Design a Baroque Perfume Billboard with Photo Peonies

1. Create a 2100 × 700 px document (File → New, Unit = Pixels).
2. Fill the Background with #0C0806 (Edit → Fill with nothing selected).
3. Rename Layer 1 to Light. Pick the Gradient tool, set Type to Radial, and open Advanced….
4. Set three stops: #6A4428 at full opacity, #2E1C10 at 70% in the middle, and #0C0806 at 0% on the right.
5. Drag from (430, 160) out about 1,070 px to the right.

The transparent end stop is what makes this a glow: the gradient composites over the black instead of replacing it.

1. On a new layer Drape, lasso the curtain's outline. It runs from the top-left corner, curves in to about x 150 at y 380 (the tie point), and flares back out to x 270 at the bottom. Fill it with #4A0C14.
2. On Drape Light, lasso five narrow bands that start wide at the top, pinch to 6 px at the tie point and widen again below. Put them on the left side of each fold, facing the light. Fill them with #8A2A38.
3. Run Gaussian Blur at radius 14. Lasso the outline again, Select → Inverse, and press Delete so nothing spills past the curtain. Set the layer to Screen at 50%.
4. Repeat on Drape Shade with darker bands on the right of each fold, filled #12030A, blurred 12, clipped and set to Multiply.
5. On Tieback, lasso a cord that dips as it reaches the tie point, then a small rope, a tassel cap and a flared tassel. Fill each with the five-stop gold gradient, dragged across its short side.
6. Give Tieback a Drop Shadow (offset 4, 7, blur 8, 70%).

1. On Ledge, marquee y 572–614 across the whole width and drag a linear gradient left to right from #7A6450 to #231B16. That's the top plane, lit from the left.
2. Marquee y 614–700 and drag #30251E to #0E0A08 for the front face.
3. On Stone, select the whole ledge and run Filter → Clouds (Scale 6) and Add Noise (22). Set it to Overlay at 55%.
4. On Ledge Lip, fill a 4 px strip at y 612–616 with a gradient from pale #C4A482 to transparent. That edge catches the light.

1. On Foliage, lasso about a dozen pointed peony leaves around where the bouquet will sit. Drag an olive gradient (#71823C → #1A240E) across each leaf, pale side toward the light. Then paint a thin midrib down each one with a small hard Brush.
2. On Stems, lasso narrow tapering ribbons from the bowl's mouth up to where each flower will sit, and fill them #34421C.
3. On Urn, lasso the bowl (about 400 px wide, rim at y 440), the knop, the stem and the foot. Fill each with the bronze gradient, dragged across its width. Add a dark ellipse for the mouth and a Drop Shadow (12, 6, blur 16).
4. On Urn Flutes, draw thirteen thin vertical lines across the bowl in #2A1A0A with the Pencil: click at the top of each and Cmd+Shift-click at the bottom to keep it upright. Blur them 5, clip them to the bowl, and set the layer to Multiply at 40%. That gives the bowl its gadroons.
5. On Urn Shine, fill one pale strip on the left of the bowl, blur it 6, clip it, and set it to Screen at 70%.

Most of this ends up behind flowers. It still has to be there, or the bouquet floats.

1. Click Urn Shine so the photo lands above it, then copy the crimson peony photo and press Cmd+V.
2. The paste arrives at the top-left, auto-selected, with the Move tool active. Press Cmd+D to commit it, and rename the layer Crimson.

Pick the Lasso and trace just outside the petals. The leaves are dark and busy, so Quick Selection tends to leak into them. A careful lasso gives a cleaner edge, and it's what an old master's silhouette needs anyway.

1. Run Select → Feather… with Radius 1 so the edge doesn't stair-step.
2. Run Select → Inverse, press Delete, then Cmd+D.

1. Draw a rectangular marquee just outside the flower and switch to the Move tool.
2. Hold Cmd and drag the bottom-right handle inward. Cmd keeps the proportions, and the opposite corner stays pinned.
3. Stop at about 81%: the crimson bloom goes from 418 to 338 px wide.
4. Drag inside the box so the flower's centre sits at about (545, 300), right over the tazza, and press Cmd+D.

Repeat the paste, lasso and scale steps for the other five photos, and give each one a turn so no two blooms face the camera the same way:

1. Marquee the flower with the Move tool active.
2. Grab just outside the top-right corner (the cursor becomes a crosshair) and drag around.
3. Press Cmd+D.

Stack them back to front: cream, blush, crimson, coral, pink, bud. Use these centres, scales and turns:

• Cream: (745, 190), 80%, −8°
• Blush: (335, 215), 77%, +10°
• Crimson: (545, 300), 81%
• Coral: (755, 420), 81%, −12°
• Pink: (335, 430), 79%, +15°, overlapping the rim
• Bud: (185, 95), 85%, +35°

1. Shift-click Foliage through Bud in the Layers panel and choose Layer → Group Layers. Name the group Bouquet.
2. Give each flower a Drop Shadow: colour #0A0402, offset 10, 14, blur 22, opacity 65%. Shadows falling onto the blooms behind are what turn five discs into a bouquet.
3. Pick Dodge/Burn and set Mode to Burn, Exposure to 26 and Size to 130. On each flower's layer, sweep one stroke along the lower-right edge, away from the light.
4. Run Filter → Hue/Saturation… on Crimson (Saturation −25) and Pink (Saturation −20, Lightness −5). Run it on Foliage as well (Lightness −30, then +25) to push the leaves into shade.

Open the group's effects (the ✦ button on the Bouquet row) and add three adjustments:

• Hue / Saturation: Saturation −42, Lightness −6
• Photo Filter: Density 40 (the default warm amber)
• Contrast: +18

This single step turns bright garden photos into a warm, muted palette. It also affects the tazza and leaves inside the group, so they all shift together.

Build each part with a lasso fill or gradient on its own layer, bottom to top:

1. Shadow: an ellipse under and right of the bottle, Feather 12, filled black at 75%. Add a smaller amber ellipse on Screen for the light that shines through the juice.
2. Glass: the bottle body (about 286 × 330 px, shoulders at y 330). Drag a gradient that's dark and nearly opaque at both edges and almost clear in the middle, so the wall behind shows through.
3. Liquid: the body from y 392 down, filled #3A1A06 → #D8962E → #241004, plus a pale meniscus band on top. Amber, not crimson: the bottle has to separate from the red peony.
4. Facets: three hairlines following the curve. Drag a few Pen anchors along it and press Enter to stroke each at a thin width, then set the layer to Screen at 38%.
5. Highlights: two long streaks on the lit side and a warm rim on the right. Blur them 7, clip them to the body, and set Screen at 75%.
6. Gold: the collar, teardrop stopper, finial and label ring, all filled with the gold gradient. Then an oxblood oval for the label.
7. Monogram: type DP in Cinzel Decorative Bold, 52 px, gold, centred on the label.

A flat gold fill reads as a playing-card spade. On a new layer Stopper Facets:

1. Lasso the stopper again and drag a horizontal gradient: dark at 55%, then a highlight at 60%, then clear, then dark again at 75% on the right. Do the same on the collar.
2. Add a faint vertical gradient band across the bulb for a bevel.

1. On a scratch layer in an empty area, make a 20 px elliptical selection.
2. Drag a radial gradient from just above-left of centre: #FFFFFF, #FBF3E8, #C9B8A0, #7A6A58, #4A3E32.
3. Marquee a square around the pearl and choose Edit → Define Color Brush…. Name it Pearl, then delete the scratch layer.
4. Open the Brushes panel. On the Shape tab, set Spacing to 104%. The tip keeps its full colour, so every dab is a shaded pearl.

1. Add a layer Pearls above the monogram.
2. With the Pearl brush at Size 20, paint one slow stroke. Start in front of the bottle's foot, curve across the top of the ledge, loop back near x 1310, then roll over the lip and hang down the front face.
3. Give it a Drop Shadow (3, 4, blur 4, 80%). That's the contact shadow on the stone.

Keep the path on the ledge until it reaches the edge. Pearls hanging in mid-air look wrong immediately.

1. Click the top ruler at x 1670 for a vertical guide, and the left ruler at y 480 for the ornament's baseline.
2. Click Pearls before you set up each text. Create it in empty canvas and then move it into place, bottom line first.

• Eau de Parfum: Cormorant SC SemiBold 32 px, letter spacing 12
• PEONY: Cinzel Decorative Bold 112 px, spacing 16
• Duchess: Monsieur La Doulaise 212 px, spacing 0
• Maison Verdelet · Paris: Cormorant SC SemiBold 24 px, spacing 6

1. Centre each on x 1670. Leave about 45 px between the script and PEONY, and keep the D's swash more than 100 px from the right edge.
2. To gild the two titles, Cmd-click the text layer's thumbnail to load its shape as a selection. Add a layer above it and drag a vertical five-stop gold gradient from the top of the letters to the bottom. Hide the original text.
3. Give the PEONY gold layer a Drop Shadow (3, 6, blur 8, 85%). Give the script's gold layer a Stroke of 1 px #E6C270, so its hairlines hold up at a distance, and a Drop Shadow of (2, 5, blur 8, 85%).
4. Draw the scroll ornament as lasso ribbons: a centre lozenge, tapering rules and C-scroll volutes, mirrored. Fill it gold and gradient it the same way.

1. Type NOW AT FINER PERFUMERIES in Cormorant SC SemiBold, 28 px, letter spacing 6.
2. Add a Color Overlay of #C9A24A, and a Drop Shadow of #070403 with offset 0, −2 and blur 0.

The upward shadow darkens the top edge of every letter, as if it were cut into the stone. Centre the line on x 1670 and at y 645, the middle of the face.

1. Above Light, add Right Shade, a linear gradient from transparent at x 1000 to #030201 at 65% on the right edge. The gold type then sits in real darkness.
2. Add Raking Light, a radial gradient from #7A4E28 at (200, 40) fading out by about x 1150, on Screen at 55%.
3. At the top of the stack, add Grain: fill it #808080, run Add Noise 40 Mono, and set it to Overlay at 14%.
4. Last, select the root Project group and add a Vignette adjustment at 38.

Export with File → Quick Export PNG, and save the layered file with File → Save Project.