publication. Do not attempt to preserve every flyaway at the expense of the whole cover. Do not add effects simply to prove you found a tool.
DOCUMENT: Cover master / 1000 × 1400 px SELECT: A new empty document TOOLS / ROUTE: File > New; File > Save As; Window > Layers / Properties / Character / Paragraph
Extract the student ZIP. Keep assets/01_cover_portrait.png and 02_cover_copy.txt beside your working folder. The source portrait is 1000 × 1500 pixels; the reference is not a starter file.
Choose File > New. Set Width 1000 px, Height 1400 px, Resolution 72 pixels/inch, RGB Color, 8 Bits/Channel, white background. Turn Artboards off. Use sRGB IEC61966-2.1 when the profile is offered. Create.
Choose File > Save As and save locally as Lastname_Amplify_Lime.psd. This is a screen-sized cover proof, not a press-ready magazine file. Keep the PSD layered.
Open the four panels listed above. Press V for Move and turn Auto-Select off. Use Ctrl+0 / Cmd+0 to fit the canvas; enter 100% in the zoom field when checking detail.
The red boundary represents the cover; the lower source strip sits outside it.
WhyThe cover has its own dimensions. We will place, not stretch, the portrait and build every piece of copy separately.
CheckYou have a blank portrait-format canvas and a saved PSD. The prepared portrait PNG is still untouched.
FixOpened the reference PNG? Close it and start a new document. Do not turn a finished reference into your working file.
02
Build the cover colour and useful guides
DOCUMENT: Cover master / 1000 × 1400 px SELECT: Above the blank Background layer TOOLS / ROUTE: Layer > New Fill Layer > Solid Color; View > Rulers; View > Guides > New Guide
Choose Layer > New Fill Layer > Solid Color. Name it Cover colour; do not clip it. Enter #dee65b. This fills the canvas with the lime colour.
Select only Cover colour and press Ctrl+G / Cmd+G. Name the group 01 BACKGROUND. Select the original blank white Background layer and delete it; it contains no photographic source.
Turn View > Rulers on. Right-click a ruler and select Pixels. Choose View > Guides > New Guide (or View > New Guide on an older layout). Add vertical guides at 55, 500 and 945 px.
Add horizontal guides at 90, 250, 900 and 1370 px. Enter one position per guide. The outer vertical guides mark copy margins. The 250 line is the masthead baseline target; the 900 line begins the lower copy area.
Collapse 01 BACKGROUND. Do not change the canvas dimensions to match the guide illustration.
The finished artwork is shown only to explain the guide positions. Your canvas is still lime.
WhyGuides reserve space for a readable magazine identity, the portrait, and supporting stories before we pile up text.
CheckThere is one background group containing an editable Solid Color fill, plus the specified guides.
FixGuides do not appear? Check View > Show > Guides. A guide is at the wrong position? Use Move to drag it back to the ruler and create it again.
03
Place the portrait without enlarging it
DOCUMENT: Cover master / 1000 × 1400 px SELECT: Above 01 BACKGROUND, outside that group TOOLS / ROUTE: File > Place Embedded; Edit > Free Transform; Layer > Duplicate Layer
Select the collapsed 01 BACKGROUND group. Choose File > Place Embedded and select 01_cover_portrait.png. Commit the placement. Rename the layer Portrait - masked; the mask comes later.
Choose Edit > Free Transform. Keep Width and Height linked. Enter 1000 px for Width, including the unit; Height should be 1500 px. Show the reference point and choose its centre. Set X = 500 px and Y = 750 px. Commit.
The top-left of the image is now (0,0). Its last 100 pixels extend below the cover. They are not erased. Do not squeeze the height to 1400.
Right-click Portrait - masked and choose Duplicate Layer. Name the copy 00 SOURCE - BACKUP. Hide it and drag it below 01 BACKGROUND. Reselect the visible Portrait - masked layer.
Confirm the visible portrait is above and outside the background group. Keep its Smart Object badge; do not rasterize.
The prepared source is placed at 1000 × 1500, not stretched to 1000 × 1400.
WhyThe source fits at its prepared pixel size. A hidden backup preserves the unmasked placement without asking History to protect it.
CheckOne full-colour portrait is visible, with its grey rectangular backdrop. Its proportions match the source.
FixOnly percentages appear in Transform? Type the px unit after the number. Wrong layer moves? Select its name in Layers rather than clicking the canvas.
Click the image thumbnail of Portrait - masked. Choose Object Selection from the W tool group. Turn Sample All Layers off. Use Select Subject, or Rectangle mode and draw around the whole person.
Zoom to 100–200%. Check three areas shown in the map: the loose upper curls, the outer jacket edge, and the background visible between curls. An automatic result is only a starting point.
Use Quick Selection, about 25 px, to add a missed solid section. Use its subtract button or hold Alt / Option to remove an obvious background patch. Make short strokes; do not chase every thin hair yet.
Keep the entire face, neck, jacket, and visible hair mass selected. Click Select and Mask in the Options bar, or choose Select > Select and Mask.
A, B and C need different kinds of attention. The markers are teaching annotations.
WhyThe first pass separates the main subject. The next pass handles edges that a broad object selection cannot judge for us.
CheckThe person is selected rather than the whole photo. You are now in Select and Mask with the same layer targeted.
FixAutomatic selection unavailable? Start with Quick Selection on the subject, then continue to refinement. Do not replace the person with Generative Fill.
Method references: A1, A2, B1. Settings and composition are authored for this supplied source.
Set View to Overlay, choose a contrasting magenta/red overlay and around 65% opacity. Unselected background should be tinted. Start with Color Aware for this plain backdrop; compare Object Aware only if it improves the edge.
Start with Radius 1 px, Smart Radius off, Smooth 0, Feather 0 px, Contrast 0% and Shift Edge 0%. These neutral settings keep the first result visible while you refine locally.
Select Refine Edge Brush, around 20 px. Paint short passes across the boundary of loose curls, overlapping a little hair and a little background. Work from the upper curls down each outer side. Release the mouse and inspect after each pass.
Try Refine Hair once as a comparison. Keep it only if the strands and gaps improve; otherwise undo that change. Do not scrub this brush over the face, inner hair mass or solid jacket.
Switch View between On Black and On White. Look for retained strands without broad grey clouds. Stay in the workspace for the next step.
Illustrated brush route on the supplied image. Actual strokes should follow the edge you see.
WhyFine edges need partial transparency. Making every edge hard may remove the very curls that make the portrait convincing.
CheckLoose curls retain fine detail; the face stays opaque. The result works on both preview backgrounds.
FixHair turns wispy everywhere? Undo the last broad refinement pass. Return to a smaller brush and touch only the outer transition.
Method references: A1, A2, B1. Settings and composition are authored for this supplied source.
06
Keep the jacket solid and output an editable mask
DOCUMENT: Cover master / 1000 × 1400 px SELECT: The selection in Select and Mask TOOLS / ROUTE: Manual Brush; Global Refinements; Output To: Layer Mask
Switch to the ordinary Brush inside Select and Mask, not the Refine Edge Brush. Use Add mode, Size about 20 px, Hardness about 85%. Restore any missing solid jacket area just inside its boundary.
Use Subtract mode for a clear piece of grey backdrop outside the jacket. Keep the brush smaller than the problem. Do not paint across the fine outer curls with this hard brush.
Keep Smooth and Feather at 0 unless a specific edge needs a small change. A slight Shift Edge around -3% can reduce a fringe; compare it with 0 and retain whichever preserves the better edge.
Leave Decontaminate Colors off in the shared build. Choose Output To: Layer Mask, then click OK. The original pixels remain in the Smart Object and a separate mask controls their visibility.
Rename the layer Portrait - masked if necessary. There should be one image thumbnail, one mask thumbnail, and a link between them.
The hard-cut failure and finer target are constructed comparisons, not recorded Photoshop selections.
WhyA solid seam and a transparent flyaway hair are different edge problems. A single large feather value is not the solution to both.
CheckLime appears outside the person. Jacket details remain solid. You can select the portrait mask separately from the image.
FixThe grey rectangle remains? Confirm the backup is hidden and a mask was actually output. Do not erase the backdrop to hide that setup error.
Method references: A2, A3, B1. Settings and composition are authored for this supplied source.
07
Test the mask against light and dark
DOCUMENT: Cover master / 1000 × 1400 px SELECT: Portrait - masked, then the background group TOOLS / ROUTE: Layer grouping; temporary Solid Color fills; mask preview
Select Portrait - masked and press Ctrl+G / Cmd+G. Name the group 03 PORTRAIT. Set the group blend mode to Normal. Keep its image and mask aligned; do not move either thumbnail separately.
Expand 01 BACKGROUND. Select Cover colour. Add a Solid Color layer named Check dark, colour #18212d. Add another above it named Check white, colour #ffffff. Both belong inside 01 BACKGROUND.
Inspect with Check white visible. Then hide Check white so Check dark appears. Compare upper curls, side gaps, jacket seams, and any pale fringe. 00 SOURCE - BACKUP must stay hidden.
Hide both check fills to restore lime. Alt-click / Option-click the portrait mask thumbnail to view it alone. The person should be white, outside black, and fine transitions grey. Repeat the click to return to the artwork.
Leave both check fills hidden but keep them for later inspection.
Compare the same edge on white, dark and in the mask itself.
WhyA matching background can conceal mistakes. The two test fills expose them without changing the actual portrait or its mask.
CheckBoth tests use the same mask. Turning the fills off restores the lime cover immediately.
FixThe source background shows through both tests? The backup or an unmasked duplicate is visible. Hide that layer before judging the mask.
Method references: A3, B1. Settings and composition are authored for this supplied source.
08
Repair the right thumbnail and save the first checkpoint
DOCUMENT: Cover master / 1000 × 1400 px SELECT: Portrait - masked MASK thumbnail TOOLS / ROUTE: Brush; mask Density / Feather; save a selection
Click the mask thumbnail so its border is active. In Properties, leave Density 100% and Feather 0 px. Brush mode: Normal; Opacity 100%; Flow 100%.
For a small solid jacket error, use a 15–25 px brush with roughly 80% hardness. Black hides an unwanted patch; white restores a missing part. Use X to swap colours only after confirming the swatches.
For hair, return to Select and Mask for edge refinement rather than drawing thick white strands on the mask. Do not try to eliminate every pale hair by chopping away the outline.
Hold Ctrl / Cmd and click the mask thumbnail to load it as a selection. Choose Select > Save Selection, name the new channel Portrait checkpoint, and save it. Choose Select > Deselect. This is a saved checkpoint, not a live-updating copy of the mask.
Save your PSD. Class 7 ends with a correctly placed, masked portrait, a hidden source backup, and two hidden mask-check backgrounds.
The highlighted thumbnail is the mask. This is a structural diagram, not a Photoshop panel.
WhyThe mask is a reusable editing decision. Saving it also gives you a reference to compare against later revisions.
CheckNo black paint appears on the photograph. The outline can be changed without losing the original image.
FixYou see black or white paint on the actual portrait? Undo that mark, then select the mask thumbnail. A grey checkered canvas alone is not proof of a clean edge.
Method references: A3, B1. Settings and composition are authored for this supplied source.
Class 8 / 60 minutes
Shape the photograph. Build the identity.
Steps 9–16 · controlled tone, a readable masthead, issue details and an editable badge.
Reopen the PSD and confirm both check fills and the source backup are hidden. Click the Portrait - masked image thumbnail inside 03 PORTRAIT.
Choose Layer > New Adjustment Layer > Black & White. Name it Black & White - portrait. Enable Use Previous Layer to Create Clipping Mask in the new-layer dialog, or create the layer and then choose Layer > Create Clipping Mask.
In Properties, start with Reds 45, Yellows 60, Greens 40, Cyans 60, Blues 20, Magentas 80; Tint off. Make small changes only if the skin or clothing loses useful detail.
Toggle this adjustment off and on. The original colour should return to the portrait when it is off. The lime backdrop must not change.
Leave the adjustment on with its white mask intact. Do not use Image > Mode > Grayscale or flatten the portrait.
Illustrative monochrome target built from the same supplied portrait. Exact tones can vary.
WhyA magazine may need another treatment later. An adjustment keeps the colour image available and allows its tonal interpretation to change.
CheckThe portrait is monochrome while the background remains lime. The adjustment has a clipping indicator aimed at the portrait.
FixBackground also becomes grey? Check clipping and the group location. Do not repaint the background to compensate.
Method references: A4, A6. Settings and composition are authored for this supplied source.
10
Add controlled contrast with Curves
DOCUMENT: Cover master / 1000 × 1400 px SELECT: Black & White - portrait; create an adjustment above it TOOLS / ROUTE: Layer > New Adjustment Layer > Curves; Input / Output values
Create a Curves adjustment above Black & White - portrait. Name it Editorial contrast and clip it into the same portrait clipping stack. Keep it inside 03 PORTRAIT.
In Properties, choose RGB. Click to add three points, then use the Input and Output fields: 48 → 40, 128 → 132, and 205 → 215. Keep the end points at 0 → 0 and 255 → 255.
Toggle the Curves eye. The jacket should gain separation, not turn into a featureless block. The forehead and cheeks should retain texture rather than becoming white patches.
If the result is too strong, reduce the adjustment layer opacity toward 70% or move a point closer to the diagonal. These are starting settings for this source, not a universal portrait recipe.
Leave its mask white and save. This is the overall portrait contrast correction; the next adjustment has a different job.
An annotated Input / Output diagram; it is not a screenshot of the Curves panel.
WhyCurves maps an existing brightness to a new one. The aim is a controlled editorial contrast, not maximum contrast everywhere.
CheckOnly the portrait changes. Shadow seams and the brightest skin areas still contain detail.
FixThe image looks strangely coloured? Return to the RGB composite curve, not an individual colour channel. Nothing changes? Check the layer eye and clipping.
Method references: A4, A5. Settings and composition are authored for this supplied source.
Add another clipped Curves layer inside 03 PORTRAIT. Name it Face lift. On its RGB curve, add one point at Input 128 / Output 148.
Click the new white adjustment mask and press Ctrl+I / Cmd+I to turn it black. The brightening should disappear. The portrait silhouette mask is not the target.
Choose Brush, Soft Round, 140 px, Hardness 0%, Mode Normal, Opacity 20%, Flow 100%. Set the foreground to white. With Face lift’s black mask selected, make a small pass over the forehead and each cheek.
Keep the eyes, nostrils, mouth and natural facial features intact. Toggle Face lift to compare. Reduce its layer opacity if the change feels like a spotlight rather than a subtle lift.
Alt-click / Option-click the Face lift mask to inspect its small, soft light areas. Return to the artwork and save.
The circles locate gentle correction areas. They are not paint marks to reproduce exactly.
WhyOne mask defines the person’s outline; another defines where light is adjusted. They solve different problems and should remain separate.
CheckThe face is a little brighter, but the backdrop and masthead area are unchanged. The photograph’s shape and texture are retained.
FixThe person disappears? You inverted the silhouette mask. Undo and target Face lift’s mask. The whole portrait brightens? Its mask was not made black first.
Method references: A3, A4, A5. Settings and composition are authored for this supplied source.
12
Create a lower fade for the cover lines
DOCUMENT: Cover master / 1000 × 1400 px SELECT: Above 03 PORTRAIT, outside the group TOOLS / ROUTE: Solid Color fill; layer mask; Classic Gradient
Collapse 03 PORTRAIT and select it. Add an unclipped Solid Color layer above it, colour #000000. Name it Lower copy fade. The canvas turning black is expected temporarily.
Click the fill’s white mask thumbnail. Set foreground black and background white explicitly. Choose Gradient; use Classic Gradient where a mode selector appears, Foreground to Background, Linear, Normal, Opacity 100%, Reverse off.
Drag straight down from approximately (500,900) to (500,1400). The top should remain unchanged and the lower jacket should darken. If the opposite happens, undo the gradient and check its colours and direction.
Set the fill layer opacity to 50%. Group this fill by itself and name the group 04 READABILITY. Keep it above the portrait, not inside the clipping stack.
Compare with the group hidden. Preserve jacket texture and an unchanged face. Save.
The fade reaches the lower edge; its upper limit keeps the face clear.
WhyThe background behind small copy needs controlled contrast. A soft lower fade creates it without stamping shadows around every letter.
CheckThe darkening begins near the lower copy area, becomes stronger toward the bottom, and does not darken the face.
FixThe backdrop becomes a painted black-and-white gradient? You selected the fill thumbnail rather than its mask. Undo and select the mask.
Method references: A3, A4. Settings and composition are authored for this supplied source.
13
Build the masthead as live point type
DOCUMENT: Cover master / 1000 × 1400 px SELECT: A new Type layer above 04 READABILITY TOOLS / ROUTE: Horizontal Type; Window > Character / Paragraph
Select 04 READABILITY, then choose Horizontal Type. Click once near (55,250) to create point type and enter AMPLIFY. Do not drag a paragraph box for this word.
Highlight the word. Use installed Arial Bold, Size 204 px, Tracking -20, Kerning Metrics, colour #171c24. Enter the px unit. Set horizontal and vertical scale to 100% and baseline shift to 0. Turn Dynamic Text off if it is offered.
Set Paragraph alignment to Left; use a normal crisp/sharp anti-alias setting. Commit with the checkmark or Ctrl+Enter / Cmd+Return.
Name the layer Masthead - AMPLIFY. Use Move to align its visible left edge near x55 and the bottoms of its capitals near the y250 guide. The word should end before x945.
Use a similar installed sans serif if Arial is unavailable. Adjust font size slightly to fit; do not squeeze the letters horizontally. The masthead is temporarily in front of the hair.
The left view is the temporary front-of-hair state. The next step changes the stack.
WhyThe magazine identity must stay editable when the issue or layout changes. Point type is well suited to one deliberate display word.
CheckThere is a T thumbnail and the word fits between the margins. Its lower central edge currently sits over some curls.
FixText inherits odd spacing or becomes stretched? Reset scale, baseline shift and tracking before resizing. Press Esc only when it is configured to commit on your installation.
Method references: A7, A8, B2. Settings and composition are authored for this supplied source.
Select only Masthead - AMPLIFY, press Ctrl+G / Cmd+G, and name its group 02 MASTHEAD.
Drag the whole group below 03 PORTRAIT but above 01 BACKGROUND. Drop it between groups, not indented inside either one. Keep 04 READABILITY above the portrait.
The existing portrait mask now determines where the curls cover the letters. Do not erase or rasterize the masthead. Its top and outside letters must remain readable.
Toggle 03 PORTRAIT off briefly to check that AMPLIFY is still complete underneath. Restore the portrait. Inspect the curl crossings at 100% and refine the portrait mask only if a background patch is hiding the letters.
Do not move the portrait just to hide a bad mask. Keep its established placement and save.
The right view shows the intended order. Only a small overlap is needed.
WhyDepth is a relationship between layers. The same editable mask that removed the background also controls the masthead overlap.
CheckThe word stays identifiable, its upper portion is clear, and a few lower central curls sit in front of it.
FixThe masthead disappears completely? It may be under the opaque background group. Hair still sits behind it? Check the group order and whether the portrait mask is enabled.
Method references: A3, B1. Settings and composition are authored for this supplied source.
15
Add the issue information with consistent spacing
DOCUMENT: Cover master / 1000 × 1400 px SELECT: A new top-level group above 04 READABILITY TOOLS / ROUTE: Live Type; Rectangle shape; alignment
Create a new empty group above all existing groups named 05 COVER LINES. New copy and shapes in steps 15–20 belong inside it. Use Arial and keep all scale values at 100%.
Add point type MUSIC / CULTURE / INDEPENDENT VOICES: Bold, 16 px, Tracking 95, colour #171c24. Place its left edge at x55, baseline about y42. Name it Top strap.
Add VOL. 01 / OCT 2026: Regular, 16 px, Tracking 0, same colour, Right aligned. Click near (945,42) and keep the visible right edge at x945. Name it Issue.
Use Rectangle in Shape mode, Fill #171c24, Stroke None. Make Top rule with W 890 px, H 2 px, X 55, Y 61. Use Properties to check the numbers.
Add THE NEW VOICES ISSUE: Bold, 16 px, Tracking 100, same colour, Left aligned, baseline near (55,85). Name it Issue theme. Commit and save.
The top information occupies its own clear band, separate from the portrait.
WhySmall metadata looks intentional when it shares margins and spacing. It should support the cover rather than compete with the face or masthead.
CheckThe top strip fits on one line without meeting the right-side issue text. The theme sits above AMPLIFY, not over the hair.
FixNew copy appears behind the portrait? Move it into 05 COVER LINES. New text is unexpectedly centred? Reset Paragraph alignment for that layer.
Method references: A7, A8, A9, B2. Settings and composition are authored for this supplied source.
Choose Ellipse in Shape mode. Fill #171c24, Stroke None. Create a 118 × 118 px circle. In Properties, place its top-left at X55 / Y330. Name it Badge circle.
Create centred point type 06: Arial Bold, 44 px, Tracking 0, colour #dee65b. Click near (114,393). Name it Badge number.
Create a second centred line TO WATCH: Bold, 11 px, Tracking 45, colour #f8f9f6, baseline near (114,418). Name it Badge label.
Use Move to centre the lettering visually. Keep the circle round and the text live. The badge must not cover the face. Group its three layers as Badge inside 05 COVER LINES.
Save. Class 8 ends with the portrait treatment, readable masthead, issue information and badge. The two story columns and main headline come next.
The source has no badge; students construct all three editable parts.
WhyA small badge can advertise a feature without becoming another giant headline. Separate shape and type layers make it easy to revise.
CheckThere is one circle shape and two live Type layers. The badge fits in the open left area without touching the face.
FixThe next Type layer starts with giant letters? New text inherits previous settings. Set its size, colour and tracking before committing.
Method references: A7, A8. Settings and composition are authored for this supplied source.
Class 9 / 60 minutes
Construct the cover lines. Answer the revision.
Steps 17–24 · typography, quality control, alternate art direction, practical check and export.
17
Build the left story with paragraph type
DOCUMENT: Cover master / 1000 × 1400 px SELECT: Inside 05 COVER LINES; new subgroup Left story TOOLS / ROUTE: Paragraph type; Leading; Rectangle accent
Create a subgroup named Left story. Use a Rectangle shape to make Left accent: Fill #dee65b, Stroke None, X 55, Y 925, W 168, H 4 px.
Select Horizontal Type. Drag a paragraph box around x55–335, y944–1022. Enter FROM DEMO, press Enter/Return, then TO DEBUT. Use Arial Bold 34 px, Leading 37 px, Tracking 0, colour #f8f9f6, Left alignment. Name it Left heading.
Keep its first baseline near y975 and second near 1012. Use the Type tool to resize the box when necessary; do not use Free Transform to compress the letters. Turn off Hyphenate in the Paragraph panel.
Drag a second paragraph box about 248 × 62 px below the heading. Paste Turning an idea into your own sound. Use Regular 22 px, Leading 27 px, Tracking 0, same colour. Name it Left body. Align the left edge at x55 and the first baseline near y1047.
Keep all body copy visible. The reference wraps into two lines, but a substitute font may wrap slightly differently. Enlarge the box height rather than hide words.
The diagram explains box resizing. The actual cover positions are shown in the lower-cover checkpoint.
WhyA paragraph box allows a real editorial revision: longer copy can reflow while the character shapes stay unchanged.
CheckTwo separate Type layers hold the heading and its support. No overflow indicator remains and the copy does not enter the face area.
FixOnly half a sentence appears? Check overflow and box height. Resizing changes letter proportions? Exit Transform and resize the box with the Type tool.
Method references: A7, A8, A9, B2. Settings and composition are authored for this supplied source.
18
Build a right-aligned supporting story
DOCUMENT: Cover master / 1000 × 1400 px SELECT: Inside 05 COVER LINES; new subgroup Right story TOOLS / ROUTE: Paragraph alignment; separate heading and body styles
Create Right story inside 05 COVER LINES. Drag a paragraph box with its right edge at x945, width about 248 px, and top around y1016.
Enter INSIDE THE, a line break, then PROCESS. Use Arial Bold 28 px, Leading 32 px, Tracking 0, colour #f8f9f6, and Right alignment. Name it Right heading. Aim for baselines near y1044 and y1076.
Create a separate body box below it, also ending at x945. Paste The work behind the breakthrough. Use Regular 20 px, Leading 26 px, Tracking 0, Right alignment, same colour. Name it Right body. Aim for first baseline y1110.
Adjust the body box width or height with the Type tool so the full sentence fits. Keep the block over the dark jacket, not the lime outside the shoulder. Do not centre it by adding spaces.
Compare both story blocks at 50%. Their edges align to the margins, their type treatments relate, and neither crosses the face. Save.
The right block is intentionally lower than the left so it fits the photographed shoulder.
WhyRight alignment gives this column a clean outside edge. Text spacing should be controlled by the paragraph settings, not manual spaces.
CheckThe heading and body share a right edge. Every word is visible and the whole block sits on a sufficiently dark area.
FixA word extends beyond the margin? Check whether the paragraph is still Left aligned or the text box is too wide. White text blends into lime? Move the block down onto the jacket.
Method references: A7, A8, A9, B2. Settings and composition are authored for this supplied source.
19
Make the lead story unmistakable
DOCUMENT: Cover master / 1000 × 1400 px SELECT: Inside 05 COVER LINES; new subgroup Main story TOOLS / ROUTE: Live point type; tracking; optical alignment
Create a subgroup named Main story. Add point type THE NEXT, Arial Bold 62 px, Tracking 12, colour #f8f9f6, Left aligned. Name the layer Main kicker. Place its baseline near (55,1173).
Add a separate point Type layer WAVE, Bold 190 px, Tracking -15, colour #dee65b. Name it Main word. Place its baseline near (47,1335). Keep both scale values at 100%.
The W may need a small leftward nudge to look aligned with THE NEXT. Judge the visible edge rather than blindly aligning text-box borders. Keep the word clear of the footer area below y1370.
Inside Main story, add right-aligned point lines NO SHORTCUTS. and JUST SOUND.: Bold 23 px, white, baselines near (945,1219) and (945,1250).
Add a small right-aligned paragraph A new generation finds its voice.: Regular 18 px, Leading 24 px, white, width about 205 px, ending at x945. Position its two baselines near y1312 and y1336. Save.
All copy is supplied. The task is to construct the hierarchy, spacing and editability.
WhyThe lead story gets a much larger scale than supporting stories. Repeated colours connect it to the cover without adding another decorative effect.
CheckTHE NEXT WAVE is the dominant lower message. WAVE stays live, inside the canvas, and separate from the supporting paragraph.
FixThe new line inherits right alignment or unusual tracking? Reset those fields for each layer. Never rasterize text just to reposition it.
Method references: A7, A8, B2. Settings and composition are authored for this supplied source.
20
Finish the footer and inspect the complete cover
DOCUMENT: Cover master / 1000 × 1400 px SELECT: Inside 05 COVER LINES; new subgroup Footer TOOLS / ROUTE: Rectangle shape; small live type; final layer organization
Create a subgroup named Footer. Add a Rectangle shape named Footer bar, Fill #171c24, Stroke None, X 0, Y 1370, W 1000, H 30 px.
Add point type STUDENT EDITION: Arial Bold 12 px, Tracking 100, colour #f8f9f6, baseline near (55,1390). Name it Edition label.
Add FICTIONAL CLASSROOM MAGAZINE / NOT FOR SALE: Regular 11 px, Tracking 45, white, Right aligned, baseline near (945,1390). Name it Disclosure. Do not replace this with a real publisher’s logo or a fake working barcode.
Collapse the groups and compare with the layer map. All small copy, badge and footer belong in 05 COVER LINES. The masthead remains in 02 MASTHEAD below the portrait.
Save, then inspect at 100% and Fit on Screen. Do not flatten the file or merge the type into the portrait.
This diagram shows layer relationships, not a required screenshot layout in Photoshop.
WhyA complete proof includes its small production details. The disclosure also makes the fictional classroom context visible on the exported artwork.
CheckThe footer fits inside the canvas. Both labels are intact, and the main word has a little breathing room above it.
FixFooter hides part of WAVE? Move or slightly resize the live word; do not move the footer outside the canvas. Grouping changed the layout? Undo and regroup only the intended layers.
At 25%, look away and back. Can you identify AMPLIFY, the face, and THE NEXT WAVE? If the small stories compete with the lead story, reduce their emphasis—not the portrait’s importance.
At 100%, inspect curl crossings over AMPLIFY, the two shoulders, and the copy edges. Temporarily show Check white and Check dark again, then hide both. Keep the source backup off.
Double-click a heading’s T thumbnail and confirm it is still editable. Check paragraph boxes for overflow and unexpected hyphens. Read every supplied word; do not assume copy/paste preserved the whole sentence.
Toggle Face lift and Lower copy fade separately. Each should have a local, understandable purpose. Save only after restoring the intended final state.
Capture one process screenshot of the expanded portrait group and one close view of the masthead overlap for evidence, or show those views directly to your teacher if screenshots are not needed.
The final checks return to the same source-to-cover progression.
WhyA finished cover must work both as a small preview and as a carefully inspected file. These checks reveal different kinds of errors.
CheckThe masthead remains identifiable, the face is clear, all copy fits, and the file’s editing controls still exist.
FixA detail looks fine only at Fit on Screen? Repair it at 100%. Small text is unreadable at 25%? Not all body copy must be readable as a thumbnail; the main identity and story must remain clear.
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Answer the editor’s night-edition request
DOCUMENT: Night revision / 1000 × 1400 px SELECT: Duplicate of the layered lime master TOOLS / ROUTE: Image > Duplicate; live type colours; Solid Color editing
With the lime master saved, choose Image > Duplicate. Name the copy Lastname_Amplify_Night. Leave Duplicate Merged Layers Only off when offered. Save the new document as a PSD.
Double-click Cover colour in 01 BACKGROUND and change it to #23344b. The portrait and mask should not move or change.
Change the live text colour of Masthead - AMPLIFY, Top strap, Issue and Issue theme to #f8f9f6. For each, double-click the T thumbnail, select all its text, choose the colour in Character, then commit. Change Top rule shape Fill to the same white.
Change Main word and Badge number text colour to #ffc87a. Change Left accent shape Fill to the same warm accent. Keep Badge circle and Footer bar charcoal and all other copy white.
Compare the two open documents. The copy and portrait stay the same; the background, identity and accent colours form the alternate direction. Save the Night PSD. Do not overwrite Lime.
Both references use the same source and construction. These are illustrative proofs, not tested PSD exports.
WhyA believable client revision changes an art direction without rebuilding the mask or flattening the typography.
CheckBoth layered PSDs exist. Night has a dark backdrop, white masthead, warm accent, and the same portrait and wording.
FixThe original changes too? You may still be editing the Lime tab. Confirm the document title. One word refuses to recolour? Check for an accidental Color Overlay style.
Method references: A7, A8. Settings and composition are authored for this supplied source.
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Complete the independent editor check
DOCUMENT: Practical copy SELECT: A separate Practical copy of your finished master TOOLS / ROUTE: Choose the appropriate controls yourself; see the assessment card
Duplicate the Lime master, with layers retained, as Lastname_Amplify_Check.psd. Use the three requests below without copying a new click-by-click solution. You may use a menu-location reference.
Copy request: replace FROM DEMO / TO DEBUT with SMALL ROOMS. / ORIGINAL IDEAS. Keep the body sentence visible, the heading at least 28 px, and the block inside its column. Fix wrapping or spacing rather than stretching the letters.
Mask request: ask a partner or teacher to hide a small patch inside the right jacket on your portrait mask—roughly (855,1090), a 40–60 px area. Restore the source detail without Undo, repainting photo pixels, or using the backup as a visible replacement.
Tone request: reduce the Face lift correction on the forehead while retaining its cheek correction. Do not change the background, masthead or entire portrait opacity.
Show the relevant controls. Explain: “I changed ___ because ___; I checked ___.” Save the Practical PSD. Your teacher assesses your decisions and recovery, not whether your pixels exactly match the reference.
The complete assessment and scoring guidance are supplied separately.
WhyFollowing the build shows supported practice. An unfamiliar revision shows whether you understand which controls do which jobs.
CheckYou can point to the live text, silhouette mask, and adjustment mask used for the three requests.
FixStuck? State which part of the file should change and which must not. A teacher prompt is allowed but recorded as support, not independent evidence.
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Deliver editable masters and checked cover proofs
DOCUMENT: Lime master + night revision SELECT: Lime master and Night revision, one document at a time TOOLS / ROUTE: File > Save; File > Export > Export As
Return to Lastname_Amplify_Lime.psd. Ensure the test fills and backup are hidden; the final portrait, copy and footer are visible. Save the layered PSD.
Choose File > Export > Export As. Select PNG, Width 1000 px, Height 1400 px, Scale 100%. Keep the aspect ratio linked. Enable Convert to sRGB and Embed Color Profile where those controls are offered.
Export as Lastname_Amplify_Lime.png. Repeat from the Night PSD and name its PNG accordingly. This is a screen proof; changing the ppi number alone would not make it a larger, higher-detail print image.
Open both exported PNGs in a browser or image viewer. Check dimensions, entire headline, footer, colour direction and visible mask errors. Confirm you have not exported an isolated layer or a temporary check background.
Submit three PSDs (Lime, Night, Check), two PNGs (Lime, Night), and the requested process evidence or brief teacher conversation. Keep the source PNG and this guide in your project folder.
Finished lime and night directions. Class 10 remains the separate whole-boot-camp practical check.
WhyA PNG communicates the finished design; the PSD demonstrates its construction and supports the next revision. You need both.
CheckBoth proofs open at 1000 × 1400. All three PSDs retain their groups, masks, adjustments and live text.
FixExport contains only one element? Export the full document rather than a selected layer. Colours look unexpected? Check the profile settings and reopen the exported file.
Method references: A11. Settings and composition are authored for this supplied source.
Your final layer map
Keep the photo’s silhouette mask and each adjustment’s mask separate. Hidden support layers are not part of the final export.
Type and placement index
Use Arial or a similar installed sans serif. All type has 100% horizontal/vertical scale and baseline shift 0. Positions are starting targets, not a reason to stretch text.
Palette: lime #dee65b · charcoal #171c24 · off-white #f8f9f6. Night revision: background #23344b and warm accent #ffc87a.
Practical check: the editor’s changes
Use a separate layered Check PSD. Aim for 10–13 minutes. Reference the tools, but choose the correction yourself. A finished PNG alone cannot show which technique you understood.
Show your controls and explain your checks. This is separate from the class-10 whole-boot-camp assessment.
1. Copy that has to fit. Replace the left heading with SMALL ROOMS. / ORIGINAL IDEAS. Keep the heading at least 28 px, the body copy intact, and the block inside the column.
2. A reversible mask repair. A partner or teacher hides a 40–60 px patch inside the right jacket on the portrait mask, near (855,1090). Restore it without Undo, painting on the photo, or turning on the backup.
3. Local control. Reduce Face lift on the forehead while keeping its cheek correction. Preserve the backdrop and typography.
Explain what you understood
Your checks and reflection are stored only in this browser when permitted. They are not automatically sent to your teacher and are not grades.
Multimedia extension: two layout states
Optional, about 8–12 minutes. Use after the core file is working, or replace the guided night-colour exercise when your teacher directs. Keep the 10-class boot-camp schedule intact.
Show a complete cover and a cleaner teaser
In a duplicate of the finished Lime PSD, open Window > Layer Comps. Restore the full cover and choose Create New Layer Comp. Name it Cover — all stories. Record Visibility, Position and Appearance.
In 05 COVER LINES, hide the Left story and Right story subgroups. Leave the masthead, portrait, main story, badge and disclosure visible.
Create a second comp named Teaser — main story with the same recording options. Switch between the two comps to compare their communication.
Change a layer’s position in one comp, then use Update Layer Comp for that selected comp. Check the other comp still gives the intended result.
Do not treat a comp as a snapshot of every edit. A comp does not preserve different text wording, adjustment-slider settings, or painted mask contents. For different wording, make separate Type layers and control their visibility.
Method references: A10. Settings and composition are authored for this supplied source.
A tougher masking test
Inspect the upper curl crossings on white and dark at 100%. Explain where a fine grey transition is useful and where a translucent jacket edge is an error. Show one improvement and one area you deliberately left alone. More brushing is not automatically more precision.
Your silhouette and local-light masks should serve different purposes.
Same standard of guidance, greater independence. Communication 11 students complete the full shared cover. Multimedia students go further through finer judgement and controlled versions—not through unexplained shortcuts.
Source and method notes
The AMPLIFY brief, supplied portrait, cover copy, step sequence, numerical starting settings, checkpoints and assessment are original classroom materials. The sources below support specific Photoshop techniques; they are not the source of an existing AMPLIFY magazine tutorial.
B1. Gary Bradley, Mastering Adobe Photoshop 2026, 2nd ed., Chapter 4, printed pp. 124–129 (PDF pp. 155–160) Technique reference for hair masking and careful edge repair. Our portrait, settings and cover project are different.
B2. Gary Bradley, Mastering Adobe Photoshop 2026, 2nd ed., Chapter 9, printed pp. 308–311 (PDF pp. 339–342) Terminology reference: baseline, leading, tracking and kerning. This is not a reproduction of a book project.
What the reference does—and does not—prove
The source portrait is AI-generated. Masking, monochrome tone and typography in the reference images were assembled programmatically from that same source. Those images show the intended construction, not measured Photoshop output or a tested native PSD. Font metrics and the finest hairs will vary.
No publisher photographs, proprietary project files, font files or real artist identities are included. Preserve the fictional-classroom disclosure when displaying the cover. This screen-sized proof is not a substitute for a printer’s size, bleed, colour-profile or output specification.
Documentation checked 17 September 2026. Teacher pilot still required for the full workflow, actual lab build, selection behaviour and 60-minute pacing.
