**Photoshop Full Course Tutorial (6+ Hours) — Transcript & Summary | SozAI**
Source: https://sozai.app/transcript/photoshop-full-course-tutorial/

Comprehensive 6+ hour Photoshop tutorial by Dave Cassudo covering basics to advanced techniques with hands-on practice.

## Key Takeaways

- Customizing and saving your workspace enhances productivity and user comfort.
- Understanding layers and tools is fundamental to mastering Photoshop.
- Hands-on practice with provided class files is essential for experiential learning.
- Photoshop’s interface and features are consistent across PC and Mac platforms.
- Advanced techniques like clipping masks and color correction can significantly improve design quality.

## What the video covers

- Introduction to Photoshop basics including creating new documents and basic image manipulation.
- Detailed walkthrough of customizing the Photoshop workspace for improved workflow.
- Explanation of panels, tools, and how to manage layers effectively.
- Hands-on guidance on using essential tools like Move tool, Magic Wand, Lasso, and Marquee.
- Instructions on advanced features such as clipping masks, color correction, and filters.
- Tips for organizing and saving custom workspaces to optimize user experience.
- Demonstrations of resizing, rotating, and transforming images within Photoshop.
- Overview of vector shapes and their scalability without quality loss.
- Techniques for manipulating selections and paths for precise editing.
- Final lessons include applying effects, blend modes, and working with gradients.

## Chapters

1. 00:00 Introduction and Course Overview
2. 18:32 Customizing the Photoshop Workspace
3. 37:40 Using Layers and Basic Tools
4. 58:33 Advanced Tool Techniques and Shortcuts
5. 77:04 Transforming and Moving Images
6. 117:21 Clipping Masks and Text Effects
7. 137:02 Color Correction and Filters
8. 196:00 Working with Vectors and Paths
9. 234:00 Final Effects and Project Completion

Answers

## Questions about this video

Can I follow this Photoshop course on both PC and Mac?

Yes, the instructor confirms that all demonstrations and instructions apply equally to both PC and Mac users.

Does this course include downloadable practice files?

Yes, the instructor encourages downloading class files from the provided link to practice hands-on alongside the lessons.

How can I save my customized workspace in Photoshop?

You can save your customized workspace by clicking the workspace dropdown menu, selecting 'New Workspace,' naming it, and saving your current panel and tool setup.

## Full Transcript — Download SRT & Markdown

00:00

Speaker A

[Music] Hello everyone, my name is Dave Cassudo, instructor for Learn It, and welcome to the intro to Photoshop class. What will you learn, you ask? Well, we are going to just start from the basics, creating a new document, move to basic image

00:15

Speaker A

manipulation, working with layers, type and typography, and move all the way up to color correction techniques, creating masks, using filters, and so much more.

00:26

Speaker A

Now, this course is designed to be interactive and a hands-on course. So, occasionally you'll hear me say things like, "Pause the video and practice on your own." So, make sure you download the class files from the link below to

00:38

Speaker A

do so. This will ensure you get the most out of the course and learn the program in a more experiential, hands-on manner.

00:45

Speaker A

I'm looking forward to teaching you all the cool things that Photoshop has to offer. So, stay tuned and get ready to learn.

00:53

Speaker A

Welcome back, everyone. I am using the Iceland postcard.psd file. So please have that open so you can follow along.

01:01

Speaker A

So in this lesson, we're going to be learning how we can customize the workspace, how we can learn about the workspace in Photoshop. Essentially, understand the anatomy and some of the terminology around Photoshop. Now, everything I'm going to show you is the

01:15

Speaker A

same for both the PC and the Mac. So, no need to worry there if you're on a different operating system than me.

01:21

Speaker A

Okay. So currently, I'm looking at the workspace called the Essentials workspace. Now, let's go ahead and take a look at how we can identify what that is and how we can also change that. So if you'll notice over here in the far, far

01:33

Speaker A

upper left, I have this little drop-down menu. This little drop-down menu tells me that I'm in the Essentials workspace. So if you're not currently, you can go ahead and change that and then go ahead and click on Reset Essentials. And then

01:45

Speaker A

I'm back to that. So, let's go ahead and just start cracking away and making some changes to this to make it look a little bit more user friendly for us. All right. So, first thing I'm going to do

01:55

Speaker A

is I'm going to click on this little guy way up here to make my tools panel two columns. And you're going to see that's going to be a lot easier to read. You're going to see that Photoshop also

02:06

Speaker A

sections things out in a little more intuitive way when you have it in two columns. It's going to be the first change I'm going to make. The next change I'm going to make has to do with which panels do I want. Right? I have my

02:17

Speaker A

Colors panel. I have my Swatches. Right? I got all these things here. Right? I got Channels. I got Paths. All these things here. Some of these I don't want.

02:26

Speaker A

So very simply, all we do is right-click on the panel we do not want. Choose Close. Right-click Patterns. Close. Not working with Channels right now. Not working with Paths. Right-click. Now you will notice that when you right-click you

02:41

Speaker A

get other options as well like you can minimize. So that's kind of nice, right?

02:46

Speaker A

So Layers now gets minimized. So I can right-click and I can go ahead and expand it. That's kind of nice. Also note that I can move these panels around just the same. So if I want Layers just kind of

02:57

Speaker A

floating here, I can absolutely do that. Just a very simple click and drag. And there we go. I can also expand this out to make it taller, to make it shorter. I can even make it wider.

03:11

Speaker A

Very kind of delicate there. There you go. Just make sure you find that little double-sided arrow and you're good to go. Now, you're also going to see sometimes where there are panels that you want to use that are not shown here. So,

03:23

Speaker A

all of our panels live in one particular place, and that is the Window menu. And again, this is the same thing for if you're on a PC or if you're on a Mac.

03:32

Speaker A

So, if I click on Window, you'll see in alphabetical order I have all of the panels available to me. So, for example, if I want to bring out my Character panel, I click on that and then notice that the Character panel appears along

03:44

Speaker A

with the Paragraph panel as a little bonus. And then you'll notice that a new column now appears for all of your other additional panels if you like to bring them in. So, I'm just going to go ahead and collapse that. You'll notice I can

03:57

Speaker A

very easily access it, expand it, and collapse it. Very nice. And of course, I can drag that out just like I did with my Layers panel. Another nice little pro tip is if you double-click on the layer name, excuse me, on the panel name, you

04:13

Speaker A

can see, very good. If you double-click on that, comes right up. Expand, collapse, expand, collapse.

04:20

Speaker A

You'll also notice that there's a little X there if you want as well. Now, if I want to move this back to where it was, you'll see I have a few different options here. Keep an eye on the blue

04:30

Speaker A

halo. As soon as I sort of touch ground here, you'll notice that when I move to here, I get a little blue halo. Little blue halo. Little blue halo. Wherever that blue halo is is where this panel is

04:40

Speaker A

going to live. I'm going to drag mine way down to the bottom. And you're going to see a tiny little blue halo way in the bottom. And lo and behold, that is where my panel lives, right there at the

04:51

Speaker A

bottom. So, I love exactly what I've done here. Okay, I love this. I'm going to keep this all set up and I want to save this as my own. So, what I'm going to do is click on the little drop down

05:03

Speaker A

where I started from and I'm going to choose New Workspace. Right, click on that and you're going to see here I can name it. Okay, I'm going to say Dave's Faves. Wonderful. And then just click on these boxes to make sure it's basically

05:18

Speaker A

freezing everything. This is the workspace I want. I'm overriding the Essentials. So, I click on Save.

05:25

Speaker A

And now when I click on the dropdown again, you will see there's Dave's Faves. Wonderful. And then anytime I mess anything up, right? I go a little bit crazy. Let's say I delete some things. I can always come back to that.

05:38

Speaker A

That's what's so great about this. I like to call this kind of like the Mary Poppins effect where just sort of like cleans up your mess, right? Let me just go ahead and make this even more messy so you kind of get the effect. Okay.

05:48

Speaker A

Wow. What a disaster. Mad man at work. I click on the dropdown and then all I'm going to do now is say Reset Dave's Faves and then I'm back.

06:01

Speaker A

Okay. And now that I am done customizing my workspace, I recommend getting yours to look like mine, creating your own workspace, and naming it accordingly.

06:13

Speaker A

In this next lesson, we're going to learn about some of the basics of understanding what some of our panels do, but also we can get our hands dirty with resizing some of our photos, moving them around, rotating, essentially kind

06:26

Speaker A

of creating something like this and how this is more or less done. So, first thing we want to identify is on the left-hand side we have our tools, right? And we're going to be working with this initial tool called the Move tool. So,

06:41

Speaker A

let's go ahead and activate that if it's not activated already. And I want to make sure that you have both the Show Transform Tools box and the Auto Select box selected. For some of you, it may look a little different. It might look

06:53

Speaker A

like icons. Just make sure that they're selected. Why are we doing this? If I click on that, I want to actually see the Show Transform Tools. I want to be able to auto select the layer.

07:05

Speaker A

Earlier, we talked about the Layers panel. Here is my Layers panel. You can see when I click on it, my layers then act accordingly. Very important because it'll kind of keep you in the dark otherwise. Okay. And by default, these

07:16

Speaker A

are not activated. So, let's make sure that those are in fact selected. So, I'm also going to drag out my Layers panel like I showed you in the earlier lesson.

07:26

Speaker A

So, that way I can have easier access to it if necessary. Now, in my Layers panel, this will be our first introduction to the Layers panel. You will see that I have some names for my Layers panel. You'll notice I also have

07:38

Speaker A

the ordering of things. It's going to become very important as we move throughout this class.

07:44

Speaker A

So, let's work on our first lesson of resi

07:52

Speaker A

So, when I click on this, you'll notice how I get a little bounding box. You'll also notice that I have my tools up on top here as well. All my different individual controls. So that's not there. If you click on window, you'll

08:04

Speaker A

see that I have this options option that comes and goes right as I click on that. So I'm going to bring that back. Fantastic. Okay. So if yours is not there, you can always go to window. Just like I said, that's where

08:16

Speaker A

all of your panels live. Fantastic. So now I see that there. And when I click and drag on this corner, I'll be able to resize that accordingly. But notice when I kind of do this or I kind of do that,

08:28

Speaker A

not so great. So, what I'm going to do is either click on this little circle slash to reset it. Also, notice that there's a little tool tip that pops up.

08:37

Speaker A

It says, "Oh, I can also hit escape in parenthesis." That's what I'm going to do. And that sets us right back. So, what a good rule of thumb for you to do is is if you hold down the shift key as

08:48

Speaker A

you click and drag, it keeps it in proportion. It constrains your proportions as you click and drag on the corners. You can sometimes do the sides if you want to, but that will stretch it out or make it a little bit too narrow.

09:00

Speaker A

So, just keep that in mind. Okay. Also notice that as the name implies with the move tool, I can move this wherever I want because it's its own individual layer. That's essentially how Photoshop works. So, I can move this around

09:13

Speaker A

independent of this and I could just basically shuffle these around accordingly. No problem. Okay. But now, let's say I wanted to rotate these in a different way. If you'll notice here on the outside, I'm going to move my mouse away

09:28

Speaker A

from the double-sided arrow. And I'm going to come over here. I'm going to get this kind of little button hook. See that? Just go ahead and click and drag.

09:35

Speaker A

And then it'll move accordingly. And then when I'm done transforming, very important here, you have to tell Photoshop that you're done transforming.

09:45

Speaker A

This is known as transformation. So right now, if I try to do something, everything gets grayed out. Like a lot of things get grayed out as a result. I have to tell Photoshop that I'm done doing what I'm doing. Earlier we

09:58

Speaker A

discussed how we can work with the little circle slash to tell it no thanks, I don't commit. Connected to that is this little check mark to say yes, I do commit. So I have two options here. I can click on the checkbox or I

10:12

Speaker A

can hit enter on my keyboard. So I'm going to go ahead and click on the checkbox for now and then I've committed to that and that's done official. So I click on this. I'm going to go ahead now

10:22

Speaker A

and rotate that one. No problem. This time I'm going to hit the enter key. And that is committed.

10:30

Speaker A

It's that easy. Now that we've seen how we can manipulate something that already exists, let's learn how we can create this from scratch. So, how is that done?

10:46

Speaker A

Like a lot of other programs, we start with the file menu and we just choose new. And you'll also notice we have control and if you're on a Mac, it's going to be commandn. So I'm going to go

10:56

Speaker A

ahead and click on that. And I'm going to essentially teach you how we can create the same thing that we see here on this screen. So this is what it looks like when you are creating a brand new

11:06

Speaker A

document in Photoshop. So essentially they give you a number of different options on top, right? some preset templates if you want to if you're working on photos, right? They give you a whole bunch of different templates, prints, different templates, art and

11:21

Speaker A

illustration, right? And you can see that not only are they're giving you different dimensions, but they're also giving you places to start with, right?

11:27

Speaker A

Kind of nice if you're doing like a web layout, etc. What I'm going to do is I'm just going to go and create my own. And I'm going to show you how you can even create your own saved

11:38

Speaker A

layout as well. Okay. So, I'm going to go ahead over here on the right hand side and decide what I'm going to put in, which is going to be an 11 in by 8 and 1/2 in document. And it's going to

11:52

Speaker A

be landscape. So, you'll notice here I can change the orientation. And then my resolution. This is going to be very important. Resolution is basically how vivid is this going to be?

12:04

Speaker A

How rich is this going to be? Are you going to be printing it? Are you going to be putting it on the web? Typically, if you're going to be printing it, you want to be at least 300 ppi. If you're

12:14

Speaker A

going to be putting on the web, you can settle at 72 PPI. Okay? Typically, you don't want it to be too high if you're going to be putting on the web.

12:23

Speaker A

Essentially, for load times, you'll also notice down below I have my color mode option. I have RGB and I have my CMYK.

12:32

Speaker A

Those are going to be the two ones we're going to be focusing on. This stands for red, green, and blue color. And that's typically going to be for the web because that's how your screen reads your images. CMK is typically going to

12:44

Speaker A

be for print, which stands for cyan, magenta, yellow, and black. So, it really all depends because your printer, like literally the printing machine itself, can only read these colors. So, it's very important that we understand what are we generating the document for.

13:01

Speaker A

And over here, we have our 8bit and our 16 bit. And if we go over here to RGB, it'll say 18 bit, 16 bit, 32-bit. Just really depends on how many colors you're expecting each of your documents to

13:13

Speaker A

have. Like 16,000 colors, 28,000 colors, and if you're going to go up to 32-bit, that's going to be an HDR document. So, let's just go ahead and make ours 16 bit.

13:24

Speaker A

And what is going to be the background of your document as you create it? You can actually make it black, white. You can set all these things up ahead of time if you'd like. I'm just going to keep mine at transparent. Okay. And

13:34

Speaker A

we're just going to keep this for right now. And then I'm going to also click on this little guy right here. What is this one about? This is going to allow me to save this as a preset. So therefore, I

13:48

Speaker A

don't have to do this anymore. Okay. I don't have to set all these things up.

13:52

Speaker A

So now when I click on that, I'm going to be able to save this as a preset.

13:55

Speaker A

I'll just go ahead and say 11 by 8 12 landscape. All right. And then I'll just say 72 ppi. Fantastic. Click on save preset. And now look under saved I will see there. That is. And anytime I want

14:13

Speaker A

to use it, I'll be able to come back to here and won't have to reset all these things. Okay. So I'm going to go ahead and click create. And now I have a blank document all ready to go. Great. Now

14:26

Speaker A

let's start building out our document. Now that we have this all set up, you will see I have an empty layers panel.

14:33

Speaker A

Great. But you'll also notice that all my panels have remained the same. It's great. This is exactly how I want it. So our first lesson when we're bringing in things from the outside is going to be placing. Placing, not pasting, not

14:46

Speaker A

importing. Photoshop and a lot of other Adobe programs refers to this as placing. So placing essentially means we're bringing in some items from the outside. In this case, the item we're bringing in is going to be one of those

15:00

Speaker A

images, right, of the RAM and of the iceberg, etc. So I click on file. You'll see here I have two options. Either to place embedded or to place linked. When you're placing linked essentially implies that there's might be some

15:15

Speaker A

changes happening to that file and you want to kind of have that linked up essentially. So if I'm working with a co-orker and they're making some changes, it automatically gets updated here on my file. We're just going to do

15:29

Speaker A

place embedded. So it's just going to be static right here inside of this document. So I click on that and I'm going to go to my files. Okay. Okay. And I'm going to go over to here to all my little friends here. I'm going to

15:41

Speaker A

bring in the big iceberg. I simply just click on that. And that's going to come in. And again, you'll notice I have my little bounding box, which is great. I also have my little circle slash. And I also have my little check mark there.

15:54

Speaker A

Okay. And I'm just going to go ahead and resize that however I want to, holding down my shift key and rotating accordingly.

16:05

Speaker A

And then I'm going to hit enter when I'm done. So I'm going to very quickly do the other two. Place embedded.

16:14

Speaker A

Bring in my RAM. Hold down my shift key. Constraining the proportions. Hit enter. Don't forget that hitting enter part.

16:28

Speaker A

Very important. You'll learn that fast enough anyway. And then let's go to our medium iceberg and just bring that down.

16:38

Speaker A

Holding on my shift key. Great. And then this time I'll just hit the check mark in case that's your fancy.

16:47

Speaker A

Great. Now that I have these, let's see what we can do about some initial layer management. Okay. You'll see that it takes in the name of the actual document that I started with. Okay, that's great.

17:03

Speaker A

So maybe I don't necessarily want that exact same thing. So I can just simply double click on that. And then I will just say instead this is going to be iceberg one. Okay. And this is going to be

17:18

Speaker A

iceberg 2. Okay. Very easily just simply double click. All right. And there we go. Okay. Okay. So, I'm going to go ahead and pause the video and I'm going to have you catch up and do all the things that we did in terms of placing,

17:34

Speaker A

resizing rotating etc. Okay, we'll come back to you and good luck. Welcome back everyone.

17:49

Speaker A

So in this document you will notice that around all of our images we have these little checkerboards here. These checkerboards indicate what tells me that my image is transparent. So if I were to bring in this image and save

18:03

Speaker A

this transparency and I would bring it into let's say a PowerPoint document, it would just kind of float with whatever that PowerPoint documents background is.

18:12

Speaker A

So it would not come in with its own background. It would just kind of float there. Kind of nice. So, we're going to learn a little bit of how we can either change the background to make it our

18:21

Speaker A

own, but then when we save our document, how we can retain this transparency. Now, what we need to do first is discuss a little bit about the layers panel.

18:32

Speaker A

Okay. So, right now I have my layers panel over here on the right hand side.

18:35

Speaker A

You'll see this whole thing is my layers panel. And we have a number of different icons down below. We also have this little guy over here, right? And earlier we discussed that little guy right there. Okay. And of course here is the

18:49

Speaker A

name of the panel. Okay. Now each of these things has a purpose. And you'll also notice that other panels also have kind of some similar things like a little flyyou menu and things like that. Once we bring it

19:01

Speaker A

out, you'll see more options here. And as we go throughout this course, we will be discovering much much more detail than what we're going to discover right now. Earlier, we looked at how we can rename each of our layers. Fantastic.

19:14

Speaker A

That's great. Okay. We'll also see that in this panel, we'll be able to see a bunch of other things that's going to allow us to have controls of our panels.

19:23

Speaker A

What we're going to look at right now is how we can adjust this background here.

19:28

Speaker A

You'll notice that currently, again, it is transparent. So, what can I do to add on a colored background? You'll notice this little guy right here, this little black and white cookie. When you click on that, you're going to see a lot of

19:42

Speaker A

options. And again, this is going to be for some more advanced features. When we get into our adjustment layers, we're going to see all those. What we're concerned with right now is just adding on a solid color. Okay. When you move

19:53

Speaker A

your mouse over, you will see it is called an adjustment layer. So, the adjustment we're making is going to be a solid color. I click on that and then I can just go ahead and choose whatever color I like. We're going to get a lot

20:06

Speaker A

into colors later on. just do this nice pretty aqua blue color. I click okay and then oops everything gets covered. Why is it getting covered? Because this is the top layer. So very simply I want to bring it down to the bottom. So all I

20:23

Speaker A

need to do is just click and drag that down. And then just notice follow the blue lines there. I let go and voila.

20:30

Speaker A

There you go. Now this is behind everything else. Great. And I can go ahead and just double click on this to rename this. I'll just say blue BG. And I hit enter. That's great. Wonderful.

20:45

Speaker A

Okay. So, I love this. I love this exactly as it is. So, I'm going to save this. If you see my tab here, this now has an untitled Photoshop file here.

20:56

Speaker A

Uh-oh. I don't want that. So, I want to be able to save this. When I save it, it's a good idea to save it not only as like your output, what if it's going to be a JPEG or a PNG or a TIFF or a PDF,

21:09

Speaker A

but you also want to always save it as your working file, meaning my Photoshop file. So, very important. So, that's going to be the first thing I'm going to do. So, I'm going to go ahead and click on file. I'm going to choose save as.

21:23

Speaker A

And you'll notice here my save as type is going to be PSD. Okay, that's great.

21:29

Speaker A

All right. So, I'm just going to say Rams on parade. Okay, great. And that's gonna be my PSD file. I'm going to go and click save. Now, why did I do that? I want to have a working file because this

21:44

Speaker A

is going to retain all this layers. Okay, very important because I want to be able to make changes to this. So, as an example, I can come back now. I can say, listen, you know what? I want this

21:55

Speaker A

to be on top. And because I'm working in my Photoshop file, I can now move this above my RAM. And now notice what it does. So, we're getting a nice little bonus layers lesson here on top of all

22:07

Speaker A

that. Okay? And you'll be able to practice all this and your practice time. All right. So, that's a Photoshop file. Let's now practice saving it as another file type.

22:18

Speaker A

So I click on file, save as and you will see here in this dropdown I have lots and lots of options to work with. All right, we're going to focus on two main ones. One is going to be my

22:31

Speaker A

JPEG and the other one is going to be my PNG. Now when do we use one versus the other? Let's start with the PNG option.

22:39

Speaker A

PNG typically is going to be for when you are working with transparencies. Like earlier we talked about before we had our blue background. I want to retain that transparency but yet still have high resolution, I would do PNG. If

22:53

Speaker A

I don't really care about that because I don't have a transparency that I'm working with, I can just work with a JPEG, right? Which is fine, which is great. And that's essentially what I'm going to do now. And then notice save as

23:07

Speaker A

JPEG. I click on save. And what JPEG gives you the benefit of is being able to compress your file because maybe you're concerned about file size.

23:17

Speaker A

Okay. Whereas PNG gives you a little bit of um sort of gradation, JPEG gives you quite a bit to be able to really compress it on different levels here.

23:28

Speaker A

Okay. So, if I want to bring this down a little bit more, bring it up a little bit more. Absolutely, I can do that.

23:35

Speaker A

And I click okay. And now it's going to be a little smaller file size than it would be if it was 12. Okay. So, go ahead and practice that. We'll pause the video for a little bit and we'll come

23:46

Speaker A

back. And lastly, within our layers panel, I want to talk a little bit of how we can delete layers and then also some additional things that we're going to be discovering later on. So, deleting pretty simple. So, let me go ahead and

24:02

Speaker A

just open up my group here. And I click on this. And then notice here I can delete with the trash can. Okay. You'll also notice that right clicking goes a long way. Lots and lots of options here.

24:13

Speaker A

here is delete layer. I can duplicate layer. Lots of things here. We're going to get into rasterizing layers later on.

24:20

Speaker A

And some of the things we've already done in terms of grouping and everything are already here. Okay. So, if I want to delete this, I'm just going to simply click on my little trash can. And that goes away. Great. Fantastic. But I'm

24:32

Speaker A

going to undo that by simply clicking on edit. And then notice here is undo. And then here is also control- Z or command- Z on the Mac. So, that comes right back.

24:41

Speaker A

also a very good tool to know about. Okay, so deleting is pretty simple and also again right-clicking for lots of additional options and then don't forget to undo when you make a mistake. All right, I'll see you in the next lesson.

24:58

Speaker A

Now, keeping in line with this same image and document, let's imagine a scenario where we'd like to manipulate the canvas a little bit. meaning maybe I want a little more space on the outside around it or maybe I want to crop it. So

25:12

Speaker A

what can I do here? Let me just first of all bring up the ruler. Okay, we're currently working without a ruler. The ruler is very important to have open just so we can have some context of where we are, how big our document is,

25:25

Speaker A

where things are so we can have some sort of specificity and sort of exactitude. So how do we do that? Let's go to the view menu and we're going to go to rulers.

25:36

Speaker A

And then bam, pops right up. You'll also notice the keyboard shortcut is just controllr. And there you go. And now here are my rulers. Now if you right click on the ruler, you'll be able to see all the different units of measure.

25:49

Speaker A

So currently this is set to pixels. If I choose inches, you'll see there it is 11 in wide. Awesome. At 8 and 1/2 in tall.

25:56

Speaker A

Wonderful. So it's a good idea to have that. I think for the most part I like to practice with my ruler for sure. So let's just take a look what we can do now to manipulate our canvas. This whole

26:07

Speaker A

thing is known as our canvas. So if I go over here to the image menu, see here we are. I'm going to go over here to my canvas size. And you'll see very good.

26:17

Speaker A

There it is. But then somebody comes in and says listen, we're actually going to do something a little bit bigger now. We actually want to make this 14 by 8 and 1/2. I click okay. Okay. And then all right, great. There it is. Now

26:30

Speaker A

I have a little more space to play with. I can move that around. Move that around. Maybe I'm going to move this up a little bit. Maybe I'm going to just just you can kind of manipulate it nice

26:38

Speaker A

and easy. Okay. So, that's kind of a cool thing to know about for sure.

26:42

Speaker A

You'll also note that inside of this is also your image size. Now, this is talking about the entire document here just as is. Now, you'll notice that there's a number of different options that we can do here.

26:57

Speaker A

And I would say that the main thing that you'll be doing is focusing on potentially changing the resolution for some of your images. Earlier we talked about how when you're creating a new document, the 72 PPI is going to be good

27:12

Speaker A

for the web. But sometimes you may say, "Listen, I actually want to make this get kind of upgraded so I can print it." So you may decide that you're going to upgrade that to 300. Okay. Now, there could be some problems with that because

27:26

Speaker A

it could get stretched out. So, you want to choose this option to make sure to reample. And the best choice for you is to choose preserve detail 2.0. Okay. So, there are a bunch of other options here.

27:39

Speaker A

This is the newest one. You can see here, here's preserve detail, but this is the latest and greatest technology in terms of basically like upscaling um for higher resolution if you want to do it. Okay. So, you want you to notice

27:52

Speaker A

also when I choose 72, I want you to notice the size of my document. Okay, that's great, right? And when I change this to 300, notice the size now. Okay, it goes all the way up to 30 megabytes.

28:08

Speaker A

Okay, so just keep that in mind what you're doing as you're doing this, but also take care to look at the resolution as you're doing it as well, okay? To make sure that the quality um isn't getting degraded. So, I'm going to keep

28:20

Speaker A

it as is. Click. Okay. And now, let's say we want to kind of do the opposite of this. Let's say I want to crop some of these things out. Okay. Let me just bring this in a little bit. Bring that

28:32

Speaker A

in. And let's explore what cropping can do for us. I'm just going to kind of maybe create a banner. You're going to be some a little bit creative. Just kind of an unusual size, of course. Okay. So, let's just now see what we can do with

28:45

Speaker A

our cropping. So, cropping lives right over here. You can see there is our crop icon. I click on that and you're going to see I'm going to have a new set of options here in my tools. You'll also

28:58

Speaker A

notice that I can now crop manually very easily. Just like that, it's stays with the same ratio. Okay, notice it says original ratio. And I can also choose my own width and height and resolution.

29:13

Speaker A

Okay, so I can click on that and I can say, listen, you know what? I know exactly what it's going to be. So, let's just say it's going to be 200 by say 500. Great. Can do that. Let me switch

29:23

Speaker A

it around. Great. I can just simply click on that. And then that's a good way to kind of have a banner for what you're working on. And notice as I do that, it maintains the dimensions of the cropping.

29:40

Speaker A

Okay. So, pretty cool to be able to have that there. Now, let's try some of these other presets. I'm just going to make this a square. All right. And you can see I can now move my image within the

29:50

Speaker A

square. Just maybe have everything kind of fit in there nicely. But maybe I want to just bring it in a little tighter.

29:59

Speaker A

Just have a nice little collage possibly. And everything is going to be inside there. I can see what it's going to look like. And then finally, when I'm done, I can hit on this check mark or hit enter. All right. Now, you will

30:11

Speaker A

notice also there is this option to delete cropped pixels. So once I actually crop this, right, everything outside of it is going to get deleted.

30:21

Speaker A

Okay. So if I uncheck that, then they will not get deleted. So I can always kind of bring them back. All right. So I'm going to keep that unchecked. Click on the check mark.

30:32

Speaker A

And then bam, there you have it. Perfect square. All right. And then I'm going to go and undo that. bring that back to where I was just for the sake of this exercise. And I'm going to encourage you to pause the video to then

30:49

Speaker A

go ahead and practice this on your own. Now, let's continue our layers discussion. On your layers panel, you have a lot of very, very helpful options.

31:01

Speaker A

You'll notice that there might be some familiar things like a lock icon. You might see that. You might also see a familiar word like opacity.

31:11

Speaker A

Okay? Okay. And also effects and a few of these other things that we're going to be getting into later on. Absolutely.

31:17

Speaker A

But let's just talk about some of the things that are going to help us currently in this initial stage. Let's say I keep clicking on this image and like oops, I don't want to do that anymore. It keeps getting in the way. I

31:29

Speaker A

can very easily lock this. So therefore, I don't accidentally click on that. It's really good if you have a very busy canvas. If you have a lot of text in there or anything else like that, you don't want to accidentally click on

31:40

Speaker A

something. So, let me go ahead and click on the lock icon. And you'll notice a few things happen. This lock now gets indented. I can see that's highlighted.

31:48

Speaker A

Notice there's also a lock icon on the iceberg 2 layer. So, when I try to click on that, I can't do it. As long as I try and try and try, still can't do it. This one still available. That's great. It's

32:00

Speaker A

not locked. So, how do I unlock it? Just simply click on the iceberg two layer again. Click on lock. Great. And now it's activated again. You'll also notice that the bounding box goes away just the same. So notice I can also click on the

32:14

Speaker A

lock icon itself right there on the layer if you like. Right. Another nice little element is opacity. So what does opacity mean? You might want to have a nice little sort of seethrough option.

32:26

Speaker A

Essentially opacity is like transparency. Okay. So right now it is 100% opaque. So, if I click on this little dropdown, you will see that I can click here and just drag that down. You can see I'll make that 50% opaque. And

32:41

Speaker A

you can see it becomes sort of ghostly kind of a nice little effect there.

32:45

Speaker A

Great. I'm going to bring that back down. Now, one little cool little pro tip with Photoshop. If you notice, I want to move my mouse right on top of the word opacity. Right? You can see that there.

32:59

Speaker A

You're gonna see a little hand with a two little arrows there. If I click and drag on the word opacity, it also allows me to bring it down in real time. We're going to see that in a few different

33:11

Speaker A

examples all throughout this class, but you might want to practice that a few times to really get that down. It's a little bit unusual, but incredibly, incredibly valuable. So, I'm going to bring this to exactly 50 and not have to

33:23

Speaker A

like see what it's going to do after the fact. I can do that in real time. Okay, which is pretty nice. I really like that. Okay, I can bring that back up.

33:31

Speaker A

Okay, great. And then I click away or I hit enter and I am good to go. Okay, other times you might want to do some other types of layer organization. You may want to start to group your items as

33:44

Speaker A

well. So I have all of these items here and I'd like to group them together so they're all images. So I separate them all out from let's say my text that might come in or my background colors.

33:55

Speaker A

So, what I like to do is simply click on the first item that's here and then hold down the shift key and click on the last one. And down on the bottom, you will see I have this little folder icon. I

34:08

Speaker A

click on that, create new group, and that is simply grouped. I double click on group one. I'm just going to say images. Hit enter. And now I've got a group. Fantastic. So, we've learned how to rename. We've learned how to group.

34:20

Speaker A

We learned how to reorder. We learned how to lock. We've learned how to do opacity. We should feel very comfortable moving forward to manage our layers with our upcoming lessons.

34:33

Speaker A

Okay, and welcome back. In this next series of lessons, we are going to create this terrifying scene here. You will see that we have a very, very creative use of layers and effects, a little bit of text, and a little bit of

34:48

Speaker A

opacity. Just want to show you here what we're going to be creating. and we're going to be able to start this from scratch. So, in this lesson, we're going to learn about different types of selection, working with the quick

35:01

Speaker A

selection tool. We're also going to learn about the magic wand tool. We're going to learn a little bit about the lasso tools. So, it's going to be very important we understand layer management at this point. Also, naming our layers,

35:15

Speaker A

and then we're going to be able to create these little glows and little strokes and everything. This is going to be a very very important series of lessons all kind of sandwiched into a series of many many lessons. Okay. So,

35:27

Speaker A

how do we create this from scratch? So, let's go ahead and watch me as I go ahead and open up to my first file. I'm going to open up to a Skulli. This is basically the background of everything.

35:42

Speaker A

And just notice what the finished product looks like and how it looks now. So, how do we work with these? All right, the first thing I want to do before I do anything else is I'd like to unlock my background. You'll notice that

35:55

Speaker A

my background is currently locked. Okay, so I want to be able to play around with that. So, I'm going to unlock that. So, very simply, just go ahead and click on that lock as we learned earlier. Now, let's discuss some of these selection

36:09

Speaker A

tools. Okay, in order to affect it, you have to select it. That's a very very important adage to take away from really any program but definitely within Photoshop. So I want to be able to affect this. I want to be able to make

36:23

Speaker A

my sky separate from my dinosaurs, separate from my flying saucers, separate from my piaza. If we look at my original document, you will notice that this is currently separated out. Like whoa, how did we do that? What is the

36:39

Speaker A

trick? What can we do to make that separated out? And there's a number of different ways we can do that. And most that you're going to start off with is going to be around selection, selection, selection, selection. So, if you look

36:52

Speaker A

over here, I have these 1 2 3 four icons. And remember how I changed my side panel there to be in two columns.

37:01

Speaker A

So, mine's going to look like this. Now, a lot of these panels you're going to see, have little triangles living inside of them. Do you see that? has a little triangle, little triangle, little triangle. That's going to be very

37:13

Speaker A

important for us to understand as we move forward with all of our tools to understand that there's something potentially living underneath, living inside them. Okay, you can see, wow, fantastic. A lot of cool stuff. Here's my quick selection tool. Here's my magic

37:26

Speaker A

wand. I write click on this. You can see, okay, great. There's my different lasso tools. Oh, that's wonderful. What about this guy here, my marquee? I right click. Great. Wonderful.

37:38

Speaker A

Now, most of these, if not all of them, have some type of shortcut key associated with them. Like, for example, if I move over my move tool, notice there is a V, right? They used to have it as shaped like a V. That's why they

37:50

Speaker A

had it like a V, like the letter V. Good ones to know about. Here is my magic wand tool, right? For a W. Here is L for lasso. Okay, so lots of good things to remember. M for marquee. Okay, so

38:04

Speaker A

definitely some good little takeaways here. So, let's talk about the difference between our quick selection tool and our magic wand tool. The quick selection tool is going to select kind of a whole swath of different series of colors and objects all throughout based

38:23

Speaker A

off of their different contrasting levels here. As opposed to my magic wand, which is going to be more about color. It's looking for different colors and it selects like colors. So, if I had kind of like a only blue here and not my

38:37

Speaker A

clouds, then the magic wand tool would be better. But because I have a whole series of like little things here, like my clouds kind of breaking things up, I want to choose my quick selection tool.

38:47

Speaker A

So, I'm going to go ahead and do that. And you'll notice that my mouse now turns into this little circle with a plus sign. Plus, meaning it's going to add on to the selection. You'll notice that on my options bar up on top, I also

39:02

Speaker A

have the plus sign. So, if I'm taking away, I can also just click on this to subtract from the selection, but I'm going to add to the selection. Okay.

39:10

Speaker A

You'll also see that my brush is a certain size. Right now, it is currently at 40. If I click on this, and I can go ahead and make that nice and big. I can do that, too. Let's bring that back down to 40. But, I'd

39:25

Speaker A

like to show you a nice little pro tip that I prefer, and that's using the right and left bracket keys. the bracket keys on your keyboard which are right next to the letter P. And that allows me in real time to then make this get

39:38

Speaker A

bigger or smaller. And that way you have a little more control over it. If it's too big, it's going to be too powerful. It's going to go too fast, too far. So I'm going to make it maybe about 50 or so. All right.

39:51

Speaker A

So that's kind of nice. So the key with our quick selection tool is to go slow and to trust the program that it knows what you want to do. So you can just watch me now and you'll have time to

40:02

Speaker A

practice as well. So I'm just going to go and click very slowly and you'll watch at some point it'll just jump and jump and just make a big jump at some point. Look at that. Wow. Because of all

40:13

Speaker A

that blue right there. Okay. It just did a quick selection, didn't it? Now I'm going to zoom in a little bit so you'll see that it also didn't get this stuff here, right? or overgot that because the blue of the dome also got confused with

40:29

Speaker A

the blue of the sky. All right, so not a big deal. So I'm going to zoom in. You can zoom in a few different ways. Okay, so I'm going to zoom in by holding down the alt key on my keyboard and then just

40:41

Speaker A

scrolling in with my mouse. You can also use the zoom tool, which is right here, or you can just do control or command plus to zoom in. All right. Now, now that I'm zoomed in, I'll be able to see,

40:54

Speaker A

okay, did a good job, but not a great job. So, I'm going to make my brush a little smaller. So, it's not super powerful at this point. And I'm just going to say I want less of a selection. So, look

41:06

Speaker A

what it keeps doing. Like, oops. I don't want it to just keep adding to the selection. Like, oops, it keeps going the opposite direction because I'm still adding to the sky. So, I have two options here. I can click on this little

41:18

Speaker A

minus sign or in my opinion, this is even better. Hold down the alt key. See that? If I hold down the alt key or the option key on the Mac, notice how it becomes a minus. So, I'm just going to

41:29

Speaker A

just give this a little nudge back up. And I'm not going to get this perfect just for the purposes of this exercise.

41:37

Speaker A

I'm just going to go and just give this a little bit more. Just go up to a little bit more right there. Okay, great. Maybe this right there. And you know, Photoshop does a pretty good job once I do the selection. Just go a

41:49

Speaker A

little bit more there. Okay, great. And now I want to zoom out, right? So I can see the whole thing. So I can do exactly the the counterpart of what I showed you before, which was the alter or option

42:01

Speaker A

and then the zooming. Or I can do control or command minus minus. But another nice little shortcut is just if you do controll0, think about that as like ground zero. It takes you back to a best fit of things.

42:17

Speaker A

That's great. All right. Now I want this sky to be on its own layer. So therefore I can create a situation like that. How do I do that? Remember we talked earlier about how rightclick goes a long way in

42:32

Speaker A

this program. If I right click on that sky, I get a lot of options here.

42:36

Speaker A

Deselect, a very important one. Absolutely. I can select inverse like oh that's interesting. I can select the opposite. So it would select the piaza instead of the sky. Cool. A lot of cool things here. What we're going to focus

42:49

Speaker A

on here is this really neat feature called layer via cut. So in other words, it's saying we're going to create a new layer and also cut it at the same time.

43:00

Speaker A

Really fantastic. So I do that and you barely notice anything here. It looks almost exactly the same, if not the same. But now I have a new layer that was now separated out. So, I'm going to go ahead and double click on that and

43:13

Speaker A

call that sky. Wonderful. Okay. So, I'm going to go ahead and pause the video for a second and I'm going to have you go ahead and do what we just did.

43:28

Speaker A

Now that we have our sky all set up, let's see what we need to do to bring in our other creatures and how we need to make it look how this is looking in terms of our layer management and

43:40

Speaker A

different types of selection. So again, we're going to bring in or place some of our objects. So I'm going to bring in my little dinosaur here or a very large dinosaur and we'll see we have a bit of

43:53

Speaker A

a problem right away. Number one, this particular document has a white background. Okay, it also has a little bit of other things happening here, the size, etc., etc. So, let's go ahead and resize that. Holding down the shift key,

44:08

Speaker A

I resize that. You'll also notice that the problem is the fact that it's in front. It's on the piaza, not in the sky. I want it towering over just like that. So, how can I deal with these issues? Earlier we talked about one type

44:24

Speaker A

of selection method and that was the quick selection tool. We also discussed the magic wand tool. The magic wand tool is very good for selecting colors, colors that are all sort of in the spa same spectrum of colors. So my quick

44:40

Speaker A

selection tool would certainly work for this, but my magic wand tool is going to be ideal for something like this. So let's discuss that. I click on this and we're going to see that my mouse now changes to this little magic wand. And

44:54

Speaker A

you'll also notice that my options panel now has a series of different options. And namely, there's something called the tolerance level. The tolerance level. So essentially, it's saying, "Hey, how tolerant do you want me to be for this

45:09

Speaker A

color?" So if I have like light blue and you want me to also choose dark blue, I'm going to bring up a high tolerance.

45:15

Speaker A

In this case, since it's mostly all white, I can probably go down to like 20 or 30 or 40, something like that, or even lower to like the teens or something like that. Also, notice how I'm clicking and dragging just like I

45:27

Speaker A

showed you earlier with my opacity to go up and down just like that on my tolerance level. So, I'll just bring that down. And I can always experiment with it. And then watch what happens now when I click on the white. Everything

45:41

Speaker A

gets selected there. Okay. Everything but the gray. In fact, okay, it doesn't choose anything within the green. That's pretty great. So, let me try that again now. Going a little higher. And I'll choose my color again. Oh, it gets even

45:54

Speaker A

more of that gray. I can go even higher than that. Okay, pretty good. See that? This time it went all the way up to 53 and it got everything. And I'll just more manually go in and take all take care of that.

46:07

Speaker A

Now, watch what happens now when I try to get rid of this white background. And I'm going to hit delete, right? Very simply. And I get an error message. And this is going to be one of those things

46:18

Speaker A

that's going to make you go crazy crazy. Could not complete your request because the smart object is not directly editable. What does that mean? What is a smart object and why is it not letting me do what I want to do? I'm going to go

46:33

Speaker A

and click okay. I want you to notice here that I have this little guy right there. And notice that my other icons do not have that. Okay, this is indicating to me that this is a smart object. When

46:49

Speaker A

you place in a document from the outside, you are going to place it in as a smart object that is designed to protect it. Okay? in case you want to keep you want to preserve the integrity of that image so you don't actually mess

47:06

Speaker A

with the original. That's why we have a smart object. Later on in other exercises, we're going to talk about filters. Filters are going to be very important to work with smart objects. In this case, we don't want it to be a

47:18

Speaker A

smart object. We don't care about that. So, I want to do rasterizing. So, if I right click in this little gray area on my layer and right there is rasterize layer. I click on that. Notice the little icon goes away. It's still

47:32

Speaker A

selected and I can hit delete. And look at that. Beautiful. And it's floating right there. Okay. Amazing. Amazing.

47:40

Speaker A

Amazing. And you'll have to do that a lot of times. If you copy and paste the document, copy and paste the image, you won't have to do that. When you place it, you will have to do it. Okay. Now,

47:50

Speaker A

notice my little marching ants there. I don't want those anymore. So, in other words, I'm going to deselect. So, I'm just going to rightclick and you're going to see here is deselect. Also, notice a really good keyboard shortcut is controll D. So, if

48:06

Speaker A

I do control D, that also makes it deselect. So, I like that one a lot better. But notice you can also rightclick. All right. Now, if I go back to my move tool, I'm able to then move this guy separately, however much I want

48:19

Speaker A

to. Now, I don't really necessarily need to worry about his little feet there, but I could very easily get rid of those if I wanted to at some point, right? So, I could use my quick selection tool if I

48:32

Speaker A

wanted to, and I could just get right there in between his cute little toes, hit delete, get in there. Okay, maybe got a little bit too much. So I hold down the alt key and then just get rid of that. Okay, so

48:44

Speaker A

you want to practice some of these things there. Another really good one to know about is just the very simple eraser tool. Okay, which is living over here on my tools panel. I right click on there. There's my eraser tool. Oh, and

48:58

Speaker A

look at that. The keyboard shortcut is simply just E. So if I just want to erase something, I can very easily erase it just the same. Okay. All right. Okay, just a little bit of stuff around the edge. Watch out for his claws. Okay,

49:14

Speaker A

very good. Okay, and I'm not going to worry about this too much. I'm going to do control0 to come back out. All right, now how do I create this effect where he is behind the building? Okay, what do I

49:27

Speaker A

do here? Let's look at our layers and let's just see what's actually going on for all of these guys here. Notice how I have my sky background oh way at the bottom and my dinosaurs are right above those. In this case, my sky is above my

49:44

Speaker A

layer zero, which I'm going to rename as piaza. And I'm just going to bring my sky down below.

49:53

Speaker A

And then notice I still don't have any effect here. So what I need to do is bring my dinosaur in between the sky and the piaza because that's essentially what's happening in reality. But really what we're doing it from bottom to top

50:07

Speaker A

is the same as front to back. So if I drag this in between my dinosaur is literally in between them. Now I get that awesome, very cool, very realistic effect. And now they're terrorizing the poor people of Rome. And wonderful. I'm

50:22

Speaker A

going to go ahead and do that one more time. I'm going to do it a little bit faster this time with the other dinosaur.

50:28

Speaker A

Place embedded. Okay. Go and resize that. Hit enter. I'm going to use my magic wand tool.

50:44

Speaker A

That's great. Does a pretty good job. But this time I'm going to rasterize it before I hit delete. So, I'm just going to right click on Dino one, rasterize layer. Now, when I hit delete, wonderful. Ctrl D. And now I'm just

50:58

Speaker A

going to move her down below. Just like that. And now they are partners in crime. Wonderful. That's great. All right. Now you have some other files that you can work with on your own which is just bringing in a couple of flying

51:14

Speaker A

saucers and essentially we'll have you do the same thing to catch up. Now welcome back. Let's take a look at some of the other selection options that Photoshop has and let's see which one is best for us. So I will bring in my

51:32

Speaker A

pterodactyls now. And uh there is one right there. Now my magic wand tool as I established is the best one here for us. Now but I want you to see other ones that could be beneficial for you.

51:50

Speaker A

So let me go ahead and resize this and let me go ahead and say rasterize layer.

51:56

Speaker A

But I want you to see how the lasso tool can really be beneficial for you working with the regular lasso tool, the polygonal lasso tool, and the magnetic lasso tool. The lasso tool is good just for a very manual way of just cutting

52:13

Speaker A

some things out. That could really be helpful for you if that's really all you want. So notice I just drew around there. And now if I hit delete, oops, it does the opposite. I don't want that. So earlier we talked about how we can do an

52:26

Speaker A

inverse selection. I do that then I hit delete. Okay, great. So now I have this kind of interesting effect. Okay, not exactly what I want. So let me go ahead and undo and deselect. You'll notice also there is a polygonal lasso tool. So

52:41

Speaker A

that's essentially going to give me like straight lines. What am I trying to do in this case? You can see it's going to allow me to do these just kind of hard angles to be able to do my selection.

52:53

Speaker A

I'll go all the way back to where I started. Great. Wonderful. Now I can go ahead and do the same thing. Delete or do an inverse if I like to as well.

53:02

Speaker A

You'll also notice that I made a little bit of a mistake here. If you ever want to add to a selection, you can easily do that. So, if I go back to my lasso tool and I want to add to the selection, if I

53:17

Speaker A

hold down the shift key on my keyboard to add to the selection, I'm able to do this more kind of manual way of now adding on to things. If I want to remove from that selection, I selected way too

53:31

Speaker A

much, right? I can also remove it. So again this is shift to add to the selection and alt to take away from the selection.

53:41

Speaker A

Okay, there is alt. Okay, and then there is also going to be shift if I want to add to the selection. Okay, see that?

53:50

Speaker A

And that is going to be a good combo of when you start working with a number of different selection tools. Okay, because notice how I started off with one selection tool and then I switched over to another selection tool. If I wanted

54:03

Speaker A

to add on something using my quick selection tool and combine it with my lasso tool, I absolutely can do that.

54:10

Speaker A

So, I'm going to go ahead and deselect this. And now, let's finally talk about the magnetic lasso tool. Now, for certain things, the magnet magnetic lasso tool is going to be really like your best friend because what it does is

54:23

Speaker A

it magnetizes to the edge of the particular object. It recognizes contrast between colors and its background and context. So, if I choose magnetic lasso tool, I want you to notice when I move my mouse to the edge here, it kind of drops a little egg. I'm

54:39

Speaker A

not even clicking. I'm just moving my mouse. Now, I clicked. And now, you can see, all right, it did an okay job, but you can see I'm just kind of very, very slowly moving my mouse. I'm just going

54:51

Speaker A

to click, click. I'm just going to go a little faster this time. Just go, go, go. Just watch how smart Photoshop is to be able to get the edge of what I am trying to select.

55:04

Speaker A

You can see. All right, great. And then when I come to the beginning, notice I get this little circle. Tells me that I'm at the beginning. And now I've got it. And it did a pretty good job. Of

55:14

Speaker A

course, I don't need this because I would use my magic wand tool. But you'll notice how amazing the magnetic lasso tool can be for you. Now, if I zoom in, I'll notice that it didn't do a great job. So, then what did we just learn? We

55:27

Speaker A

learned how I could go to my lasso tool and then hold down my shift key and then just add to my selection. See that? I'm just going to add to this selection. So, think about your lasso as or all of

55:42

Speaker A

these really as like one big toolbox as you do this. Okay? So you really want to think about like well I can use this type of selection tool for one thing and then another one. So like the lasso tool

55:54

Speaker A

is a little more surgical where this is a little more macro working with our quick selection tools and these are more kind of specialists if you think about it. Okay. So I'm going to go ahead and zoom back out. Control0.

56:07

Speaker A

And I'm going to just now do control D. I don't really need to do that. And here we go. Let's use our magic wand tool.

56:15

Speaker A

Click. Wow, that is so much easier. Now, you probably even have more of an appreciation for all how that works. I'm going to hit the V key to go back to my move tool and then click and drag. Make

56:27

Speaker A

that a little smaller. Have that kind of flying overhead. All right. And then I'm going to give you a few minutes to practice and then I'm on my own off record. I'm going to bring in my flying saucer and my

56:43

Speaker A

pterodactyl just the same. and I'll have you do the same thing on your own. So, we'll see you after you practice.

56:53

Speaker A

Welcome back. Hopefully, you enjoyed that exercise. And now we're back to our paleolithic piaza.

57:00

Speaker A

Um, so what we're going to do now is we're going to work with the images that we currently have, our pterodactyl and our flying saucer, and we're going to add on a little bit more dynamicism.

57:12

Speaker A

We're going to make things a little more terrifying for those Earthlings down below. We're going to add on more pterodactyls and we're going to add on more uh flying saucers. But we're going to do it in this really kind of a neat

57:23

Speaker A

way called cloning. Cloning. So cloning is all about using the alt or option key while also selecting with our move tool.

57:33

Speaker A

So let's say I want to give this lady here a husband. So what I'm going to do is simply hold down the alt key. And you'll notice how my mouse now has two little arrows there. Watch what happens

57:46

Speaker A

now when I click and drag. Bam. I just cloned. Amazing. It's a very quick cut and paste. Let's do the same thing for the flying saucer. See that? Hold down the alter option key, click and drag.

57:57

Speaker A

And now I can move that wherever I want. Wonderful. Okay. And I can also rotate these.

58:05

Speaker A

Do that. Okay. That's great. Hit enter. remember because you're transforming. And I can rotate this one that way as well. Okay. Right. But now, let's say I wanted to have it so it was going in a completely opposite direction. How would

58:21

Speaker A

I do that? If you go over here to the edit menu and you go over here to transform, you'll notice how there's an option to flip if you wanted to. So now you can see I flipped him horizontally

58:33

Speaker A

or her. Okay, going out horizontally. Okay, cool. And now that's going over here, right? There's going to be a battle between the pterodactyl and the T-Rex. Oh my goodness, things are about to get terrifying. Okay, you see, okay,

58:45

Speaker A

very easily I was able to resize it and it looks very different the other one.

58:49

Speaker A

So maybe you're making this look like it's a little further away. So you make it smaller and I'm going to rotate it.

58:56

Speaker A

So you have lots and lots of options to do here to kind of create this reality.

58:59

Speaker A

And see this one is in the foreground. So, it really looks like it is coming in very much closer. All right.

59:09

Speaker A

So, gonna give you maybe a minute to practice that. I'll go ahead and stop the video and practice that on your own.

59:23

Speaker A

Okay, welcome back. Now, let's see some other things we might want to do. If we go back to our original, you'll see that some of our flying saucers have a nice little glow. What we're going to discuss next is the effects on our layers. So,

59:39

Speaker A

you will see here in our layers panel, I have something called effects. See that there are a lot of effects that we can do. So, let's just go ahead and check out some of these. Okay, if I click on

59:50

Speaker A

effects, you will see I can put a stroke, I can put a shadow on here, I can put an outer glow. so many so many things that we can do, right? So, you want to use these things sparingly. You

60:01

Speaker A

want to kind of use them for effect to be able to communicate where you're trying to communicate, draw some attention, but of course, you don't want to abuse them. You know, with great power comes great responsibility. So, let's just do a nice little effect for

60:15

Speaker A

this flying saucer. What kind of effects can we do for this one? Let's just give it a nice little glow. So, notice what layer I'm on. Very important. And I'm just going to click on effects.

60:30

Speaker A

And I'm just going to give this flying saucer an outer glow. And you'll notice that it gives a glow right away. Why is it doing that?

60:38

Speaker A

Because I have my preview chosen here. So make sure preview is always a good choice to have there. Just make sure that that is available for you. Okay.

60:46

Speaker A

And mine potentially or for you it might or may not be um defaulting to brown.

60:52

Speaker A

not the best kind of glow color, right? So, these are my colors right here. So, I'm going to click on that and I'm just going to choose let's just find yellow right here. So, notice on the right hand

61:02

Speaker A

side I have my kind of whole spectrum of colors and then here I'm going to be able to find that level of of um of hue um of that color as well. Okay. So, I'm going to click okay. That's fine.

61:15

Speaker A

Then I want to adjust a number of different things for this particular uh object that I have for this particular effect. So what I'm going to do is bring down my opacity so it looks a little more glowy. Remember opacity is like the

61:28

Speaker A

transparency. I can also adjust the spread. I can also adjust the size of that like okay maybe a little more subtle.

61:41

Speaker A

And then what about the range? What does that do? Okay, I probably want that to be not so hardedged. Jittery. Do you want it to be a little more jittery? Right. It's going to be kind of like look a little kind of

61:53

Speaker A

dissolved a little bit with like lots of little dots. Okay, so maybe this is exactly what I want. Just notice there's a lot of other options here. Potentially a little more advanced for us at this stage, but this is very much kind of a

62:04

Speaker A

spice to taste thing. A lot of these things, especially when you have preview chosen here. Okay, now this is great. I love this. I'm going to click okay. And that looks wonderful. I like it. Looks very, very terrifying. Very convincing.

62:19

Speaker A

There is light coming off of this. But what about the other one? The mother ship. The mother ship should also have the same thing. So, I want you to notice on my layers panel, I now have two new

62:31

Speaker A

elements that have appeared here on my panel. One that says effect and one is the type of effect. So let's say I want to use this effect on this flying saucer down below. So flying saucer one copy has the effect on it, but I want to

62:47

Speaker A

apply it to here very easily. All I need to do is hold down the alt key again.

62:52

Speaker A

Remember how we did alt to clone? Now we're going to do alt to clone the effect. So watch this. I click and drag down below right on top of this. And now, wow, like magic. There it is. And

63:07

Speaker A

I'll just go ahead and do this, this, and that. But it's great. Okay, it's as easy as that. Cloning, cloning, cloning. Now, another question you might be having is, well, let's say I want to change the color. I love the

63:22

Speaker A

outer glow, but I don't want it to be that color for this particular one. How do I deal with that? Anytime you want to manipulate any of these effects, we can do that by simply doubleclicking on the name of the effect. So, if I double

63:36

Speaker A

click, you will see it takes me right back to my layer styles. And now I can go ahead and make a change to that. So, let's just drag that over so I can see it. And I'm going to make this maybe a

63:47

Speaker A

red color. Ah, look at that. Very nice. I can adjust the opacity and all the other stuff if I want to. Okay. And those of you who are a little bit more advanced, if you like to, you can always

64:00

Speaker A

save this as a new style. meaning then that way you'll be able to save it over and over and over again and it's going to be saved inside of this styles group.

64:09

Speaker A

Okay, a little more advanced for right now. We'll be getting into that in my advanced class which you can uh click on another video to see that.

64:19

Speaker A

Okay, so I'm going to go ahead and pause the video and please go ahead and practice and love to hear how you're doing in the comments.

64:29

Speaker A

Okay. Now, to finish up this particular document and this particular project, we're going to bring in this nice little shape and some text for us to work with.

64:39

Speaker A

So, this is going to be our first introduction to shapes and also to working with type and we're also going to work with a little bit of opacity and we're going to work with um other different kind of effects that we can

64:51

Speaker A

put around text. You can see nice cool little effect there. So what are we going to do? We are going to just draw out a very basic shape. So how do we work with shapes? Shapes are very powerful in Photoshop and any kind

65:06

Speaker A

of graphic design because it's really designed to frame things, right? It's really designed for you to kind of really call attention to something, make it stand out, and this provides a nice little background for our items. So where are we going to find our shapes?

65:20

Speaker A

So you're going to see over here in the left hand side there should be a little rectangle icon for us to work with. If you right click on that you're going to see that oh there's a rectangle. There's

65:29

Speaker A

all kinds of other shapes that we can do. For our purposes right now we're just going to choose rectangle.

65:36

Speaker A

And you will see that there are different colors that we can then apply when we draw out our shapes. So our colors can be activated in a number of different ways. You will see here that there is this little color as the

65:50

Speaker A

foreground color and this is going to be the background color. Primarily, we're going to be working with the foreground color. That's going to be the important part of it. You'll also notice that over here in the upper left is our fill color

66:02

Speaker A

just the same. So, you can access it in one of two ways. So, you'll also note that when I draw something out, am I going to be drawing out a shape, a path, or pixels? These two are going to be a

66:12

Speaker A

little bit more advanced. So, let's make sure that we are drawing out in fact a shape. And what color shape am I going to do? Well, that's up to me. So, how do I access all of my colors? I'm just

66:23

Speaker A

going to simply click once on this little square. And you will see that it's going to take me to this amazing color picker where I can then choose any color I want from here. We've seen a few exercises already on this. I can go to

66:39

Speaker A

my blacks down here, my whites up here, and then really anything in between by clicking here, here, here, and then anything within that spectrum. Now, some of you may know exactly what color you want to apply. So, you'll see how

66:53

Speaker A

there's our RGB over here on the right hand side. There's also your CMK. So, your design team might say, "Hey, listen. We need to use our company colors. So, please put in our RGB value of 65723." Cool. Damn. Bam. Pipe. Type that in.

67:10

Speaker A

Wonderful. Or our CMYK. Bam. Type that in. Whatever you want to do. Okay. You'll also note that there is the HSB, your hue, your saturation, and your brightness. So, notice how I just click and drag going across. Right? Now, the

67:24

Speaker A

saturation of that color then changes. Saturation just basically means the level of color in a thing, right? So, how saturated is that going to is going to be a very very colorful red or a less colorful red. So no saturation basically

67:40

Speaker A

means black and white or grayscale. Our hue, notice how the hue now changes. Essentially we're just going from blue to red to green. And then brightness as what you'd expect, right? It's going to make it whatever that color is, just a

67:53

Speaker A

brighter version of that color if you wanted to control all that. Okay? So up to you. Now, you'll also see that I have a little eyropper that appears. When I move my mouse off of the color picker, I

68:08

Speaker A

can actually choose from my canvas a color that I want. Notice I'm choosing the blue. It changes to blue. I'm going to go to this little green. It's going to change to whatever his little scaly brown color is. Okay, great. I can go to

68:21

Speaker A

my flying saucer. A little more gray. Fantastic. Wonderful. Okay, so I have all the options in the world for colors.

68:28

Speaker A

So, I'm just going to choose black. Great. I click okay. And now, very simply, I'm going to click and drag. And notice I'm clicking and drag starting off of the canvas just to make sure in case I want to

68:40

Speaker A

have, you know, zero bleed like that. So, it just goes right off the edge.

68:44

Speaker A

That's great. And I can go back to my move tool to then resize it accordingly.

68:52

Speaker A

And then I click the check box. I can move it wherever I want. And that's amazing. It's all set, ready to go. Now, if we go back to our original document, you'll be able to see that I have a little bit of transparency

69:06

Speaker A

here. So, how do I do that? If I click back on the shape, I want you to see here that I have this new layer called rectangle, and we have this section here called opacity that I can now affect the

69:21

Speaker A

opacity of that. We did an exercise on that with our ram earlier on. We're able to actually have our ram or iceberg a little more see-through. So, we'll do the same thing now with our shape and we'll see. Oh, that's kind of cool. So,

69:33

Speaker A

I can make this a little more see-through. So, I can see through that shape. So, it gives a little bit of dimensionality, a little more kind of visual interest, if you will. All right.

69:43

Speaker A

Now, your next question might be, well, what if I want to change the color of this rectangle? Right? What if I want to make this transparency, but I want to actually make it a different color of transparency?

69:56

Speaker A

If you doubleclick on the shape itself, right, notice what I did here. Excuse me, not on the shape, but on the actual thumbnail, right? You want to actually double click on this right there.

70:10

Speaker A

It's going to take you back to your color picker. Amazing. Look at that. And I can now change that to red and do whatever I want to do.

70:18

Speaker A

Okay, so doubleclicking on the thumbnail in the layer panel brings you right back to your color picker. Okay, nice little pro tip there. You'll also see that there is a properties panel that also gives you some other options as well if

70:35

Speaker A

you want to experiment with that. Okay, so your properties panel, you should have that open from when we first started. So, if you click on the fill, click on that, and then you click on that guy, that takes you to the same

70:47

Speaker A

exact thing. All right. So, totally up to you. Some of you might be more comfortable with the properties panel at this point, or you're more comfortable with the layers panel. So, now I have that color.

70:59

Speaker A

I'll let maybe bring that down to a kind of a darker color. Let's just bring this down.

71:06

Speaker A

And wonderful. Now, I'm done. All right. So, I'm going to go ahead and pause the video, have you practice working with our shapes, our transparency, working with color, and then changing the color.

71:19

Speaker A

When we come back, we'll do a quick little introduction to how we can work with type.

71:26

Speaker A

So, in this next lesson, we're going to learn just a little introduction to how we can work with type, different sizes, different spacing, and maybe put some effects on it. So, taking a look at our intergalactic Italy, let's follow suit.

71:40

Speaker A

So, we've been talking a lot about keyboard shortcuts here and there. So, the easiest keyboard shortcut to remember is simply the T to get to our type tool. So, you'll notice here is the T. But if I literally just type out T,

71:54

Speaker A

it just takes me right there. So, that's one you definitely want to commit to memory if possible. As soon as I click on that T, I want you to notice a few things. up on top. I'm going to get a

72:05

Speaker A

whole bunch of options here in my options panel. All round type. So, it's very important before we start typing anything out, we identify what size the font it's going to be typing out in.

72:19

Speaker A

Okay? Because sometimes if it's too big, we just can't see any type at all. So, that's just one little tip for you.

72:26

Speaker A

because like I know I'm typing something out, but if it's coming in as a 100 points because that's the last thing you did, then you're going to have some problems. You're going to be confused.

72:34

Speaker A

All right? So, just keep that in mind. So, kind of good rule of thumb. I like to just make mine a little bit smaller just because I can always make it bigger. Okay? So, but you can of course

72:44

Speaker A

make it smaller, but sometimes you can't find it to begin with. So, I also might want to figure out which font I'm going to use ahead of time. So, let's just do a quick little introduction of where we

72:55

Speaker A

can actually find our fonts and how we can also filter some of our fonts. So, here's all our fonts. Very similar to any other program you've probably used before. But there's a few other additions that you may not have seen

73:07

Speaker A

before, which I really, really like. All right. You're going to see here how they give you, of course, a little preview what it looks like. But then you'll see how there's these little stars here. So, for example, like my luckiest guy, I can

73:20

Speaker A

click on that little star and let you notice how the star gets darker. Let me just try another one. Let's just use this bow house burner. Okay, I'm just kind of shopping around. What am I doing? I am saving these as my favorites

73:34

Speaker A

for later. Comic sands. No, thank you. All right, keep going on from there. Okay, great. Okay, wonderful. So, when does this come into play? I just saved all my favorites. If I click on that little star right now, it filters it

73:47

Speaker A

out. So then, bam, all I show is like my company fonts, my client fonts. Okay, great. I know we're only using those because my computer has so many fonts to work with, right? I don't want to see all of them. Okay, so I'm going to go

74:01

Speaker A

ahead and click that again. And then it comes right back. You'll also notice that there's a little drop-own menu where it says all classes.

74:09

Speaker A

Click on that. And you might see some different things that you recognize like a serap font only. Show me my serap fonts, right? Seraps just have these little tails and hats. Sand serif does not. Okay. What about a slab serif? See

74:24

Speaker A

with that those going to be a little more kind of boldish if you will, right?

74:27

Speaker A

Bigger seraps, right? Bigger tails and big feet. Okay. And then you'd see handwritten, decorative, all these things here. I'm going to come back to all classes. Just a good takeaway here is that Photoshop gives you a lot of

74:39

Speaker A

control over your font. What you want to see, how you want to see it. Okay.

74:44

Speaker A

Excellent. So, I'm going to choose my luckiest guy. And I'm going to now draw out a text box so it fits in perfectly within that text box. That's one option.

74:55

Speaker A

Or you could just simply click and type and it'll just go on and on and on and on. I like to actually create the text box. So, I'm creating a sort of beginning and end so it kind of gets

75:05

Speaker A

confined. Not too much, not too little. Now, what Photoshop will do is it will put in this filler text for you, but I'm just going to go to override that. So, I'm going to just start typing enteractic.

75:20

Speaker A

What did I say? Can't even remember what I said. I'll just say piaza, right?

75:25

Speaker A

Let's do it a little different this time. Okay. Intergalactic piaza. Okay. And then I have to tell that I'm done.

75:31

Speaker A

So go back to your check mark. It's great. And if you see here, I have a new layers panel. Excuse me, a new layer called intergalactic piaza. Wonderful.

75:41

Speaker A

Now, this of course is not the color I want. It's not the size I want. So I need to go ahead and edit that. So how do I edit this text? If you simply just doubleclick inside there, and then if

75:52

Speaker A

you triple click, you get all of the text. Double clicking goes right inside of it. Triple clicking selects all the text inside there.

76:00

Speaker A

Now I can make my type a little bit bigger. I can change the color. I can do all kinds of different things to it. So what's a great way to make it bigger is if you move your mouse over the little T

76:11

Speaker A

and the big T just by simply clicking and dragging. I'll be able to Okay, great. That's wonderful. I can then do it that way rather than having to click on the drop down. It's again, we've seen this what three or four times already

76:25

Speaker A

how we can work with this. Great. Let's make it a little bit bigger. And so it just stays within that box.

76:35

Speaker A

Click on my checkbox. Go to my move tool. And then in this case, what I'm going to do is I'm actually going to use my arrow keys. Why am I using my arrow keys in my keyboard? That's a really

76:47

Speaker A

great pro tip for moving your content using your arrow keys because that way I'm not accidentally clicking on this other shape here. This is the first situation where we've actually had a little bit of a potential issue where I

77:04

Speaker A

might accidentally click on this and then that gets moved. If I use my arrow keys on my keyboard, I can then just isolate that without having to accidentally click on something else.

77:16

Speaker A

And if you hold down the shift key, it goes 10 pixels instead of one pixel.

77:23

Speaker A

Okay. So, you'll get a chance to practice that when we take our little break. All right. Now, again, I'm going to go ahead and select all my type. And I'm just going to make that maybe simple white for right now. Click okay.

77:38

Speaker A

Great. That's going to be just bringing in some very simple type. So, I'm going to go ahead and pause the video, give you a chance to practice that, and then, you know, feel free to filter some of your type, change the

77:51

Speaker A

size, use some of those little shortcuts that we did. Now, we left off typing in our intergalactic piaza. And if you remember our initial one, we had a nice little effect. we had what we call a stroke. In fact, two strokes on

78:11

Speaker A

this particular set of type. So, how can we do that for this particular one?

78:18

Speaker A

We've already done a type of effect on our flying saucer. See that? How we had a little glow effect around there. We had a nice little glow here. And we can tell that they're having effects on there because it literally says effects

78:30

Speaker A

on here. See that? And we want to do something similar for our type. So, how can we do that? So, our type layer is selected and what we're going to do is we're going to go down here to effects

78:43

Speaker A

and we're going to do a stroke. So, I click on that and you can see. Wow. Just like that, it has this really cool outline around it.

78:53

Speaker A

That's what a stroke is in Photoshop language. Now, very similar to when we worked with our outer glow, we have additional options for that stroke.

79:05

Speaker A

You will see here I have the size and I have the color. So if I want to change the size of that stroke, I can easily do that for differing effects, right? See kind of a fun sort of bubbly effect or

79:18

Speaker A

maybe just you want to have a very simple minimal little outline around it. Okay. Now the other question is where do you want it to be? Right? What's the position of the stroke? Of course I want on the outside.

79:33

Speaker A

But guess what? You can kind of make it a little more thin where you kind of have it on the inside of the letters or you have it somewhere in the middle. I'm going to put mine on the outside

79:43

Speaker A

outside. I kind of like that cuz I still want to see some of the letters in there. Hair. Opacity. You can bring down that stroke so it's a little more see-through. I'm going to keep mine nice and solid. And I'm going to keep mine at

79:55

Speaker A

this color, red. Beautiful. I love that. All right. Now, if I click okay, I'll be able to see that I now have this effect. And this time, it's a stroke as opposed to the other one, which was an outer glow. So, let's say I

80:12

Speaker A

want to affect this yet more, cuz earlier we saw how this one actually has two strokes, huh? Well, that's interesting. How do we do that? This is a relatively new feature inside of Photoshop. So, if I double click back on

80:26

Speaker A

the stroke, I want you to see how it takes me now over to all my different layer styles, including the stroke. What I'd like to do is add on an additional stroke. And that is available through this little plus sign. Really, really

80:43

Speaker A

neat feature. So, when I click on this little plus sign, say, okay, you know what? You want to do one stroke and you want to do another stroke. Sure. Great.

80:50

Speaker A

So, let me go ahead and just choose green. Do a nice little dark green.

80:57

Speaker A

Okay, I can see that there. Maybe not so dark. Okay, it's done that. But then what happened to my red? Well, what what's going on here? So, let's just see what happens if I make this a little bit

81:08

Speaker A

bigger. Okay, it's good. But what about this one? Let's make this one bigger. Oh, I see. Okay, interesting. So they are playing with each other, but one just has to be bigger than the other.

81:23

Speaker A

But it does allow me to have two strokes. Okay. So you can have a really a lot a lot of fun with these. You'll also notice how you can do the same thing with a lot of these other layer

81:33

Speaker A

styles by just adding on additional ones. So I encourage you to play around with additional ones. just adding on maybe some drop shadows, adding on some inner glow, some inner shadows, and then even going a step further and then

81:48

Speaker A

adding on additional ones just the same. And then some of you, like I said in the earlier lesson, might be feeling a little ambitious to then try to even do a new style and then saving it so you

81:58

Speaker A

can use it over and over and over again. So I will click okay and I will bask in the glory of this. And if you love this, go ahead and save this. Save it as a PSD. Save it as a JPEG if you want to.

82:12

Speaker A

Save it as a PNG. Save it as a TIFF. Save it as a PDF if you like. We're done with this project and we'll move on to some other great stuff in just a moment.

82:21

Speaker A

But please practice this up. Make sure you got it and look forward to seeing you in the next video.

82:29

Speaker A

Let's go ahead and switch up gears a little bit. This exercise is going to be about working with shapes. Earlier we worked with just drawing out a very basic shape which was just a rectangle.

82:40

Speaker A

Now we're going to learn about different kind of shapes, how to manipulate shapes and even working with some of these custom shapes like animals and different all kinds of icons and things like that.

82:49

Speaker A

And of course working with all kinds of different layers here. So let's just start off creating a new document.

82:56

Speaker A

And I'm going to go over to my saved and I'm going go to my landscape. But this time I'm going to change that. So you can see how saving our presets can really be very helpful for us. I click

83:06

Speaker A

on that and bam, I'm ready to go to then draw out my shapes. Now, we've already seen that we can draw out shapes very quickly and easily. We've also seen how we can have a background also quickly and easily. So I would like to use my

83:22

Speaker A

layer adjustment to then just have a nice colored background. So, I'm going to go over here to my solid color underneath my adjustment layer, my little black and white cookie there. I'm just going to have that as my

83:33

Speaker A

background. Okay. And I'll just do like this nice soft little blue color. That's great. And now that is not necessarily a shape. It's just a color fill. And if I wanted to change this, I can very double use very easily double click on this.

83:48

Speaker A

Okay. And I can go and make that a little bit darker, right? Or change my brightness on there. Okay, that's great.

83:55

Speaker A

But now let's see what we can do to create different types of elements like this frame for example. How do I create a frame like that? Many times you will be creating like newsletters, you'll be creating posters and you'll want to have

84:10

Speaker A

things like that, right? That's going to really encapsulate your content. So that is going to be a combination of a fill and stroke setting. Right? So far, we've already talked about strokes, how it's like an outline of something. And we've

84:25

Speaker A

also talked a little bit about how we had our fill for a rectangle in the last exercise. In this case, we want to draw out something that has no fill, but has a certain stroke and a certain stroke

84:38

Speaker A

value. So, let's go ahead and just choose my rectangle. And I'm going to choose my color of my rectangle. I'm just going to make that maybe gray. Of course, I can change. Let's not worry about that too much. And you will

84:55

Speaker A

notice up on top, in addition to my fill, I now have something that says stroke right there. It's like, oops, what did I do? I just changed the fill color. That actually doesn't make any sense. I was so used to that. It's like,

85:07

Speaker A

oh, wait a second. I actually don't want a fill color. Hm. What do I do? How do I deal with that? Because I actually do want a stroke color. And I also want to adjust the stroke value, right? Which is

85:21

Speaker A

going to be that's going to be my width of my outline. So let's say I don't want a stroke a fill color. I'm going to click on my fill box right there and I'm going to choose this little slash to say

85:33

Speaker A

no fill color. I'm going to come over to here, come to my little color picker, and then choose whatever color I want for that outline.

85:45

Speaker A

Okay. Okay. So, again, I'll come back to my grayish blue. I click okay. And I'm not quite ready to draw out yet because I'd like to have a certain thickness.

85:55

Speaker A

And again, I can change this. I'm just going to make that, let's say, exactly 15.

86:02

Speaker A

Now, I'm ready to draw. So, click and drag. Click away. Go back to my move tool. Not too bad. I click back on it.

86:16

Speaker A

And now, how do I change the thickness? Uh-oh. Photoshop doesn't really give me that option at this point. But what it does do is give me the option in my properties panel. We're going to go a little bit deeper into the properties

86:30

Speaker A

panel and where it says appearance and all these other options here. This is going to be invaluable for you for so many so many different things. This is a relatively new thing in Photoshop, working with the properties panel. So,

86:44

Speaker A

let's go ahead and check out what our options are. I'm just going to drag this over here. Bring this down. And let's just see what we can do now. I can now make this a lot thicker if I want to.

86:56

Speaker A

That's pretty neat. And of course, make sure making sure this is selected. Let's just make this exactly 20 if I'd like to. Let's change that to 20. Great.

87:07

Speaker A

Slight little adjustment there. And you'll also see I have a few other things I can do. So, I can make it dashed if I wanted to, but I'm going to bring that back to solid. And there we have it. Cool. Love that. It's exactly

87:21

Speaker A

what I want it to be. You'll also notice a few other options here. Namely, my corner radius. Corner radius. What is a corner radius? Well, I'm going to move my mouse over this. And remember, look for that little finger with the little

87:37

Speaker A

with the double little arrows there. Click and drag that all the way to let's say 30. And now, ooh, that's kind of neat. I get this little rounded corner set of options there. Okay. You'll also see that there's a little link icon here

87:53

Speaker A

because sometimes you only want one part to be linked to one part to be linked up to the others and not the other parts to be linked. So, in other words, you want them to be isolated. Right now, if I

88:03

Speaker A

uncheck that and I make just the bottom ones go to zero, zero is the other way. Okay, you can see cool. Only the top part has the little rounded corner radius and then this one has zero pixel 0 pixel corner radius.

88:21

Speaker A

So, you have a lot of options to work with. Okay, I'm just going to go ahead and bring that all back. So, they are let's just say 25.

88:34

Speaker A

All right. And these guys are all going back on their own. Okay. 25. Let's unlock these.

88:43

Speaker A

Just adding on 25 for all of them. Okay. Great. And you can see, bam, there we are. And let's keep those in sync with each other. Great. So, what we've done here is we've seen that we can create a

88:55

Speaker A

shape that has no fill and we're also able to change the color of the stroke and the thickness of the stroke as well as working with corner radius. Right?

89:08

Speaker A

Just like that. Wonderful. Now, let's go a little bit deeper with our shapes. Well, we'll start working with custom shapes and also different other shapes.

89:20

Speaker A

So if you look back at my original one, I just have these basic shape of circles. So let me go ahead and just draw out a circle.

89:30

Speaker A

And I'm going to draw out a perfect circle in this case, right? How do I draw out a perfect circle? Very simply, we're going to hold down the shift key as I do it. So before you start drawing,

89:40

Speaker A

it's always a good idea to just take a look at what you're actually going to be drawing at. I don't want a stroke. I want a fill. So, I have to go back here and say no stroke.

89:53

Speaker A

Make sure you're making sure nothing is selected. Okay, you just saw me had still had something selected because it's going to override what you have selected. So, no stroke.

90:03

Speaker A

And then I'm just going to choose this nice little color there. And I'm going to hold down the shift key as I click and drag.

90:14

Speaker A

And then you will see I got a perfect circle that's exactly that color. Go back to my move tool. Click and drag wherever you want it.

90:24

Speaker A

And then what I'm going to do is I'm going to clone this. I love the size of this. I love the shape of it.

90:30

Speaker A

Everything. I'm going to clone it. If you recall, cloning is what? Alt and clicking. Right. So, if I hold on the alt key and I click and drag.

90:40

Speaker A

Alt. Click and drag. Okay. Wonderful. Now I can very easily change the color of these using my appearance panel. So just going to choose any color that's available here. Let's not worry too much on that. Click on that. Once that pops

90:57

Speaker A

up and I'll choose this one. Okay, great. Now my issue compared to these is that notice how these little circles are beneath my little front front border here. So how do I deal with that? To save me some time, I'm just going to

91:13

Speaker A

move my rectangle all the way up to the top. Remember about layer management. So, just drag that to the top because that's exactly what I want. I want this little border to be above everything else. Okay, it's as easy as that. All

91:28

Speaker A

right, so just move this around however you want it. Get a little more kind of visual interest, get a little more interesting.

91:36

Speaker A

All right. And I'm going to go ahead and pause the video and let you practice that and we'll come back in just a moment. Have fun.

91:46

Speaker A

Now, going to the next level of shapes, we can see that if we rightclick on our shapes icon, we'll see that we can simply draw a rounded rectangle from start if we want to. We just drew out the ellipse, which was also the circle.

92:01

Speaker A

Then we also have some other ones like a triangle and a polygon. Let's just check out what the polygon looks like. Polygon essentially means like anything that's not going to be a circle or a rectangle or a triangle, right? So, it could be

92:15

Speaker A

like an octagon, something like that. So, if we click on that, you'll notice that in our options panel way up on top here, it gives us the option to choose how many sides this thing is going to be. So, I'll just keep it at five for

92:30

Speaker A

right now. And now if I just draw it out, I will see I now have a pentagon. Okay, pretty simple.

92:38

Speaker A

Let me go ahead and just undo that. And let's just try another one. And maybe in a little bit of a different way. I click on this and instead of choosing this option up there, I'm just going to

92:48

Speaker A

simply click in an empty area. And you'll see how it gives me the option to choose how many sides I want. So this time I'm going to choose eight sides.

92:58

Speaker A

And you'll also see that I could choose my corner radius. If I want to do a star, I can absolutely do an eight-ointed star right now if I wanted to. I'll do that in just a second. And when you're drawing it, maybe you want

93:08

Speaker A

to draw it out from the center. You can see how easy that is. And I can change this to the color of a stop sign. And it's done. And done. Okay. Very neat.

93:19

Speaker A

Okay. And now let's talk about the star option. So, I'm going to click on this and I'm going to click once again in a neutral area and this time I'm going to make it into a 10pointed star. And I'm just

93:33

Speaker A

going to make this I'll just say 50%. And you will see I have this really neat way of making a star very quickly and easily.

93:47

Speaker A

Okay, so practice some of those things here. Now, also don't forget that you have your properties panel to work with a lot of these things here. And then you'll see how I can then change the size if I want to. I can change the

94:01

Speaker A

inside of my star. Properties panel is invaluable. So, check all those things out. We'll just see how I can make this have more sides just like that. Less sides just like that. And then maybe I want to make this 80%. You'll see how it

94:18

Speaker A

kind of blasts out like that. And now I have a nice little label for something.

94:23

Speaker A

Great. So, a lot of different ways to be creative with the different things that you are creating. So, let me get rid of these and we'll talk about the last segment of our stars component, excuse me, of our uh shapes component. And

94:38

Speaker A

that's going to be hiding over here in our custom shape tool. Our custom shape tool. You'll see that Photoshop gives you a number of different shapes to work with that are not these standard shapes.

94:50

Speaker A

Okay, these are like vector shapes. They kind of look like icons. They can be like graphics and animals and nature oriented things. So, I'm going to click on this and you will see that over here on the top toolbar, you will see I have

95:04

Speaker A

something called shapes and I click on that little dropown and you'll see that there's going to be a number of different categories. Yours may look a little different than mine just depending on what you have set up, what

95:14

Speaker A

you've worked on last. So, if you click on this little gear icon, you can see you can import some shapes. You can add some shapes on there if you like to. And if I click on just any one of these,

95:26

Speaker A

you'll see that they give you these really nice sophisticated shapes for you to work with. These essentially are drawings, and they're known as vector drawings. So, if you've ever taken an Illustrator class, they're fantastic.

95:37

Speaker A

Okay, they're basically like smooth lines that you can expand out infinitely and they look very, very professional and very clean. So, you can take a look at some of these. So, I'm just going to bring in this beautiful leaping gazelle

95:54

Speaker A

and click and drag just like that. And then the color is going to come in the exact same color that I chose. I don't want that. I'm going to choose black.

96:04

Speaker A

And just like that, I now have a cool little logo that I brought in there or a cool little design, cool little visual element. Okay, let's go ahead and just try another one. So, I'm going to choose from my shapes dropdown. I will choose

96:20

Speaker A

this little moose and just draw it out. That comes in not the color I want. So, go over to my fill color, choose that color, go to my move tool, and then uh oh, guess what? It decided to not put

96:37

Speaker A

it in the right layer. So, I need to move that up above my ellipse. And now, so again, all that layer management comes into play when Photoshop gives us something unexpected.

96:51

Speaker A

All right, I'll go ahead and do one more. Choose another animal. How about a kangaroo?

97:02

Speaker A

And I'm holding down the shift key to make it so it stays in proportion.

97:08

Speaker A

Okay, very good. So, it's coming in a little bit off the circle. So, I can just very simply go back to my move tool, select it, and then I can resize it. And I can even I could even rotate

97:20

Speaker A

it in such a way. So, if I go back to my edit tool, I go over here to transform path. And guess what? There is flip horizontal. And now it's fitting where I want it to be. Maybe get his tail back

97:35

Speaker A

in there. Or maybe move my green circle in there. Lots of options to work with.

97:40

Speaker A

And then finally, going to make that kangaroo. All set. square it away. And that's great. So, you can see how we have a number of different options for us to work with from basic shapes to more advanced shapes to custom shapes,

98:04

Speaker A

polygon shapes, and ways to make them perfect shapes by holding down the shift key, adding on stars, and also changing the colors.

98:16

Speaker A

All right, so go ahead and practice all this. create your own type of poster.

98:21

Speaker A

Working with these, you'll see how shapes are invaluable and they're a critical part of almost everything that you create. So, we'll come back and we'll be working on type next to a more advanced degree.

98:36

Speaker A

Let's now talk about color. Color is everywhere. It comes in every shade you could think of, does it not? That's what color actually is. Every shade you could think of. And Photoshop with will work with millions and millions of different

98:50

Speaker A

colors. Photoshop works with colors whether it's going to be print or it's going to be in the web. Okay. And you will see that we can save our colors. We can work with gradients. And you can see we can do so much with our colors in

99:03

Speaker A

terms of the the hue, the saturation, the brightness, all kinds of good stuff here. So, if you'll notice here in the lower left, I have these little squares.

99:13

Speaker A

They're going to allow me to then pick my color. So, I can go ahead and double click on that and choose whatever color, whatever color I want. And remember, I can change my RGB value. That's going to be good for what? For working with the

99:26

Speaker A

web, something on screen. And I also have my CMYK, and that's going to be for print. Okay. And you'll notice I can very easily change this. And notice that's going to go up and down like that. You'll also see there's a

99:38

Speaker A

hexadesimal values. Okay? Sometimes your designer will give you hexadimal values and say this is what we're working with and you can just type that in or you can type in your RGB values just like that your CMYK values and it'll change

99:51

Speaker A

accordingly. Okay. You'll also notice that there's this really great feature to add to swatches. So if I love this color, I can very easily add this to my swatches and then save it for later on and it will always be there. So I'm

100:06

Speaker A

going to click on that and then right away says okay wonderful. Okay, I'm just going to call this Dave's blue. Okay, do you want to add this to your current library? We're not talking about that in this class, but just know that this is

100:19

Speaker A

going to save it to your Creative Cloud library. I'm going to uncheck that, but this is going to allow you to actually save it with other people and you can also open it when you're going into another document. And you can also see

100:31

Speaker A

it save it from document to document and also from program to program saving it in the cloud. I'm going to click okay.

100:38

Speaker A

And now it takes me right back to this. We're going to go to our our our swatches in just a little bit. Okay. But now I'm good to go. I click okay. And now I'm ready to start just drawing some

100:49

Speaker A

things out. So that's great. Super easy. Now I have that there. You'll notice now how my properties panel now changes, giving me the option to then change my color based off of whatever I want.

101:02

Speaker A

You'll notice here is a color picker. Again, I can choose it to that. Click okay. Super easy. Notice there's also some recently used colors. There's some also some other colors that are preset swatches. Again, swatch is a saved

101:14

Speaker A

color. And I can just bam, apply it. Apply it. And I'm good to go. Okay, very good. Let's choose something that's not so hard on your eyes. Fantastic. That is colors in a nutshell. Now, let's just at least see what's going on with our

101:30

Speaker A

swatches so we can see where those things are in fact saved. So if you don't see your swatches panel, you can always find it under window and then you'll see it alphabetical order. There is swatches and then my swatches now

101:43

Speaker A

pops up here. Okay. And now I will see down at the bottom of this list is the swatch that I saved. Great. And if I want to do another color later on, okay, based off of this, I can easily get to

101:58

Speaker A

that. I can access that no problem. So, I can switch it from this back to this anytime I want. Okay, pretty cool. Save your colors. Your designers, they tell you this is the colors we're using. Save them as a swatch. Notice you can also

102:11

Speaker A

organize your swatches. See that? You can actually put them into individual folders if you want to. Okay, let's call this Dave's XYZ XYZ project.

102:27

Speaker A

Okay. And now let's move this inside of there. And now that lives inside of it and it's encapsulled just like all these guys have a little folder there to keep it nice and safe and organized. Okay.

102:44

Speaker A

You'll also notice I can move this up if I want to and that's going to be there.

102:48

Speaker A

So swatches are invaluable. Okay. So, we've learned how we can create colors using RGB, CMYK, save our colors, also working with our hexadimal code, and also save those just the same.

103:02

Speaker A

Now, let's talk about kind of a different degree of working with colors, and that is gradients. Gradients. So, let's now going to get rid of this now, and I'm going to start over from scratch. So, I'm going to dock this back

103:18

Speaker A

up here. and now start creating something else. So let's take a look at what our other options are going to be as far as creating some type of gradient. So what is a gradient? Let's define what a gradient is first. So gradient implies

103:46

Speaker A

that there's one color that's going to be melding into another color and Photoshop is going to put those colors sort of in between. So you might have a color going from black all the way to white. So it's going to be this nice

104:00

Speaker A

gradation of gray going from dark gray, less dark gray to a little more lighter gray all the way to white. And you can see you can create a nice little effect for things.

104:15

Speaker A

So let's now draw out our same old square, but this time let's put in a gradient. So if you look up on top in my little control center up here, you're going to see that I have this option to

104:26

Speaker A

fill my color. But when I click on that, you'll see I get a lot of options we have not explored. We've already taken a look at this. We've looked at our swatches. There's my trusty old swatch I just created. But now we're going to

104:37

Speaker A

look at this little guy right here. This guy is going to allow us to then create and edit our swatches. So, I click on that and you're going to see, excuse me, not our swatches, our gradients. Okay.

104:49

Speaker A

So, you're going to see here I now have a whole bunch of gradient options available to me. I have a bunch of preset gradients that I can work with.

104:57

Speaker A

And you can see here there's a whole bunch of them. Now, you can see what a gradient looks like.

105:03

Speaker A

Fantastic. Good. Maybe I want that. So, if I click on that, you'll notice that underneath here, all of these little options change. These are known as our gradient stops. And you can see it's going from this kind of light pretty

105:16

Speaker A

purple all the way to this kind of like grayish blue. Let's check out some of these other ones. You can see how that changes dramatically.

105:24

Speaker A

All right. So, maybe I love this and I'm ready to go. So, I've chosen it. I'll just go ahead and draw it out.

105:33

Speaker A

Great. Love that. Amazing. But not happy with it. Okay. So, I'm going to click on this and I can see how I can change it in a very different way on many, many different levels. So, you can see here

105:46

Speaker A

I'm going from this dark purple to this light blue. Now, if I don't want that color anymore because this was just a preset, I can very easily change it just by simply coming over here to my little stop and doubleclicking it. See where I

106:01

Speaker A

am here? I'm double clicking right there and this pops right up to my color picker. So, let's just choose red just for effect. You can see, ooh, that's kind of nice. And you can see what it's doing there. Like you're kind of

106:13

Speaker A

creating maybe a little backdrop, you know, for, you know, just like a sky, something like that. Maybe there's a fire, maybe there's lights happening in the background. Maybe you're just kind of creating something kind of ethereal.

106:25

Speaker A

I love that. That's great. Now, you'll also notice that when I click on this, I get this little diamond. This diamond allows to control where some of the red kind of begins and ends, right? You see that? How it kind of stretches out a

106:41

Speaker A

little bit more? So, I get more red this time. So, I'm going to click and drag this way. This time, I get less red.

106:48

Speaker A

See, you have all that control in the world to then control how your gradient's going to be. I'm going to keep this in the middle.

106:56

Speaker A

Let's take a look at some of our other options. I'm going to start over here on the right hand side and look at this one. Pretty simply, all this does is reverse the gradient. I click on that and then it just makes the red go up on

107:09

Speaker A

top. You'll notice to the left of this is another option. It's like a little clock. It says, okay, well, which direction is this coming in? This is like a, you know, 360 degree angle here.

107:23

Speaker A

So you can see well I want it to come this way now. So you can make it so it's going to rotate the gradient. Let's do that way. And then that also is another way to make it go in a different

107:32

Speaker A

direction. So a little bit more sort of dynamic. Do something like that. Okay. Now here is something that you may want to explore for sure where you have the different types of gradients. Right now we're working what's known as a linear

107:47

Speaker A

gradient. Now, if I click on this little dropown, you'll see I can change this to a radial angle reflected diamond. Okay, most likely it's just going to be these two that you're going to work with more than anything. So, I'm going to change

108:00

Speaker A

this to radial. And you can see, oh, it's kind of cool. Let me switch that around. Oh, I like that even better. Okay, so just imagine you're going to have something kind of in the center of your document and you

108:14

Speaker A

really want to kind of spotlight it. a radial gradient can really, really go a long way. Okay, so really cool stuff.

108:21

Speaker A

Really fun. So, let's just see this in action. I'm going to go back to my Iceland postcard and let me just drag this. I'll show you a nice little trick here. I'm going to drag this guy up into

108:31

Speaker A

my tab. Bring it back down. Say yes. And then look at that. Now, I've got a nice little feature that I can show. Hey, bam. There it is. There's my image. and I'm really kind of drawn to it all because of gradients. Okay, so

108:49

Speaker A

really practice that. Practice saving swatches, saving your colors, putting in different colors, talking to your designers, putting in different CMYK, RGB, and then again saving your swatches, organizing your swatches, and then come back and start working with gradients

109:06

Speaker A

and manipulate them as much as you need to. working with the linear gradient, working with our radial gradient, and then manipulating the diamond and then um seeing what you like, right? Just know that you have all the control in

109:20

Speaker A

the world. And like with all of our exercises, I recommend pausing the video for a little bit practicing till it works for you, until you feel comfortable, and then move on to the next exercise. Okay, have fun and we'll

109:36

Speaker A

see you in the next activity. For this next lesson, I want to make sure that you have open the CEX and box.psd and also the poster with shapes and text lesson three. Um, so what we're going to be looking at here in this

109:55

Speaker A

particular document is um all the different settings we can do within type. Right? So, you've already learned how we can bring in type. Just go ahead and click on the T and click on your text box and drag it out. And then you

110:08

Speaker A

essentially are setting the confinements of this text box. So you can see when I click on this, this is the confinements of this text box and it brings in this filler text. Okay, great. And you can see here's another one has a little T

110:19

Speaker A

there. It's great. Now, how can we adjust things on the next level? We already talked about all the different fonts we can change too, right? We can see if I double click back on here, I have all my font options right up here.

110:32

Speaker A

Okay, that's great. You'll also notice a few other additional options for playing around with my alignment.

110:40

Speaker A

And you'll also see that there's a new one that we have not worked at looked at yet, which is this little icon here that's going to open up to my character and my paragraph. So, you'll see there's a lot a lot of different options we can

110:53

Speaker A

work with here. Character and paragraph, etc. and then I can go ahead and dock that just the same. So, it's a really nice easy way of getting into my type options. Another option, and that's what we're going to work on uh together right

111:08

Speaker A

now, is working with the properties panel. We've discussed the properties panel last session when we were talking about working with our shapes, how this is a great one-stop shop for all of your things that you work with, depending on

111:24

Speaker A

the context of what you've clicked on. So when I'm working with my type, notice how my properties now change. If I click on my image, notice how my properties change. So what's really nice about the properties panel is that I can then very

111:38

Speaker A

easily go from one object to the other yet still not have to open up to another panel. Right? So properties panel is really fantastic. So I want you to see that when I click on this particular uh set of type, I have a an option here for

111:55

Speaker A

my character and also for my paragraph, saving me the trouble of having to open up to the character and paragraph panel.

112:04

Speaker A

Okay, so hopefully you can see the value of working with a properties panel. So why are we here? What are some things you might want to work with on this particular document? We've already done all of our characters and, you know, our

112:16

Speaker A

fonts and everything like that. We can see here's our size. But what are some other things that we might be concerned with? I want you to notice here there is going to be our letting, our kerning, and our tracking. What are these things?

112:32

Speaker A

Let's just first focus on letting simply define as just simply line spacing. So if I were to change this now to 30, notice how I get a lot more line spacing. Okay? a lot more space between my type. I'm going to go ahead and just

112:49

Speaker A

make that come up a little bit more. Maybe a little bit tiny bit less. Okay, great. I love that. So, and just notice how I did that in my properties panel. I didn't have to select all the text. I

113:01

Speaker A

just work with a text box. And also, we learned about what is letting, right?

113:06

Speaker A

Pretty great. Let's now take a look at this ocean text box right here. And you'll see that this is 103 point font.

113:15

Speaker A

Okay, that's great. And you'll also notice that my type is kind of touching each other a little bit. Okay, because it's not like a normal set of text where it has like regular spacing apart. That is known as my tracking. Okay, my

113:31

Speaker A

tracking. Do you see this here? Tracking. So, let's just set this back to zero. And you can see, okay, that looks pretty normal. And I'm going to go ahead and go negative. And you can see how you can do a very creative way of

113:43

Speaker A

overlapping things, making them far apart if you want it to be perfectly spread out.

113:52

Speaker A

Great. Look at that. Really nice. Very kind of visually interesting, if you will. Now, let's talk about kerning. Kerning is very much like tracking, but it only works from like one letter to the other. So, if I bring this

114:14

Speaker A

down, see that? Bring that down. It's only going from the C to the E because that one actually didn't track very well. So, I had to go to kerning.

114:27

Speaker A

So, I had to move my cursor between the C and the E and then make that change.

114:31

Speaker A

So, really cool, really slick. gives you a lot of control over your content. So that is letting tracking and kerning gives you the space between the entire set of paragraphs. All the line spacing, the entire words which is going to be

114:47

Speaker A

tracking and then the entire letters which going to be kerning. Now let's talk about some of our paragraph settings. Here you'll see my paragraph settings. Some things may be hiding. By the way, if you click on these three

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Speaker A

dots, you'll see, oh, wow, more options are coming up for me. Oh, that's great.

115:05

Speaker A

Okay. Same thing for my character. If you don't see what you're looking for, you can always find additional options here if you want to go a step further with your horizontal or vertical scaling, maybe your color if you want to

115:16

Speaker A

get to that. A lot of the same things you're going to be found up here in our tools as well. But always kind of take the bait for these three little dots here. In this case, for our paragraph,

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Speaker A

we may want to see certain things here, like for this particular one. Let me go back to my Laura Mipsum.

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Speaker A

And I might want to adjust where things are coming in from the left margin.

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Speaker A

Very easily I can control that. Maybe I want to have a first line indent. Very easily I can do that. So, every single paragraph in that box will then get indented. See how easy that is? Very, very slick with just a couple of clicks

115:59

Speaker A

to be able to do that right here in this spot right here. You don't want hyphenation, you can change that. So, lots and lots of options there.

116:09

Speaker A

Okay. Then you have some other potential a little bit more kind of obscure options like if you want to have everything in all caps, you can do that.

116:17

Speaker A

or everything in small caps, you can absolutely do that. If you want to underline, if you want to do superscript, subscript, some liatures, all kinds of different options here.

116:27

Speaker A

Okay, so definitely check those out. But if you're more comfortable again with working with the character and paragraph style, all the options are here. It's literally the same exact options with the exception of that, the properties panel keeps them all in one place for

116:42

Speaker A

you, so you don't have to go back and forth between panels. Okay. So, just remember the benefit of that. Now, let's just check out this one here. And this could be certainly one that you practice on if you want to. So, you can see here

116:53

Speaker A

is one particular set of text a little bit smaller, maybe a little more manageable. And I can see what I can work with on my line spacing. In other words, my leting can very easily control that. And then maybe I want to play

117:09

Speaker A

around with my tracking. So, this will give you something to practice on before our next lesson. Have fun.

117:21

Speaker A

In this next lesson, we're going to learn about something pretty awesome called clipping masks. What we're looking at here is something called a text clipping mask. You'll see here is an image clipping mask and a few other examples as well. So, how do we create

117:37

Speaker A

this? If we look at our layers panel, it's nothing too complicated. Take a look at this one for image. Nothing too complicated. So, we're going to learn how we can create this from beginning to end. And you'll see that something

117:49

Speaker A

pretty magical and pretty amazing can be created very quickly and easily. Okay. So, how do we do it? Just going to go ahead and create a new document. It's going to be landscape and blank. Ready for me to then bring in my image. It's

118:04

Speaker A

the first thing we're going to do. Very simply, I'm going to place in my giraffe image. You should all have access to this. And just a little bonus, let's talk about how we can make this fill in the screen without having to do too many

118:16

Speaker A

clicks and drags. Earlier, we looked at how we can click and drag just from the corner. But let's say I want to have this come in from the center and going outward. If I hold down the shift and

118:26

Speaker A

the alt key from the corners, look at that. That comes in right from the center.

118:32

Speaker A

Wonderful. That fits in there perfectly. And now I'm going to draw out some type.

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Speaker A

going to just go to my type tool and just click and drag going all the way from one side to the other. It's going to type out a frea.

118:50

Speaker A

Okay, great. And now I can then play around with some of my options that we learned about in the last exercise that's going to allow me to have more control over this. We're also going to learn a few bonus ones as well. All

119:04

Speaker A

right, so notice how it's way off. Sometimes Photoshop will do that. Regardless of what I do, it decides to kind of center it right on the top. So, I'm going to work with my my baseline.

119:15

Speaker A

So, I can have that come down a little bit. I also want to work with my scaling, my scaling. So, if you see here, I have my horizontal scale and my vertical scale. See that? There's my vertical scale. Here's my horizontal

119:32

Speaker A

scale. In this case, because I want this to be kind of nice and blocky, I really want to kind of make it act as a frame.

119:41

Speaker A

The font I choose and how kind of blocky I make it is going to be very important.

119:45

Speaker A

So using these two guys, our vertical scale and our horizontal scale can be really, really valuable for us. All right. So, and again, I can change this anytime I want to as well. All right.

119:57

Speaker A

And if you want to play around with the tracking, you can do that just the same.

120:01

Speaker A

So, let's just see how do we in fact make this into a clipping mask, right? That's why we're here.

120:12

Speaker A

First thing you want to do after you've completed everything is make sure that your object, right? Meaning your image is above your type, okay? Above the thing you want to clip to. Okay? Okay, I know it seems counterintuitive because

120:27

Speaker A

looking at this kind of seems like the opposite is happening when in fact you want your image to be up on top. And all we're going to do now, and this is very important here, you're just going to do

120:38

Speaker A

alt. Okay between the two layers. So, what do I mean by that? Alt and then click. So, you'll see what that is. And then you've very very quickly and very very easily created a clipping mask. So now watch this. I

121:02

Speaker A

come between the two layers. I hold down alt and then notice what appears here.

121:07

Speaker A

Watch what happens when I let go of alt. See? Hold that down and watch what happens when I click. Magic. Just like that. Do that one more time. Hold on the alt key. Move your mouse right between the two layers. And now we've done a

121:22

Speaker A

clip. And if I want to get those extra effects, super easy to do. We've already covered that. Just going to put a very simple stroke around this.

121:32

Speaker A

Maybe go a little bit thicker. Great. Love that. Amazing. And what's so neat about this is that these are still independent of each other. I could move my giraffe a little bit this way, a little bit that way. See that? Now he's

121:48

Speaker A

in the A as well. So you have a nice really cool effect to work with.

121:53

Speaker A

Wonderful. Now let's see how we can do the same thing for an image. So type sort of naturally clips to things whereas an image may not so much. So let's do a quick little exercise on how we do that.

122:10

Speaker A

So this time I'm going to just open to my Romanian castle and I'm just going to bring in my shape this time. I'm going to go ahead and place embedded and I'm going to find this Romanian map.

122:30

Speaker A

Say okay. Great. Now what what happens? So earlier we talked about bringing our image up above. And let's just see what happens when we're not doing the complete process here. Bring my image up above. Just like Dave said, hold down

122:45

Speaker A

the Alt key in between the two layers. Click. And then not what I expected. Hm.

122:52

Speaker A

Let me undo. What's happening here? Remember how type has a natural sort of clipping ability, right? Because type by itself has like these grooves around it.

123:05

Speaker A

What we need to do is play around with our image to make it so all of this stuff goes away. We learned about this earlier on about working with the quick selection tool or working with the magic wand tool. So before I do anything, I

123:23

Speaker A

need to rasterize this. And no longer has a little icon there. I'm going to go over here to my quick selection tool. I'm just going to click very slowly coming around the edge.

123:36

Speaker A

Coming around here. Okay, great. Notice how it's not affecting the other layers, right? Just because that's just how Photoshop works. Does not affect the other layers. Great. Let's make sure we get anything here. Good. And then I hit

123:49

Speaker A

delete. D. That's great. It's wonderful. Certainly, you can get rid of some of these little watermarks there if you like. Now I'm ready to go because again, think about the parallel between type and this map now does not have this

124:03

Speaker A

little white background. So if you're planning on doing something like this, you need to make it so it has like these little clean lines. So it's no longer that square because that's what it looked for. Look for the outline of

124:13

Speaker A

that. So let's bring this up top and hold down the alt key right in between the two layers. And wonderful. Cool.

124:23

Speaker A

That looks really, really slick. Okay, if you know what Romania looks like, if you know about Romanian castles, you'd be very excited. Now, the last thing we're going to do here is, well, how did I get that effect? That's pretty cool.

124:37

Speaker A

And oh, what about these little shadows? Oh my god. Wow, there's a lot going on here, but not a lot on the layers panel.

124:43

Speaker A

So, something really simple is happening. What am I doing? I'm just going to bring down the opacity of layer zero so I can very gently see what's underneath it. Ah, wow. That is really cool. Okay. And then I'm going to go to

124:58

Speaker A

my Romanian map. And then we haven't really done too much with drop shadows. Let's just add on a drop shadow to this.

125:04

Speaker A

Give it a little bit of texture. So you can see shadow off, shadow on, shadow off, shadow on. Let's keep that on. I'm going to make that a little bit darker so you can see it. bring down the size a

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Speaker A

little bit. That's kind of cool. See that? It gives us some nice texture and I'm pretty happy with that.

125:24

Speaker A

So, go ahead. I'm going to pause the video. Please practice that. Enjoy. In the last lesson, we talked about clipping masks. In this lesson, we're going to talk about just plain old masking. Plain old masking. And if I

125:42

Speaker A

were to give you any advice as Photoshop beginners, I would say learn about masking to the nth degree. If you want to master really anything, you will see that masking comes in so many so many different forms. You're going to see

125:58

Speaker A

it's going to give you a lot of power over things in many, many different facets of Photoshop. This is just going to be the beginning of how we can mask things. This gives you control of what you want to see and what you don't want

126:10

Speaker A

to see. That's essentially the definition of what masking is. Essentially, do I want to see something?

126:17

Speaker A

Do I want to not see something? It could be an object, but it could be an effect.

126:21

Speaker A

It could be a filter, could be a layer adjustment, could be certain colors, right? We're going to get into some lessons on that in a little bit, but right now we're going to focus on just like basic masking. So you'll see like

126:34

Speaker A

this very unusual beautiful creature here is the product of masking. You'll see over here that there's actually two different layers overlapping each other.

126:48

Speaker A

And you'll also notice how there is this new little layer happening here that's connected to this lion layer. Okay.

126:56

Speaker A

What's actually happening here? There is a mask that is happening that is poking through this lion's face to show through.

127:06

Speaker A

So this little doggy can come through the lion's face, but it gives me all the control in the world to show what I want, how much I want to show. Okay, you'll also notice that, okay, it's not perfect, so I can very easily fix that.

127:21

Speaker A

The two things I want you to take away with masks are very simple. It's going to be black or white and using the brush tool, believe it or not. All right, I'm going to come back to that in a little bit,

127:38

Speaker A

but it's going to be black or white while using the brush tool. Notice these colors here are black or white. So, let's just do an example of this. You can watch me and then practice it and then practice it on your own. Now,

127:54

Speaker A

when I talk about masking, I also want you to note that masking is a very good alternative, if not the best alternative for deleting something. Earlier, we discussed the eraser tool rather than erasing. Sometimes you might want to

128:10

Speaker A

consider just masking because masking, guess what, is not permanent or erasing is permanent. Okay? So, keep that in mind. All right, without further ado, let's open up to our file. So, I'm going to bring in the dog.

128:31

Speaker A

I'm going to place the lion. All right. And there we have it. Now, don't worry about getting everything perfect right now.

128:44

Speaker A

And we're also going to learn about how to crop some things a little bit just the same. All right. I'm going to unlock everything. Good practice.

128:52

Speaker A

And what I'm going to do next is mask. I'm going to put a mask on this line. I want you to think about masking in terms of masking or blindfolds. Right? So sometimes you're going to have a blindfold. You poke a hole in it. It

129:07

Speaker A

becomes a mask. Okay? Just imagine that. Just put a blindfold over your face and then you poke a hole in it and it becomes a mask. Right? You're turning into into robbing. you're turning into the Green Lantern. Okay, so that's what

129:21

Speaker A

we're going to do next. Where do we find our ability to mask? That is going to be down here.

129:30

Speaker A

Move your mouse over, it'll tell you add a layer mask. Cool. We haven't done those yet. So, let's click on this and we're going to choose add layer mask.

129:40

Speaker A

And then that thing pops up just like how we saw before, right? This one has that there, but it's got some little black brush lines on there. And that's what we're going to do next. So, remember the first two things I talked

129:52

Speaker A

about, black or white. So, right now, this is white. Okay. So, white is going to conceal. Black is going to reveal.

130:01

Speaker A

So, let's just see what we can do now. So, the brush tool can be easily accessed either by clicking on the brush itself or guess what? Shortcut key of B.

130:11

Speaker A

That's what I like. And you'll see here I've got two colors here. It's either going to be black or white. Black or white. If they're not black or white, you can very simply just click on that and that'll actually set it to be the

130:23

Speaker A

default. And you can switch it around if you want to as well. But we want whatever color we're going to be playing around with right now to be on the foreground. And in this case, it's going to be black because we want to see

130:35

Speaker A

what's underneath there. We want to reveal what's underneath there, which is going to be the dog. So, take a look at my brush size, which is 125. Also, take a look at the hardness, which I have it as 0%, which I want because I don't want

130:49

Speaker A

it to be like hard lines. I want to kind of blend in nicely. Okay. And again, if you want to adjust your brush size, who remembers this?

130:59

Speaker A

Right bracket, left bracket, right bracket, left bracket on your keyboard. That is all right. So, I'm going to make them a little bit smaller. Bring it down to 100. And now I'm just going to draw with my brush tool black. It's gonna And

131:14

Speaker A

make sure it's very important you're not selecting the lion, you're selecting the layer mask. Then I click and drag. And now I can see I'm making a nice little reveal of the dog. But uh-oh, it's not coming in as great as I'd like. Why is

131:28

Speaker A

that? You want to take a look at your opacity just the same. So if your opacity is not 100%, it's going to come in kind of weak like this. So, I'm going to make mine 100%.

131:42

Speaker A

Okay. Now, I'm just cutting right through the lion. Okay. Where is the lion going to become a dog? All right.

131:50

Speaker A

Okay. Not too bad, but there's something missing here. Not doing exactly what I want. The dog's just really not in place, is it? So, I can click on the dog layer. The dog layer is still independent, just like

132:03

Speaker A

how we saw with the clipping mask. Go back to my move tool. Remember, we want to think about these tools just like we do anything else, right? We have to change tools to accomplish different goals. So, I'm going to bring that

132:16

Speaker A

little guy down below. Starting to look a little more realistic. Maybe I'm just going to shrink him in a little bit.

132:27

Speaker A

Okay. You don't want to see the top of his head. Just like blend it in nicely.

132:32

Speaker A

And if you don't like what you've done, you can always do guess what? Paint white over it. So, let's just see the opposite now. Let's just see what happens when I paint white with my brush tool over here. See that goes away. Go

132:47

Speaker A

back to black. Switch it. And then just very gradually just have some of the lion, some of the dog.

132:58

Speaker A

See that? Okay. Kind of nice. Oh, got a little bit too much. Switch it out back to black. Then bring back some of the lion. Bring back some of the lion. See that? So, you'll be seeing lots and lots

133:11

Speaker A

of examples on how you might want to do this. You might want to bring in something that you only want to just show something from the background a little bit to peek through, right? You want to have that kind of control. Maybe

133:23

Speaker A

you want to do it in a kind of gradual way just to sort of display something where something just comes in in such a way. Okay? Hey, it just kind of gradually appears.

133:33

Speaker A

Okay, so or you can do something like that. That's kind of interesting. So now I was a little creative with it. Notice I'm like half dog, half lion. Or maybe it's the opposite. So I go to there and

133:46

Speaker A

then I switch it where I'm like, okay, now it's a cute little lion with some dog eyes. You can see the difference there. Okay, so there's a lot of creative ways to do this. Okay. And then in a future lesson for my advanced

133:59

Speaker A

class, I show you how to use gradient masks. And then when we start talking about adjustment layers, we're going to be using uh masks in a little bit of a different way. So stay tuned and please practice that.

134:13

Speaker A

Welcome back from your exercises. Next thing we're going to talk about is adjustment layers. There are a number of adjustment layers that we can work with.

134:23

Speaker A

We've already been looking at one particular adjustment layer and that is just bringing in a solid color. There are several different types of adjustment layers we can be working with. So understand what an adjustment layer is actually doing. We are putting

134:37

Speaker A

an adjustment onto the layer, meaning that we're not actually affecting the layer itself. So if I wanted to make this black and white, I can make this black and white, but I'm not actually affecting the pixels themselves. It's

134:50

Speaker A

non-destructive. It's not affecting this at all. So, for example, if I were to make this black and white, you'll be able to see very quickly a new layer now appears here. And it actually shows me it is black and white right on top of

135:04

Speaker A

it. Now, if I were to click on this little eyeball right there, you can see I can turn that on, turn that off again, turn that on, turn it off again. And there's a lot a lot a lot of different

135:14

Speaker A

adjustment layers that we can do. So, we're going to be exploring a handful of these. So, I'm going to go ahead and undo what I just did.

135:23

Speaker A

Okay. And there we are. Back to this. Now, I have this lovely, lovely peacock photo, but I want to make it a little bit more lovely. I want to kind of bring out some vibrancy to it. One of the

135:34

Speaker A

first adjustment layers that I like to work with is what's known as the levels.

135:39

Speaker A

The levels adjustment layer. What are levels? The name implies three different types of levels. We have our highlight levels. We have our midtone levels and we have our shadows. So within this document, you're going to see there's lots of different lighting in there. We

135:57

Speaker A

have the opportunity to be able to adjust and manipulate each of those individual levels as opposed to, let's say, exposure or brightness and contrast, which basically blasts the whole thing out. So I recommend the first thing if you ever want to improve

136:14

Speaker A

a photo, go over here to your levels. So I'm going to go ahead and try that out.

136:18

Speaker A

see what that does. The first thing you're going to notice is nothing happens, right? Second thing you're going to notice is I have a new layer right on top of my original layer. Okay?

136:30

Speaker A

And notice this says levels. So, the next thing you're going to notice is in my properties panel, I'm going to have a whole bunch of crazy things happening here. This is what's known as a histogram. It's basically showing me the

136:43

Speaker A

distribution of lightness and darkness all throughout this image that I can now manipulate. And you'll notice here I have my shadows, my midtones, and my highlights. Each of these things are represented here in the histogram. And I can also manipulate them by clicking and

137:02

Speaker A

dragging on these little stops here. So, let's just try this out. Notice how this is kind of an outlier. That's typically kind of like a first place I go. So, if I don't know what to do, I just kind of

137:11

Speaker A

go to the outlier and I say, "Well, let's just have this guy join his friends." Whoa. Just like that.

137:18

Speaker A

Dramatically different photo. Let's bring this one in here. Bring in my highlights a little bit. And you'll notice that the highlights get affected, but nothing else really does, right?

137:29

Speaker A

See, the lighter get lighter, the mid tones, and only the mid tones really get affected. Doesn't really affect the brightness. If you look at the brightness aspect, doesn't really affect it. So pretty cool. Very quickly and easily, I have a very very different

137:44

Speaker A

photo. I didn't do anything with color, but some somehow it affected the color, which is pretty cool. So let's look at the original. Like wow, just like that, got a brand new photo. So what I recommend is play around with your

138:00

Speaker A

levels first and you'll see how easy that is. Okay. Now, we're going to talk about a lot of masking in this lesson, okay? In this whole lesson on adjustment layers, we've already done masking where we mask the dog and the lion. Masking

138:16

Speaker A

also applies when you're working with adjustment layers. So, let's say, for example, I didn't want a certain part of this peacock to have the adjustment layer of of levels. Okay? What could I do? Remember this little white box here?

138:31

Speaker A

How that indicates a mask? And also remember how there's three elements. There is the black, the white, and the brush. Okay, so I can just simply brush black to reveal what's underneath there to then show what I want to show. Okay, so this one actually

138:48

Speaker A

looks pretty great, but let me just show you just for, you know, different for, you know, the purpose of this exercise to be able to see what we can do to control it. We're going to see several different examples of this. So I'm going

139:00

Speaker A

to go to my brush or I can just click on the B And then I'm going to choose black.

139:09

Speaker A

So just like I did with my original masking, I can then poke through this mask to make my blindfold into a mask using black with my brush tool. So let's just see how that works. I simply click right here on the thumbnail. And then

139:25

Speaker A

let's just do a little swipe right through this. And you'll see the original original color comes through.

139:31

Speaker A

Let me go ahead and just switch this out. And then I can bring that right back. And you'll see that it gets a little black line there. So it gives you all kinds of control. You don't have to

139:41

Speaker A

think like, oh, wait a second. That part doesn't look good, but the other one does. You'll see lots and lots of different examples. Like somebody may have like a shadow over their eye, but then we have to fix the rest of the

139:52

Speaker A

document in order to affect that one. Like, oh my god. No, you can have control over just one part of the document. Again, we're going to be looking at several different examples of this moving forward, but this is just

140:04

Speaker A

the our first adjustment layer and also working with masking on a third level that we haven't seen yet before. Okay.

140:12

Speaker A

And earlier I said that masking is invaluable. That is going to be one of the number one things you want to master when you're looking when you're working with Photoshop on many, many levels. So, as long as we understand the black and

140:25

Speaker A

white, the brush and the masking layer, you'll do great. All right. So, I'm going to go ahead and pause the video, go ahead and practice, and we're going to come back and we're going to do a number of other different kind of

140:35

Speaker A

adjustment layers. And next up in our adjustment layer discussion is going to be around curves.

140:45

Speaker A

Curves are a little bit more nuanced than levels, but they have the same concept in mind when you're working with the different levels, right? We have different levels that we discussed earlier where we have our shadows, our midtones, and our highlights. Okay? But

141:02

Speaker A

curves are going to give you a little more of kind of fluidity. But I'm going to just show you some shortcuts around this rather than having to kind of like fake it till you make it. I'm going to

141:11

Speaker A

show you some nice little tips around this. So this is our original and this is going to be kind of our goal. So if you kind of adjust your eyes to the newness of it, you can see how we can be

141:19

Speaker A

a little more creative with our color adjustment. So it's kind of nice. Looks a little more interesting, a little more crisp, a little more vibrancy. Okay, a little more sort of dynamic and kind of a chrome quality. So what can we do with

141:32

Speaker A

this? So if we take a look back where we were, you see I just have a very simple curves adjustment. And you can see here what my curves look like here. Okay. So, how did we actually get this to do this?

141:44

Speaker A

And how do we get it so it didn't affect anything else on here? Let's go back to our original, my cuba one, and I'm going to add on a new type of adjustment layer, which is just curves. Now, there's a lot we can do

142:01

Speaker A

here, right? Just so you have an idea, this is my curve. This is going from, you know, my shadows all the way to my highlights. And I can go and click on anywhere on here, and I can really

142:11

Speaker A

manipulate this. I don't really know exactly what I'm doing necessarily. I can kind of play around with it. And I'm creating like several different points here. And you can definitely definitely experiment. I highly recommend experimenting kind of just see what it

142:22

Speaker A

does. But I'm going to go and undo all that. So I come right back to this. But I do want you to see how all that works in case you were curious on it. You've seen somebody else's stuff and how we're

142:32

Speaker A

going to see how we're going to manipulate it in maybe a little bit more direct way, a little more nuanced, a little more automatic. And that is working with this guy right here. I love love love this tool right here because

142:45

Speaker A

it allows me to directly target a particular part of it right of the actual document. You can see click and drag an image to modify the curve.

142:55

Speaker A

So when I click right here directly on this yellow, notice how the little histogram, my little curve there, see how it moves around. I go to here, goes to a different part of it. I go to here, right? A very very different part of it.

143:07

Speaker A

darkness, the lightness. Okay. And then less light. So I can then control just that element of it just by simply clicking and dragging. You can see they're all getting lighter. They're all getting darker. See that? So everything that has like that level of like

143:25

Speaker A

lightness or whatever in it is then getting affected. Okay. But you'll notice that she's getting affected as well. Her windows are getting affected.

143:32

Speaker A

Okay. And it's like, okay, so I'm going to want to adjust that somehow where I'm going to have some more control over that. So, okay, maybe I love this. You know, maybe I can kind of keep going with it. Okay, maybe I really like that.

143:43

Speaker A

You know, just kind of play around with like different parts of your document to see, okay, well, what do I want to control? Notice how my whites are getting a lot whiter now, but my yellows are not. She's not getting affected by

143:54

Speaker A

it. I have that kind of control over it, right? It's all about control, all about color correction for what you want to have actually corrected and edited. All right, great. So, I can bring that up a little bit more. Now, I

144:08

Speaker A

do not want her to be affected at all. She looks fantastic. So, what I'm going to do is put on a mask. Okay, so the mask is already here, so I should rephrase that. I'm going to actually reveal what's underneath here. So, we

144:21

Speaker A

know that already. Let's go over here to our brush. I'm going to make sure this is selected right there on the mask itself. And then I want to poke a hole through my blindfold to make a mask so I

144:34

Speaker A

can reveal what's inside of here cuz I want to see her, right? She's great.

144:38

Speaker A

She's kind of the star of the show here. So, I really want to make sure that I can see her.

144:45

Speaker A

It's pretty nice. But maybe I also want to see like her window here as well.

144:49

Speaker A

Okay. But maybe not as much. So, what I can do is I can manipulate the opacity of how strong that's coming in. So, I'm going to get a little bit of the adjustment layer, little bit of that curves, and then a little bit of what's

145:04

Speaker A

originally there. So, I can bring that down very easily to let's say 50%. So, it's just going to be just a slight slight little modification, just not so much. Okay. All right. So, it's a little more kind of subtle there. So, if we

145:20

Speaker A

look at the original, we can see not so bad. Pretty cool. Let me zoom out a little bit. That's a pretty nice photo at the end of the day. Okay. Maybe bring out a little bit more of this. Maybe

145:31

Speaker A

there's some more kind of lurking back there I lost. Okay. And then you can come back here and manipulate anytime you want. So, if you want to bring back the actual curve one more time to do that again, you can

145:43

Speaker A

just simply click directly on this icon and it comes right back up. And then you can manipulate any part of this. You can even delete them if you want to just by simply selecting them, hitting the delete key, or hitting the little trash

145:58

Speaker A

icon. Okay, so really powerful stuff, not only working with curves, but of course working with the mask. So I'm going to pause the video. Please go ahead and practice. Maybe find one of your own photos that you want to

146:10

Speaker A

improve, you want to be a little more creative with. Let's continue this discussion of adjustment layers, but this time we're going to talk about the black and white adjustment layer. We're going to do a little more masking, but then we're also

146:23

Speaker A

going to add on different levels to our adjustment layer. So, we're going to have multiple happening at the same time. So, very simply, we're going to make this into black and white. How does that work? Really nicely and easily. I

146:36

Speaker A

select my layer. I go to my black and white cookie down there and go to my black and white adjustment layer and you can see fantastic. That's great. Is that exactly what I want? Not entirely. But you'll see that there's actually a

146:50

Speaker A

number of presets that I can play around with, right? So you can see, let's just see what the high contrast blue filter does. Okay, maybe not exactly what I want. Let's go back to the default.

147:00

Speaker A

Let's go to darker. Oh, that's not so bad. But you'll notice that it actually changes things, right, that I could be doing manually, but I just want you to see what it does. You'll also notice that we have the little hand here, just

147:12

Speaker A

like how we just saw in the last one where you can maybe only want to work on one part of that to make that part black and white, right? And make that kind of manipulated. Now, let's understand what

147:23

Speaker A

exactly is happening here. Because notice how we have these colors like red, yellows, greens, and cyan, and blue. What is that actually referring to? because none of that is on this image. It's referring to the original information that we started with. So,

147:36

Speaker A

it's only playing around with the reds, yellows, and greens, etc. of what we see in the original image. Okay. So, for example, I'll just bring my reds up a little bit more to be a little bit darker. You'll notice how that comes

147:49

Speaker A

through the black and white filter a little bit darker as well. So, you can see, wow, that gets a lot more crisp, a little more interesting. Let's just see.

147:58

Speaker A

Pretty cool. Okay. All right. Make our yellows a little lighter, but yet our reds a little bit darker. We have a very interesting dynamic happening here.

148:10

Speaker A

Okay. And mostly in this image, we're going to see the reds and the yellows are going to be affected. Let's make the yellows a little bit darker. Probably not so much, but really depends on the look you are trying to achieve. Okay.

148:21

Speaker A

So, I'm just going to keep it like this. You can always come back and make changes to it, but just note what it's actually doing. Great. So, I'm done with that. Now, earlier we've been talking about masking. Let's say I want to go a

148:36

Speaker A

little bit more interesting with this. Like these flowers are beautiful and I want her to remain black and white.

148:41

Speaker A

Maybe I want to make her lips shine through, her eyes shine through. I can very very easily do that, right? Her eyes. Yeah, it might work for her eyes as well. I might want to just just manipulate these to a certain extent to

148:53

Speaker A

make it so the flowers are coming through. And then maybe I want to change the color of the flowers. Well, how can I do that? This is where masking comes in once again. But I'm going to show you

149:02

Speaker A

a neat little trick for masking. So, let's click on the background layer because I want to select these flowers.

149:11

Speaker A

So, I'm going to use my quick selection tool. And I'm going to do this relatively quickly because you can see Photoshop does a pretty decent job of this. But what I want you to know about working with mask is that it doesn't

149:22

Speaker A

really matter because you can always come back and fix your mask. Remember, masks are non-destructive, so you don't have to worry about it. We're not deleting anything, and we can always come back and add more to it. Whatever

149:33

Speaker A

you'd like to do here. Okay, so come back to here. Okay, that's great. And I intentionally kind of forgot that so I can show you how we can fix it later on.

149:42

Speaker A

So, what I'd like to do is poke a hole in this blindfold to make it a mask. So, very simply, all I do, and wait, ready for this? I'm going to hold down the alt key or the option key. Okay.

149:54

Speaker A

While clicking on this and then hitting delete. And then bam, that comes away. And then bam, it pokes a hole right into this. Okay. So again, what did I do? I hold held down the alt and option key

150:07

Speaker A

and then clicked on the mask itself and then hit delete on my keyboard. And now I'm going to deselect like, oh, that is pretty cool. Very interesting. Okay, maybe I'm going to zoom in, potentially work on her lips. Let's just see here.

150:23

Speaker A

And again, I might not get it perfect. Going to go into here. I don't really want to mess with her teeth so much. And zooming in is really kind of an important thing here. So, make my brush a little bit smaller. You know what? For

150:36

Speaker A

right now, I'm just going to keep it kind of rough because we can see how we can play around with this. So, again, let's do the same thing.

150:43

Speaker A

Great. Love that. Okay, now she's looking like she had a bad bad time with her lipstick, right?

150:52

Speaker A

They got into a little war. So, we're going to be able to fix that really nicely and easily. But guess what?

150:57

Speaker A

Instead of painting with black, we're going to paint with white. Okay, so zoom in and let's just really get in close to that. So, I'm going to hit the B key, pour my brush, and let's fix it.

151:13

Speaker A

Nice. Not permanent. Bring up my opacity. It's just a little stronger. Come right to the edge. Yep. No problems at all. There's no lipstick on her teeth.

151:25

Speaker A

Okay, that is much much better. Really cool look. Really cool effect. I'm going to switch back. And by the way, if you hit the X key on your keyboard, that switches back and forth between the black and white. It's a nice little pro

151:37

Speaker A

tip that will help you as you're working on these things to really really be very fluid with it. Oops, no problem. I just hit the X key, right? Watch this. Oops, no problem.

151:54

Speaker A

Okay, clean that up a little bit. Okay. And of course, you'd come in, you manipulate a little bit more. Maybe I'll get rid of some of those black shadows.

152:05

Speaker A

Let's add a little bit more of her original lips. And maybe I don't want that at all.

152:10

Speaker A

Okay, now going to the next level. Let's see what we can do with these flowers and maybe even her lips. Okay, so let's see. I'm actually going to get rid of her lips now that I'm looking at it. So,

152:22

Speaker A

no problem at all. So, I'm going to hit the X key and let's just come back to there. Okay, great. But maybe you want to do the same thing with her eyes. you can do with her eyes to make those sort

152:35

Speaker A

of shine through. So, hit the X key and then her eyes. That's kind of cool.

152:43

Speaker A

All right. I like that. All right. Awesome. Yeah, that's pretty cool. All right. So, now that I have this all set up, let's go to the next level and see what we can do to make the color changes. So, what we're going to do is

152:59

Speaker A

we're going to choose the background layer. Click on my adjustment layer and we're going to play around with the hue saturation adjustment layer. So now notice how I have two different adjustment layers happening here. And there's actually three things happening

153:14

Speaker A

in hue saturation. There's hue, there is saturation, and then there's lightness. Okay, hue is just the color, saturation is the degree of color, and then brightness. Lightness is just going to be how light is that color whatever it is going to be coming in coming in.

153:31

Speaker A

So if we want to play around with these I can very easily make a change to these. But oops that's not working at all how we wanted to. So let's bring that back to zero.

153:45

Speaker A

Easier to type it in sometimes. Thank you Photoshop. Okay. So, you'll notice that when I actually do this, as I showed you a second ago, we have a problem. Why is it doing what it's doing? It's affecting the entire

154:01

Speaker A

layer that's underneath here. I want to actually only work with whatever's been masked. So, the order of the layer is very important. So, now let me go ahead and play around with that.

154:13

Speaker A

And now, you'll notice that only my flowers are getting affected. See that? And her eyes are getting affected. So notice I'm getting a little more green.

154:21

Speaker A

And look how cool that is. Let's go this way. And see that her eyes, the purple is matching the purple. Wow. Very cool.

154:29

Speaker A

Excellent. So very important little lesson here. The ordering of the layers, especially when you have a mask, is very important. Before, when I had it down below, it was affecting the entire layer. All right? So you'll definitely want to practice that. you want to

154:45

Speaker A

practice not only applying these adjustment layers, masking, but then also bringing in an additional one to play around with it. Okay, so because this part can be a little bit tricky. So now when I click on saturation, I'm

154:59

Speaker A

going to make those things even brighter. See that? Ooh, that's kind of cool. Okay, so I play around with my lightness. Let's go ahead and see what we can do here. And that affects the entire image down below. And that is pretty

155:13

Speaker A

neat. So, let's look at our original. So, we started pretty beautiful photo, but then if I add on that and then I add on that, that becomes a lot more interesting. Okay. So, I'm sure you have lots of photos to work with. Kind of

155:26

Speaker A

doing this type of masking out for black and white, some color, and then also making some adjustments to each of them terms of your hue and your saturation and a little bit of your lightness and see where you go with that. Okay. And

155:40

Speaker A

this particular um image has a lot of colors on it. If it was just one color, like somebody's eyes, you know, or a background, something like that, you might have a different experience with it because this has like, you know, pink

155:53

Speaker A

and kind of a violet color and this sort of like burgundy-ish color. So, we're going to have a little bit of a different experience than you might, but certainly experiment, have fun with it, and um we'll break for a little bit and

156:04

Speaker A

we'll come back and I believe let's do one more adjustment layer after this. Let's conclude our discussion on adjustment layers by again doing a multiple uh set of adjustment layers. Um but I'm going to actually add in a few

156:20

Speaker A

more like vibrancy. Okay. And I also want to kind of manipulate this little blue sky to make it a little more blue.

156:27

Speaker A

Okay. So that's a nice little trick you're going to want to know about. All right. So let's just see what we can do based off of what we've already seen and then maybe add in one more. So let's go

156:37

Speaker A

over to here. Okay, let's go back to our curves again and let's just say I would like to make this blue a little bit more blue. You can see that. Okay, that's great. Okay, not too bad. It's great.

156:50

Speaker A

But guess what? I'd like to make this blue also a little more blue. Okay, so you can see how it's actually affecting that. Kind of nice, right? So it's a different blue than the original blue.

157:00

Speaker A

And if we look back at the original, look how that blue sky really came to light. Kind of nice. Sort of like that.

157:08

Speaker A

Let's add on another one. Let's go over to here to vibrance. So vibrance is right here. And you'll see that vibrance is broken down a little more simply to vibrance and saturation. So let's just see what we can do there. Very subtle

157:24

Speaker A

with vibrance, but I think kind of necessary. It's like adding a little bit of salt to your document. You can see just a little bit of salt to your meal.

157:31

Speaker A

You can see a little bit there. Okay. It's kind of nice. just sort of like fills in some missing pixels in you in a way does make it a little bit more sharper, a little more textured and saturation. You can see more saturation,

157:43

Speaker A

a little more blue, a little more orange that's in there. Cool. Kind of like that. And that sort of completes my photo and I think to to a certain extent a little bit more just having these little extra things in there. Okay, so

157:57

Speaker A

vibrance and curves and also going directly into um what your target is. like for my sky again. Look at the difference for where my sky started, where my document started, and now look at it. Pretty amazing. All right. Now,

158:11

Speaker A

if you didn't like how this the car, maybe it's too dark or whatever it is, remember you can always mask it out.

158:18

Speaker A

Okay, so please use all of these. They're incredible. Make sure to remember that you can mask. You're never stuck with anything. Remember how I did with the woman's lips? You can always take those things back, take them away,

158:30

Speaker A

change your selection, whatever you'd like to do on your document. You have so much control over the color, the vibrancy, the lack of color, desaturate something with black and white. You can change the colors in the black and white. So much

158:45

Speaker A

you can do. This is really sort of like the the master class on color correction for all these things here. So, please practice that and we will move on to our next activity.

159:00

Speaker A

This next section is going to be all about touch-up. Okay, we have an image here that clearly has lots and lots of problems. This poor demonic family is about to be exercised. So, let's fix them up. This is going to be our first

159:15

Speaker A

lesson in touching up. Super easy to do, and that's essentially working with the redeye feature. So on my document, I have this little band-aid here, which is going to be the gateway to all of my wonderful little touch-up tools,

159:32

Speaker A

including the red eye tool. So, let's go ahead and play around with the red eye tool. You'll see how easy that is. Soon as I click on that, you'll notice I get a whole bunch of options here for pupil

159:41

Speaker A

size and darken amount. Okay, so how big is the pupil? How kind of big do you want it to kind of spread out into the pupil? Right? Is there like a big issue with this? Right. So, it really needs to

159:52

Speaker A

spread out further or maybe it's a little more subtle. How dark do you want it to get? Again, it's about subtlety.

159:58

Speaker A

This is typically a good place to begin and end. You probably don't really need anything more than that, but you're going to see it's amazingly easy to execute. I like to really zoom in as I do this. Let's start with the dad.

160:10

Speaker A

Click. Click. Done. Amazing. Notice I didn't even have to unlock the layer. Click. Click. Click.

160:23

Speaker A

Done. And done. Demons be gone. Okay, practice that and we'll come back with another touch-up tool.

160:35

Speaker A

If you're looking for an alternative to working with the levels and the curves for lightening things up, working with our, you know, midtones and our highlights and all that stuff, but you want to be a little more kind of focused

160:46

Speaker A

and manual, working with the dodge and burn tool or might be a good bet for you. So, you can see here I have my dodge and my burn tool. So, the burn tool is going to make it darker. Dodge

160:58

Speaker A

tools are going to make things a little bit lighter. So, you might want to make her teeth a little bit lighter, her eyes a little bit lighter. Okay? Or might be the opposite where you might actually want to make something a little bit

161:10

Speaker A

darker. Okay? So, you never know, right? So, we'll try to find something on here that maybe we're going to want to make something a little bit darker. It's coming in. Maybe somebody has the sun in their eyes, something like that, right?

161:20

Speaker A

Maybe there's something in the background. You might want to make that a little bit darker to kind of bring that into focus. So, we have two layers here. I like to always have like kind of duplicate layers for something like

161:29

Speaker A

this, by the way. Um, so you can always just click and drag, holding on the alt key to duplicate a layer. So kind of nice to be able to do that. Or you can do command or control J to duplicate our

161:39

Speaker A

layers as well. So let's just do a nice little simple kind of touchup on her eyes where we're going to brighten them up a little bit. So, I'm going to zoom in a little bit. Bring down my little

161:49

Speaker A

mouse a tiny bit. And you'll see that when I click on my dodge tool, you will see here I have the range and I also have the exposure. And I also have the option, do I want to protect the tones?

162:04

Speaker A

Okay. So, what am I affecting? Am I affecting the shadows, the mid tones, the highlights? So, highlights and part of this probably not so much. It's probably going to make it a little bit too bright, but let me see what that's

162:15

Speaker A

going to do. I can play around with my exposure. Going to bring that up to 50.

162:19

Speaker A

Kind of be on the safe side. And let's just see what that's going to do if I try to brighten this up a little bit.

162:26

Speaker A

Let's see the before and after. Don't really see too much because there's not really any highlights in there. So, let's try the mid tones.

162:37

Speaker A

Is it identifying it? That's a little better. There are more There are more midtones in there. can see for after.

162:45

Speaker A

Now, let's try shadows. Come back to here. I'll see. Oh, that's not too bad, actually. But maybe I don't want it so bright. So, I can then bring this down a tiny tiny bit. Still affecting the shadows, but I don't want to lose any of the

163:07

Speaker A

color in her eyes, like things like that. So maybe I'm just going to kind of just just kind of just dabble a little bit. Okay, let's bring back to the original. Come back to here and see my before and after. Okay, you

163:23

Speaker A

always want to make these things kind of subtle. Okay, let's go ahead and do the same thing for this eye.

163:30

Speaker A

Now that we've found what we like, let's try maybe the midtones since this one looks a little bit lighter.

163:38

Speaker A

Come out. Oh, you see her eyes are kind of sparkling a lot more than they were before. Okay, nice effect. Very subtle and it gives you a lot of control.

163:51

Speaker A

Let's maybe do something with her teeth. Teeth aren't bad, but maybe let's see what we can do. This is a very, very good example of how the um the dodge tool is used a lot. So, this one can be

164:04

Speaker A

really overdone. So, we really want to make sure we're not overdoing it. So, just keep that in mind. Just going to kind of go very, very subtle here. Just a couple of clicks. See what that's going to do.

164:17

Speaker A

Go too far with it. Let's just kind of see it. Before, after. Not too bad.

164:24

Speaker A

Understand kind of where whiteness is. It's kind of It's important to understand kind of the anatomy of things where like you're going to see probably a little more kind of darkness where like the thinness of the tooth comes in,

164:35

Speaker A

you know? So, it's kind of helpful to understand that. Okay. So, again, let's look at the before and the after.

164:44

Speaker A

Okay. Subtle things like that really go a long way. Okay. So, if you have things that are maybe a little bit too bright, like maybe she's got some harsh light coming over here, you might want to affect that. Maybe there's too much light

164:58

Speaker A

coming over here, too much light coming over here. That's where the burn tool comes in. So you can do the opposite of this now, right? Where instead of making it lighter, it's going to make it darker. So let's see what we can do with

165:12

Speaker A

that. And now when I choose that, you'll see that I have similar options here. My range. What am I looking at? Shadows, mid tones, or highlights. And my exposure. Let's start back around the 50 range. And let's see what we can do to

165:25

Speaker A

then maybe bring that down a little bit so our eyes are not so distracted by that brightness coming over there. We're still more focused on her eyes. So, something like that where there's a little bit too much harsh light, maybe

165:39

Speaker A

just like off the side of her face. See that? She's got just a little bit there. Just kind of tempers that a little bit.

165:50

Speaker A

But, see, we're doing it in a very kind of surgical way. Rather than working with our curves and our levels, we can now use the dodge and burn tool.

166:03

Speaker A

before, after before, after. All right, so go ahead and practice that. Have fun, and we'll see you in the next lesson.

166:15

Speaker A

Continuing on with our touch-up discussion, let's move on. What's inside of this little area here, and let's go to our spot healing brush. This image clearly has a lot of issues. What can we do? Very easily, the spot healing brush

166:29

Speaker A

allows us to get rid of each of these little dots here. some right there, right? Maybe some on his face, etc. This technology is called sampling. What is it actually doing? When I click on this, notice how it gets rid of it. Wow.

166:42

Speaker A

Amazing. Look at that. That's where it was. Now, I just simply click it went away. The sampling technology understands that that is a blemish. So, it finds all the things around that blemish and it says, "Hey, that must be

166:56

Speaker A

good stuff. That's bad stuff. So, let's just take all the bad get good stuff and replace the bad stuff. Click, click, click. You can see. Wow. Amazing. Now, if you see there's my original.

167:10

Speaker A

There is my new stuff right there. Okay. Fantastic. Of course, I could be here all day working on these things here.

167:17

Speaker A

Okay, that's great. Love that. Love that. Love that. Okay, great. Now, you will see that there's going to be a few other kind of like modifications on there. Of course, your brush size.

167:28

Speaker A

Notice this is actually set to be content aare. That is what the sampling is. That's what's actually happening to make the the brush tool do exactly what it's doing. Okay. So, the spot healing brush tool is fantastic. Let's see it

167:42

Speaker A

now potentially to another degree. All right. We're going to work on actual like people here. So, I'm going to zoom in and I'm looking at this document and my client says, "Listen, I'd love to kind of get rid of some of my crows feet

167:54

Speaker A

here. you know, maybe the lines in my forehead, but I want to do it relatively subtly. Okay. So, what we're going to do in this case is we're going to do it in a little more kind of fancy way where

168:07

Speaker A

we're going to create a blank new layer. So, I'm going to come down to the bottom. I'm going to click on this little plus sign here, bottom of my layers panel. Click on that guy right there. And I now have a new blank layer.

168:22

Speaker A

And what's cool about this, this is going to allow me to separate whatever changes I make from the original layer to be on this layer. Now, why would I want to do that? Let's see that. Okay, you're going to see why I want to do

168:36

Speaker A

that. I'm going to click on this little option here to sample all layers. And then I'm going to come in and I'm just going to zoom in nicely. I'm just going to go ahead and just come in a little

168:46

Speaker A

bit. Just like that. Okay, maybe that's a little bit too much. Okay, so let me just bring that down a little bit more.

169:02

Speaker A

How's my hardness? Hardness is a little bit hard, so I'm going to make that a little bit softer. Okay, again, certain things you want to nuance a little bit.

169:10

Speaker A

Okay, that's a little bit better. Okay, let's go ahead and look at his forehead a little bit.

169:21

Speaker A

Okay, just notice clicking and dragging or clicking, right? And then I didn't do a really great job, did I? Because guess what? I can play around with that independently of where I started. See that? So, lots of things I can do now. I can say, hey,

169:41

Speaker A

listen, you know what? I don't want to do any of that. So, let me go ahead and erase that. So, make sure to go to my erase tool like, okay, you know what?

169:49

Speaker A

Let's actually start all over again. That was really, really sloppy. So, I can come back here. And that's back to its original. And let's say I did like what I did on this one. Okay. However, what I'd like to do is

170:05

Speaker A

maybe lighten it up a little bit. Okay. Where you can actually have like a little combination of what I did. So, what I can do is bring down my opacity.

170:14

Speaker A

So, it's still there, but it's not there. Right. Let me just go ahead and really, really do this.

170:20

Speaker A

Now, watch this. When I bring down the opacity of this little touchup layer, I'll be able to see some of the original. So, you notice the before, right? And then after. So, it's kind of there, but it's not there. But let's

170:36

Speaker A

look at the before before. See that? So, it's very, very subtle. So, working with additional layers like this where I actually place my touch-up rather than placing directly on the image like I did with this one allows me to have that

170:52

Speaker A

kind of control where I can delete it. I can lighten it up with my opacity. I can move it around. I can rotate it. There's so much you can do with it to have you give you that kind of control over it.

171:04

Speaker A

Okay. So, combining my spot healing brush with putting in a new blank layer. Okay. And then making sure you put in sample all layers. Very important. Gives you that type of control over where your touchup is going to go. All right. So,

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Speaker A

go ahead and practice that up and then we will come back with some more touch-up tools.

171:30

Speaker A

In this lesson, we're going to discuss a new type of touchup, which is going to be the patching tool. So, if we take a look at this document, we'll see that there are some desperate needs for patching up of these not so perfect

171:43

Speaker A

tomatoes. Let's make them look perfect. So, within our little section here of all of our touch-up, we're going to see the patch tool. Let's see this one in action. The patch tool, just like some of our other tools that we saw, are all

171:56

Speaker A

about sampling. It's going to basically kind of look for something that is good and replace the bad stuff with the good stuff, but it's going to do it in a much more sort of like macro way. So, let's

172:08

Speaker A

find our sort of offending little blemish here and just draw a little shape around it with our patch tool. All right, that is no good. We need to fix it up. We need to repair it.

172:22

Speaker A

And we need to find something that we want to repair it with. Now, just to kind of warn you what this is going to do, it's going to take a little bit what's over here, but it also kind of

172:32

Speaker A

maintains the color and shadow and, you know, all the other sort of like dimension and tonality of the image of where this lives in here as well. So, it doesn't do like an exact replica of it.

172:42

Speaker A

It's quite smart. So, let's just keep an eye on what I'm going to do. I'm just going to simply click and drag and say, "Hey, can I borrow from you because I really like how you look." So, I'm going

172:52

Speaker A

to click and drag, let go, and deselect. And wow, amazing, right? You can never tell that there was any kind of blemish there at all. That's the patch tool.

173:04

Speaker A

Let's maybe see that in action someplace else. Let's just see like I don't know. I'm just going to try this guy right here.

173:13

Speaker A

All right. And I'm going to do it in maybe a little bit of a different way this time. I'm just going to click and drag on a square right here. Notice I'm marqueeing. And this time I'm going to

173:21

Speaker A

go to my patch tool and then click and drag in this direction. And by the way, I'm holding down the shift key to do that to keep it straight as I click and drag. And now I deselect it. Look at

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Speaker A

that. As if it was never there. See, believe it or not, it was there once upon a time. But then after marqueeing, I use my patch tool and just simply click and drag. And again, the way that I did it differently this time was

173:49

Speaker A

instead of doing kind of just a more manual kind of rough selection, I used my marquee tool to be able to do that.

173:55

Speaker A

All right. And then I'm going to go ahead and deselect that. It's pretty great. Looks amazing. All right. Now, let's talk about a few other things.

174:04

Speaker A

Let's discuss a different type of touchup, right? a different type of kind of, you know, image correction, if you will, where it's like, listen, I don't want certain things. What can I do to fix this? Okay, so let me just try it

174:21

Speaker A

out. Let's just see. And we're going to compare the patch tool to this one and see which one do we like better. So, let's just say I have this picture. I don't really want this image here. Like, what? I can get rid of that. Well, what

174:33

Speaker A

can I do to get rid of it? I'm just going to use my lasso tool to select the thing that I don't want. And I'm going to come in relatively close. And we're going to see that we can select it just like that.

174:46

Speaker A

Come to the edge. Okay. Bam. That's where I started. We're going to use something called the contentaware fill option. I click on that and you'll see something's going to pop up and immediately this all this green stuff comes around here. And then it also

175:05

Speaker A

gives me this, like, oh, wait a second. What did it just do there? Gives me a little preview of what it could possibly do. So, I'm going to hit okay. And now deselect. And not too bad. Not too bad.

175:22

Speaker A

Okay. Not 100% perfect, but it really got actually got rid of a lot of the stuff. Let me go ahead and undo that.

175:28

Speaker A

And let's compare it to working with the patch tool. I'm going to click and drag going this way. And then the difference here, you'll notice, is that as I click and drag, I'm able to get a little preview

175:40

Speaker A

this time, including the little railroad lines that I missed out on the first time.

175:47

Speaker A

I let go, deselect. Wonderful. How very cool is that? Now, it actually didn't miss anything. So, that patch tool is pretty extraordinary.

175:57

Speaker A

The contentaware fill is also pretty extraordinary, but I think in this case the patch tool wins. Let's now try one more time. Let's try contentaware fill.

176:12

Speaker A

Who knows? Let's try it. Go over here to edit content aware fill. What's it going to do? Not too shabby. Click okay.

176:21

Speaker A

Deselect. All right. So for certain things, content aware fill and then for other things the patch tool. So really excellent choices here. So sometimes one will be better than the other. Sometimes others will going to be a little faster.

176:37

Speaker A

Okay. So try those both out. You can use this document. Use your own documents.

176:43

Speaker A

Just figure out certain things you might not want. They're going to be kind of large swats of things. Let's just try one more. kind of pushing my luck here, but let's just see. I can try. There is that. Let's just move this up. Make sure

176:58

Speaker A

my layer selected. And then let's see. Wow. Absolutely amazing. All right. So, give that a shot. Have fun. Practice.

177:07

Speaker A

And then we'll come back now with the clone stamp tool once we're finished. The clone stamp is going to be the next touch-up tool. We're going to discuss an incredibly powerful tool for doing so much to your image, creating the

177:24

Speaker A

illusion of something being there that was not there. Clone stamp tool lives right over here. We're going to see that. And you're going to see looks like a little stamp. And you can access it just by hitting the letter S for stamp.

177:36

Speaker A

You'll notice there that is. So I click on that. That's great. Now, you're going to notice that there's an option here called sample in my toolbar up on top where it says, "What am I sampling?" Yours may not say that. What we wanted

177:51

Speaker A

to show is what is it sampling current and below? Because what I'd like to do is do something similar to what I did with my spot healing brush tool and make it so the thing that I'm going to sample

178:06

Speaker A

and what I'm going to stamp are going to be on two different layers. So, let's do exactly what we did in that exercise by creating a new layer. I'm going to call that cloned content.

178:21

Speaker A

And I'm going to now start cloning and stamping. So, what does that mean? If we think about the term clone stamp, it's essentially giving us a little hint of what we're going to actually do.

178:36

Speaker A

We are going to first clone something and then we're going to stamp it. Essentially is telling us step by step what to do. So how do we clone? How do we stamp? Okay. So as an example, let's say for example, I don't want to have

178:50

Speaker A

any of these little railroads. So I want to clone something that's below it or above it or anywhere else and stamp right on top of it. So, if you hold down the alt or option key on your keyboard, that is going to allow you to

179:10

Speaker A

clone. Okay? And then you simply click to stamp. Easy as that. So, let's check it out.

179:21

Speaker A

Notice how I have these two layers here, right? I'm now selecting my cloned content because that's where I want my stamped content to go and I come over to here to clone. So, I'm going to clone this down here and simply stamp over

179:35

Speaker A

here. Clone. Stamp. Clone. Stamp. I can even clone over here and stamp. Let's get some of this dirt over here. Clone.

179:45

Speaker A

Okay. Looks a little more natural, right? Those tracks were never there. Clone. Stamp. Clone stamp. Look at that. I'm going crazy.

179:56

Speaker A

Let's just finish it all out. A little bit of more rocks. Absolutely was never there. Let's do some of this dirt over here. Great. Clone stamp, etc. You can see how easy that is. Okay. It's as if it was never there. Now, here's the

180:12

Speaker A

beauty of this. This all that stuff that I just cloned and stamped is on its own separate layer. this layer right here called clone content because that's what was selected and that is what I had chosen for my dropown menu. So, if I

180:26

Speaker A

click on this, you'll see I can always bring that back. And remember, I brought down the opacity on the wrinkles. I can easily do that.

180:34

Speaker A

Same thing. Bring down my opacity. I can move these around, right? They're their own document. Now, they're their own element. I can even put them into their own my own document if I want to. Now, let's go ahead and do this window here.

180:46

Speaker A

So, I'm going to clone this and stamp it elsewhere. So, notice it gives me a little preview that look. Okay. Now, there's a new window here.

180:55

Speaker A

Let's do it again. Clone stamp. Now, if I really wanted to have control over this, I would maybe undo that and I put that on another layer al together just for that window because in case it's like not perfect, I can then bring

181:15

Speaker A

that to where I want it to be. Okay. And that's what's the beauty of doing this because guess what? This is its own separate layer. I can now adjust independently and now that is completely in my control of where I want it placed

181:33

Speaker A

because this is its own layer. So you've learned how to do clone and stamping on the most basic level, but I want you to learn it on a more kind of nuanced, advanced, and more sophisticated level so you do it the right way. So you have

181:48

Speaker A

the most amount of control over all of your content of how you clone it, how you stamp it, where you do it, and in case you opt out, you don't want it or potentially you want to do anything else

181:59

Speaker A

to it. You want to put on an adjustment layer to it. You want to rotate it, right? You can do all kinds of different things to this thing right here as a result of putting it on its own layer.

182:11

Speaker A

So practice that up and then we'll move on to a few introduction lessons on filters and we'll close up. Enjoy. Have fun.

182:23

Speaker A

We're now going to transition into the topic of filters. There are a zillion filters and a zillion different ways to use filters. So we're going to start off kind of slowly and then just introduce you to a handful of them. So the first

182:37

Speaker A

thing I want to talk about with filters is the need to apply what we call a smart filter. So if I now convert this to a smart filter, you're going to see it says to enable re-editable smart filters, the selected layer will be

182:53

Speaker A

converted into a smart object. Earlier in this class, we talked about smart objects. So I'm going to go ahead and click okay. And you're going to see that this is now a smart object. So, if you recall, this now has this nice little

183:06

Speaker A

protective sheath on there. Okay. So, I'm going to go ahead and just undo that for a second. Right click on it. I want you to see there's another way to do this to say convert to smart object.

183:17

Speaker A

Whenever you work with a layer that you're going to have a filter on it, you want to almost 99.9% make it into a smart object or also known as a smart filter. Why do we want to do that? we want to do it because we

183:32

Speaker A

want to be able to protect the original layer. So then that way we can manipulate the filter separate from the original layer. You're going to see what I mean by that, but that's going to be the first thing you want to do. So take

183:44

Speaker A

note of that. So let's now just apply something to this. In other words, let's put a filter on it. So our filters are going to live up here.

183:53

Speaker A

So what I'm going to do is simply click on that. I'm going to go over here to my filter gallery. And you're going to see if you have a smartphone or if you had a smartphone in the last, you know, five

184:02

Speaker A

years or so. Essentially, they're very similar to that, but they go even further. So, I'm just going to go ahead and just zoom in so we can see the entire image here. And you will notice that we have different categories of all

184:15

Speaker A

these filters that we can do. Fantastic. Of course, you can go all day looking at these, but let me just go ahead and do a paint job or a poster edge. Okay, that's kind of nice. Let's just try

184:25

Speaker A

cross-hatch. Okay, maybe some things more than others. Okay, that's great. Now, come back to my paint job or my poster edge.

184:32

Speaker A

Okay, actually kind of like that one the best, but certainly experiment on your own. Now, I love this, but let's see what other options I can do with this.

184:41

Speaker A

Now, you'll notice that on the right hand side, I have all these different options. Almost all of these will give you different parameters and different kind of degrees you can explore each of these individual filters. So, edge thickness.

184:57

Speaker A

Yep, that does exactly what I hoped it to do. Nice and thick. Looks a little bit more like a kind of a cartoonish sort of comic book. Okay. Edge intensity. Okay. And you'll notice how it actually does a little bit more than

185:09

Speaker A

I'd like it to do on the outside. We'll fix that posterization. Even more cartoony. All right. So, how could we kind of play around with that a little more? How can we kind of nuance this a little bit? So, let's click okay.

185:25

Speaker A

And you can see pretty good. I like that. Not too bad. But now let's play around with the ability to do guess what? Masking. Masking. Masking.

185:34

Speaker A

Masking. So I want to turn my blindfold into a mask. So how do I do that? You guessed it. Black and white and a brush.

185:44

Speaker A

So I want to maybe remove some of this. I want to have a little more tempered control over it. So I'm going to go back to my brush, hit the B key, and then notice here is my black. That's gonna

185:52

Speaker A

poke a hole through my blindfold to make a mask. So, I don't necessarily want all that. It really overdid it. So, I can get rid of that.

186:05

Speaker A

Okay. See, I have all the control in the world on this. Come a little closer.

186:10

Speaker A

Maybe not super close. Not that much of a shave. And of course, I can control this brush in terms of the hardness. I can control it in terms of the opacity.

186:25

Speaker A

and eventually I'll have exactly what I want. Right. Of course, I can come directly onto the document as well if you want a little more of a clean little image there. And then if I'd like to come back to the original filter, I can

186:39

Speaker A

very very easily do that just by coming right back over to here to my little filter gallery option there. I double click on that and that takes me right back to where I started from. Let's bring that back. Cool. And then I can

186:53

Speaker A

play around with my edge thickness, etc. Even change the filter if I want to.

186:58

Speaker A

Super easy. So, what I encourage you to do is take your image, whatever you've got, go into your filter, your gallery, and play around with it. But once again, I want to encourage you to make sure the first thing you do is convert it to a

187:13

Speaker A

smart object because guess what? I can always remove that anytime I want. See that? I can bring it back to its original form or remove it any time because it's not on the original image. If I didn't have this smart

187:29

Speaker A

object, then it would do it directly on the pixels and I would not be able to reverse it. I wouldn't be able to control it with a mask. Okay? So, very, very, very important to make sure you convert this to a smart object ahead of

187:43

Speaker A

time. So, go ahead and practice that. See you in a bit. Continuing on with our discussion about filters, let's now talk about one of the more popular filters available and that's around blurring. And there are a number of different types of blur

188:01

Speaker A

filters you can do. Gajian blur, radial blur, motion blur, and there's also the field blur. And the blurring tool options have really evolved over time to make it much easier for you to create what you want to create and really kind

188:16

Speaker A

of manipulate certain parts and not affect other parts. Now, we know there's a few other ways to do that by applying the smart object to your image here. So, I'm going to go ahead and do that first.

188:28

Speaker A

Remember, because this is going to be a filter. So, of course, we want to do that before we do anything at all. Okay.

188:33

Speaker A

So, let's go ahead and see what our options are. We're going to go over here to our filter menu and we're going to see that we have a blur option here and we also have another blur gallery option

188:44

Speaker A

here. So you'll see that we have blur and we have a number of different just kind of like generic blurs. We have a gajian blur which is a very popular one.

188:52

Speaker A

A lot of people use that one. Motion blur like I said kind of create the illusion that things are moving. Radial blur kind of makes it more of a round blur like you can kind of do that for

189:03

Speaker A

like a wheel kind of make the wheels in motion. You'll see that a lot of advertisers do that. Kind of give that illusion. Okay. And you can see there's a number of other ones here that you want to experiment with. Let's go over

189:13

Speaker A

to here to the blur gallery. And what we're going to focus on here is the field blur. And you're going to see that this gives us so much control. And in this case, we're going to create something known as depth of field in

189:27

Speaker A

photography. So maybe you want to have something to have a depth of field, but you didn't get a chance to do it with your photography, with the photo that you took. And that creates the illusion of depth, right? It creates the illusion

189:38

Speaker A

of depth by making the foreground in focus while the background stays out of focus. Okay? So it's a nice sort of like visual effect for the audience. So let's go ahead and click on field blur. And right away it takes me now to another

189:55

Speaker A

window that everything gets blurred. Okay, that's great. And I have this little circle in there that kind of shows me that. Okay, bam. Everything is now getting blurred. You'll also notice that my mouse now turns into a little

190:08

Speaker A

pin with a plus sign, which allows me to guess what? Choose different parts that I want to be blurred. So, first thing I'm going to do is now move this over what I want to be blurred. So, I can

190:20

Speaker A

then click on this Click on another thing. And I want both of these things to be blurred by a certain degree. Okay. But I don't want this one to be blurred. So what do I do?

190:31

Speaker A

I also need to click on this. And guess what? You're going to see in the upper right I'm going to have these little options over here for how much blur do I want for that particular object. So this particular object has

190:46

Speaker A

15. This has 15. This has 15. So, for this one in the foreground, guess what?

190:52

Speaker A

I want that to be zero. Bring that down and watch this. Amazing. Right away, you see that effect. So, I'd like to do is make it so the thing in the far far background has maybe the most amount of

191:06

Speaker A

blur. So, let's bring that up to about 20. Why not? Let's go crazy with it.

191:13

Speaker A

Okay. And this one, let's bring that down a tiny bit. Okay. A little more subtle. Okay. So, you can see all right.

191:20

Speaker A

It really gives that illusion of depth. So, I'm done with this. This looks amazing. I click okay.

191:29

Speaker A

And here is my document. Looks fantastic. Love this. Love this. Now, because I had this as a smart object earlier and I applied my filter, you'll notice here I now have this great little mask. Okay? So every time, every every

191:46

Speaker A

time you create some type of filter, make sure you make it into a smart object. Cuz guess what? Now I can manipulate this if I want to. All right.

191:54

Speaker A

So before we actually start playing around with our mask again, let's see how we can go back into our blur gallery and then change this. Maybe this is a little bit too blurry. So very simply, double click on this blur gallery option

192:06

Speaker A

there. And I can click right back on here. I'm just going to make that a tad bit less blurry. Bring that up to maybe 19 or 20, something like that. Sometimes it's easier just to type it in. Thank

192:18

Speaker A

you very much. That's great. Love that. Click okay. And then just as a reminder, if I would like to then just manipulate part of the image. So let's just say the stuff around the pair, I don't want that to be

192:31

Speaker A

blurry. I can do that again using my mask, accessing the brush tool, making sure that I have black as my foreground color because I'm going to make my blindfold into a mask. Okay, remember that. So, you can see it's a little bit blurry

192:49

Speaker A

here, but guess what? I can clean that up a little bit. Say, okay, great. I want the floor to come in a little bit more in focus. All that to be in focus. Maybe it spilled over into here. Great. I have control

193:03

Speaker A

over that. Okay. So, it's just really the pair that I want to have out of focus. And you'll see here on my mask is now black to make my blindfold turn into a mask. See right through it.

193:19

Speaker A

All right. So, practice this. Practice this with all these other filters that you that I introduce you to. Have fun with it. Go crazy. And uh we'll see you in the next exercise. Enjoy.

193:34

Speaker A

Okay. And for our final set of exercises, now that we know a little bit more about Photoshop, we may want to control our preferences. We may want to show things how they want to be shown by you. And you might want to really sort

193:51

Speaker A

of get under the hood a little bit. Now, your preferences are going to be buried pretty deep in there. And it's going to be a little bit different for your Mac versus your PC people. So if you are on

194:02

Speaker A

the PC, you simply click on edit and you come down here to preferences and it's going to pop up right over here. If you're on the Mac, you're going to see there's going to be a little Photoshop menu right there and it's going to say

194:13

Speaker A

preferences and just go ahead and open it up just the same way. So let's now just go directly to our interface here.

194:22

Speaker A

And the first thing we're going to be looking at to be able to make some changes to very simply is going to be our color scheme. You may want to manipulate this in a very different way depending on your eyes, depending on

194:34

Speaker A

your screen, depending on whatever your preferences, whatever your mood is for that day. You can absolutely do that.

194:40

Speaker A

Okay, so just check that out. Just know that you do have that option to be able to just manipulate that. Okay, some other ones you might want to do. Let's go to our workspace. And you can see that you know we focused quite a bit on

194:52

Speaker A

our workspace in the beginning. So you can see how you can change these things to auto collapse your icon panel. So the icon panel is the one that was on the right hand side the kind of the small

195:03

Speaker A

small narrow one. So you can choose to auto collapse that when you are not using it. So you click on it you don't want it anymore. You can auto collapse that and just make it go away anytime you want. Okay. And you can also choose

195:15

Speaker A

some of these things here in terms of open your documents as tabs. Or maybe you don't want that. Maybe you want to have them open up as individual windows if you like. You can also make your tabs a little smaller if you don't want those

195:28

Speaker A

as well. Okay. Another one that I want you to focus on is this one called file handling. And this is a really important one because Photoshop can and probably will crash. So this is a really kind of important one that you will thank me for

195:44

Speaker A

at some point which is this automatically save recovery information. Okay, after how long. So basically when and if Photoshop does crash you will see that it will be saving how many minutes ago. So if I click on this maybe you

196:00

Speaker A

want it to be saving every five minutes. Maybe 10 minutes, maybe 15 minutes. I like to have mine at five minutes because if it does crash at least like there's that much more that it's going to be saving. Okay, so just keep that in

196:13

Speaker A

mind. Now, the reason why you may not want to do that because it does use up some processing power. It will use up your RAM, could use up your memory and your temp files, and if things get too

196:23

Speaker A

clogged up, it may slow you down. It may slow down your computer as a whole. So, just keep that in mind. Just depends on the speed of your computer. Okay. And then let's just take a look at maybe one

196:34

Speaker A

or two more. Let's go over here to your units and measure. What is going to be your default? What do you want your default ruler to show? Do you want it to be pixels, inches, maybe something else else that you're working with? You can

196:46

Speaker A

change all this stuff here. Okay. You can change all also for type. What are you kind of communicating in? And you'll also see here for new document for your presets. For print, you can see here it's 300 for your screen resolution. for

197:01

Speaker A

web is 72. You can change all that. If you have a very different profile that you're working from, you can absolutely do that. Now, encourage you just to go throughout all these different preferences. You're going to find one

197:13

Speaker A

that ones that jump out at you that are going to be a little bit more interesting, a little bit more kind of, you know, evocative in terms of what you're going to be working with, a little more meaningful. So experiment

197:25

Speaker A

with them, see what what jumps out at you and then um yeah, empower yourself with whatever kind of changes you can make. Okay. So, excellent. Thank you.

197:35

Speaker A

I'm going to close out of this and just say one last thing about your preferences. I would recommend that when you're doing your preferences, make sure you have no documents open at all because Photoshop may get confused at

197:49

Speaker A

that you only want to do your preferences for that particular document. when you have nothing open, the preferences are for all documents.

197:57

Speaker A

Okay, so just a nice little tip there in case things aren't working consistently. Just make sure that no documents are open as you do this. Okay, enjoy and we'll see you in the next exercise. And by the way, please check out our other

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Speaker A

um Adobe Photoshop advanced class once you're done with this. Thank you everyone. This concludes our intro to Photoshop class. We've covered a lot of great tools and tips in this class, including drawing shapes, color theory, adjustment layers, masking,

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Speaker A

filters, layer effects, and so much more. Now, remember, you have the exercise files to practice on, and I encourage you to watch this video as often as you need to and continue to learn, grow, and create. And please

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Speaker A

check out our advanced Photoshop video to learn even more. Thank you again. Hello. Hello everyone. My name is Dave Cassudo, instructor for Learn It.

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Speaker A

Welcome to our advanced Photoshop class. Perhaps you've already watched my intro to Photoshop class and are hungry for more Photoshop fun. Well, in this advanced class, we follow up on the last set of topics and get into a ton of more

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Speaker A

cool stuff. Well, what will you learn exactly? We start off by really taking ownership of Photoshop, learning how to customize our interface, shortcuts, and tools. We'll then get into some invaluable layer management techniques, followed up by layer comps, a few

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Speaker A

lessons on the power of blending modes, advanced selection techniques, an overview of working with vector shapes and paths, and of course, we then do a deep dive into a ton of other filter options available in Photoshop, and so

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Speaker A

much more. Now, this course is designed to be an interactive, hands-on course. So, occasionally you'll hear me say things like, "Pause the video and practice on your own." So, make sure you download the class files from the link

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Speaker A

below to do so. This will ensure you get the most out of the course and learn the program in a more experiential, hands-on manner. I'm looking forward to getting you a little closer to expert status and in showing you all the great tools

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Speaker A

Photoshop has to offer. So, stay tuned and get ready to learn. Let's begin with how we can customize and essentially take some more ownership over Photoshop. Now that we're in this advanced level, uh we're going to have a

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Speaker A

little bit more flexibility and choices in terms of what we want to do with Photoshop. So, currently I'm looking at a current workspace, but I'll want to customize this. Now, um some of you may know how to customize it using the

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Speaker A

different workspaces. You'll see here I can go over to the upper right on top here and I can customize it with all these different presets if I'd like to.

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Speaker A

So you can see if you're working more with 3D elements, you can go ahead and work with 3D graphic design, all these different things here. Now when I choose those, all my tools will then change entirely. So I go to 3D. You'll see,

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Speaker A

okay, that changes to all my 3D elements. Okay, I'm going to switch back to essentials. And you'll see it goes right back to where I was. Click back over here. Maybe you're working more with photography. And you'll see that

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Speaker A

many, many things change, right? Notice I have my layers, my channels, my paths versus something like graphics and web.

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Speaker A

I might have something very, very different, right? Like my glyphs, paragraph, and character, things like that. Okay. So, I'm going to bring it back to essentials, and I'm going to just customize things how I want them.

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Speaker A

Okay. So this might be a little review for you just moving forward. So we're going to ramp up as we go. So let's just say for example, I don't necessarily care too much about channels. So I'm just going to rightclick. I'm going to

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Speaker A

say close. And that goes away. That's great. But let's say I want layers way up on top. I can go ahead and just bring that right up. And you see I get my little blue halo. Drag that over there.

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Speaker A

And then drag this over to the left. So I have lots of flexibility in how I want to work with this. All right. Now, I'm also going to go over to this section over here where I have all my tools, and

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Speaker A

I'm going to make it so this left column here is two columns. Now, I find that a little bit easier to work with. I also want to make sure that my tools up on top are showing. So, if you click on

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Speaker A

window, you'll see that you're going to see you have your tools and your options down below. So, if I click on options, notice how those all go away. Click on that and they come right back. Okay, now let's explore things a little bit deeper

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Speaker A

now that we've kind of gotten that out of the way. Let's go a little bit deeper. Let's say I I'm pretty comfortable with the way things are right now. But I'm looking at my tools here and I notice that maybe some are

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Speaker A

missing and then maybe there's too much here. It's a little bit confusing. I have more than what I need. One really, really excellent tool that Photoshop has now that they did not always have is this option to edit the toolbar. Okay,

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Speaker A

editing the toolbar is amazing because all of these options here can be customized by you and for you and whatever your interest levels are, whatever projects you're working on.

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Speaker A

Okay, so I'm going to click on this here and you'll notice it just gets indented.

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Speaker A

But when I rightclick, I get this option here to edit the toolbar. Okay. So, right clicking on the three dots takes me to this place where I can now do a normal left click. It's going to take me

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Speaker A

to this place where I can customize this toolbar. All right. And on the lefth hand side, you're going to see essentially everything that I have currently. On the right hand side is this extra tools. Okay. Extra tools versus the toolbar that I currently

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Speaker A

have. Now, certain things you might not care about, certain things you do. So, let's say, for example, I don't really care about this single row marquee.

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Speaker A

Okay, I can just drag that over here. Drag this over there. Great. Just kind of cleaning things up a little bit.

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Speaker A

Other things you may not work with, like the slice tool. Don't really use that too much. Okay, that's wonderful. Okay, so other things you might want to just Okay, what about the count tool? Maybe I don't use notes. You can just go through

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Speaker A

all of these and find which ones you like and which ones you don't like.

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Speaker A

Okay, kind of nice. Now, let's say you're not super comfortable with the way the order of these things are. These are all grouped together as these individual orders. You'll see here's my move tool and my artboard tool because

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Speaker A

guess what? These are grouped together. Like if you were to rightclick on this because this has a little triangle, you'll see that there are two tools in there. But maybe I want to have these in a slightly different order from how they

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Speaker A

are currently. Okay. So again, these are all kind of groups together. So let's just say for example, I use my lasso tool a lot and I wanted the all my lasso tools in the beginning. So like in the

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Speaker A

front in the upper left. So notice how I move my mouse to the edge versus individually. When I move my mouse on the edge, you're gonna see I'm gonna select the entire group and I can move that wherever I like.

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Speaker A

Great. And now you can see a little preview of it. You can see there it is right there. That that is now going to be the first set of tools that I'll be working with. I can very easily move

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Speaker A

that back. Again, it's very easy to kind of just slip off to working with an individual tool. So, I want to just come right back over to here. I'll bring that back down.

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Speaker A

That's great. Right now, also note that you can move one tool into another set of tools as well. So, maybe some of you are just going to say, "Hey, listen. I want to have all my tools under one icon

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Speaker A

set." And you can very, very easily do that. All right. So, this will be something you'll want to experiment with. Of course, I'll give you a break to to um just practice. Now, let's go ahead and take a look at the bottom. We

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Speaker A

see these options. Do you want to show these things or not? Okay, so you can see, do you want to show the shortcuts?

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Speaker A

Do you want to show all these options down below for your foreground, your background, your quick mask tool, for your screen mode? Maybe you never use those things. Let's get rid of them. So, I click on that and then notice my quick

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Speaker A

mask goes away. Okay, I just want to simplify things. Again, totally up to you. Now, if you ever change your mind and you want them back, you can very simply click on that. You can very simply drag this and move it wherever

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Speaker A

you want. Right? Amazing. Just really, very, very cool that they give you this option to completely customize everything you want, okay? And what you don't want and then where you want it.

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Speaker A

Now, there might be some times when you just want to save a certain preset. So you're going to be working on that set of tools and that order and that layout for certain projects for certain clients at certain times. So what you can do is

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Speaker A

you can save a preset and then reactivate it later on if you like. Okay. So if I wanted to save this, I could just click on that. And you'll notice here it's going to save it as this TBR custom toolbar. That's great.

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Speaker A

And then it's going to be there for me later on. I'm not going to do that for right now, but just know the options there. And then if you're working, let's say, on another computer and you wanted to load it up, maybe you switch

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Speaker A

computers or your friend of yours, a colleague says, "Hey, listen. I have it all set up or this is what we're doing consistently across our company, you can load a preset. So therefore, you don't have to do all the work." It comes right

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Speaker A

in and then bam, there you have it. Okay? And then all your presets will be there ready to go for you to activate.

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Speaker A

So, I'm going to click on done. And now I have my new and improved toolbar. All right. Now, just a couple of things here with my toolbar um that I'd like to do before we go to the next level of

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Speaker A

customization is I like to number one, first of all, if you haven't done this before is with my move tool, I like to make sure that my auto select is chosen and my show transform controls are chosen. Now, yours may look a little

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Speaker A

different. Yours actually may be an icon versus a checkbox. So, but it essentially accomplishes the same thing.

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Speaker A

All right. So, just make sure we're all on the same page here. Now, the next thing I'm going to do is I'm going to show you how you can customize some keyboard shortcuts. There are a lot of keyboard shortcuts. You can see here you

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Speaker A

can move your mouse over it and you can see there's the move tool, there's the lasso tool, etc. And you will see that there are parentheses next to all of these. Okay? You can see parenthesis L for lasso. There's a

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Speaker A

parenthesis next to move. A V for move. Okay, that's great. How about type? Okay, T for type. So, if I were to go to T, just literally T, not command or control T, and that pops right up. I'm

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Speaker A

going to go to M for marquee. I'll do V for my move tool, L for lasso. These are pretty great. So, these are just regular like keyboard shortcuts over here in our toolbar. But certain things have keyboard shortcuts. Like for example, if

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Speaker A

I go to image, you'll see that there are keyboard shortcuts found here. But some of these things do not have keyboard shortcuts. Like for example, if I go to file and I want to like place embedded, right? That's something I do all the

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Speaker A

time. I would love for them to have a keyboard shortcut for that. In other programs, they do like in design. I believe it's uh control D, right? Love that one. Doesn't exist here in Photoshop. I'm going to make it exist.

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Speaker A

All right. So again, this is all about you having control over your experience, making it personalized for you. So where do I go to actually set up my keyboard shortcuts? If I go over here to edit, and I come way down here to keyboard

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Speaker A

shortcuts, you'll see this little menu pops up, and you'll see that I have all of my little menu items here, right? You can see file, edit, image, etc. all the things here that I can now go into each of the

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Speaker A

different tools and then customize the keyboard shortcut. I'm just going to show you one just so you can see how it works, how easy it is, and then we'll see it in action. I'm going to click on file. I happen to know where that is.

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Speaker A

And just notice it's show me all the keyboard shortcuts. I could certainly override all of these if I want to like save as. Maybe I don't want it to be that. Maybe I want to do shift alts, something like that. You can absolutely

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Speaker A

do that. Okay, which this is another alternative for it as well. So you can see so there's lots of these that okay I'm going to show you layer comps in a future exercise. Maybe you're doing that a lot. You want to make that into a

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Speaker A

keyboard shortcut. What we're going to focus on here is place embedded. I use that all the time. So what I'm going to do is click in this little shortcut column and I'm just going to create my keyboard shortcut. So I'll just do a

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Speaker A

little different one. Maybe control shiftp for place. Love that. All right. That's going to be an easy one to remember. And then I just simply say accept. And there it is. Wonderful. So I've now made this into a keyboard

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Speaker A

shortcut for me. So I don't have to do this manually anymore. All right. And then you'll want to experiment with the other some of your other favorite tools.

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Speaker A

Now you'll see that just like how I showed you with the toolbar, I'm able to now save this as well. So I can come back to it anytime I want. I can go ahead and save this for different

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Speaker A

documents however you want to. You can always bring up different keyboard shortcuts. All right, totally up to you, but I just want you to see how awesome this is. And again, experiment on your own. I'm going to click okay. Get back

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Speaker A

out of this. All right. And then the last thing I'm going to show you here for customization is going to be around your preferences. Okay. And there's a lot a lot of preferences uh within Photoshop. And um you'll want to just

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Speaker A

kind of pick and choose which ones you want to play around with. But I'm just going to show you kind of more some of the higher level ones that you'll want to experiment with. So if you're on the

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Speaker A

PC, you simply just go to edit and then you're going to go to preferences and then notice all the different categories I have here. If you're on the Mac, you're going to simply find the Photoshop menu in the upper left. Same

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Speaker A

thing. Click on Photoshop and then choose preferences. So let's go to edit, go to preferences, and then I'm just going to go right to general. And we'll just see how it looks initially.

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Speaker A

All right. So certain things you may or may not want to do, like for example, auto show the home screen. Okay, so as soon as you open it up, does it go to the home screen? Does it go to a blank

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Speaker A

screen? Totally up to you. Maybe some of you like the older look, right? So you can see the new document interface from the legacy version of it. Absolutely, you can do that. Here's an option you might like is the skip transform when

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Speaker A

placing. Some of you, especially if you're just beginning, you might actually not want that option where it has a little bounding box around it and then you have to hit commit. Maybe you want to skip that. Okay, so you have

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Speaker A

lots and lots of options here. Again, just kind of really spice to taste. Your interface, you'll see here I can say, hey, I want to change my interface to a totally different color. Maybe just depending on how your screen looks, how

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Speaker A

your eyes look, maybe it's your aesthetic preferences. takes a little while to kind of like adjust your eyes, but again, up to you, however you want to do that. Now, if we go over here to workspace, you'll see that I'm going to

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Speaker A

have a lot a lot of different options here in terms of how I want my workspace to be shown. All right, so you notice how I have this auto collapse iconic panels. What does that mean? This area over here is known as my iconic panels.

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Speaker A

So, it could be that when I click on it and I'm not using it, I want it to auto collapse. I want it to then just sort of like go back to where it was. I don't want to have to do it manually. It's

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Speaker A

just going to automatically go back. So, I can set that to do that if you want to. All right. Um, you also might want to change how your documents are opening up. Notice I have a tab up here. You

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Speaker A

might want to change that to just opening up into floating windows if you'd like to do that. You can also make your tabs a little smaller if you like to. You can see that does that on off. Okay, just like that.

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Speaker A

All right. Now, let's take a look at our units. Some of you may decide that you want to change your basic unit of measure, the default to be not inches, but pixels because you're working more with web stuff versus print stuff. Okay?

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Speaker A

Maybe pas is the way you want to go if you are working with more print stuff.

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Speaker A

Okay? So, you can change that. All right? But a good rule of thumb is that you want to make sure that no documents are open when you do this because then it will change it for all documents moving forward, right? And then a few

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Speaker A

other things around resolution. What's going to be your default for new documents, you can change all these things here.

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Speaker A

And then some of you may be going a little bit more advanced with guides, grids, okay? And if you are working with slices and you just might want to change the color, you also want to change the look and feel of it. Okay? So, when

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Speaker A

you're working with guides, it's a really great way to stay organized and stay aligned with your content. You can change the colors of these things like really easily to pretty much most basic colors. And you can see here, you can

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Speaker A

make it dashed, you can make it just a solid line. Again, up to you. All right.

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Speaker A

And we'll talk a little bit about artboards in a little bit, but you'll see how the artboards are also going to have an opportunity to change the colors for those. And then if you are working with grids, you can not only see how you

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Speaker A

can change the color of what the grid's going to look like, but how spaced out do you want your grids to be. And this is actually a really nice tool if you're kind of building things up almost like

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Speaker A

like an architect would, right? Where you actually want to have things every so inches or millimeters, something like that to be very very specific and have a lot of sort of perfection around things.

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Speaker A

So, you want to have those grids there. When you finally do snap to those grids, everything falls in line according to that layout that you have here. Okay.

215:50

Speaker A

And then the last thing I'm going to show you is this file handling. Now, this is something that I always recommend even in the beginner classes um to save your work often, of course, but sometimes we don't save our work and

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Speaker A

sometimes Photoshop crashes. So, this file handling will actually address some of that issue if Photoshop does crash.

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Speaker A

And you'll see that there's this option to automatically save recovery information every how many minutes.

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Speaker A

Okay, so your default most likely is going to be 10. Some of you may have it more, some of you may have it less.

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Speaker A

Okay, so I'm going to keep mine at five because guess what? There's a lot of genius that happened just in those last four minutes or I don't want to go beyond those five minutes because guess what? All that might be lost if I have

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Speaker A

it at 10 minutes. So what would happen is that Photoshop will come up and say, "Hey, listen. I noticed that I crashed on you. My apologies. Sorry for that.

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Speaker A

But I was saving some things for you. So can I bring that up for you so then you can recover it?" Okay. So fantastic. So you have all that set to go. All right.

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Speaker A

Now, one reason why you may not want to do that is because it could be challenging to your computer, to some computers, to some processing power. Um, so you want to just make sure um that it doesn't compromise your system too much.

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Speaker A

All right. Now, there's a lot lot more options here. I recommend just going a little bit deeper into these and certainly put on the comments if you if you have certain ones that you want, you know, the the community to know about,

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Speaker A

okay? But there's really a lot to focus on. I'm giving you kind of the more highlevel ones, a little more than what we did in our beginner class, but certainly experiment with these and love to hear from you um as far as what rises

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Speaker A

the top for you. So, I'm going to click okay. And the last thing I'm going to do is I'm going to save all of those kind of shortcuts and everything else so that I can use these over and over and over

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Speaker A

again. Okay? Because right now I'm still working with essentials. Okay? Okay. And you'll notice I have one from my beginner's class. This Dave's Faves.

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Speaker A

We're going to do a different one now that I've kind of gone a little bit more in terms of my tools and my shortcuts and things like that. Okay. So, let me go ahead and just save that. So, I'm

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Speaker A

going to just come over to the dropdown. I'm going to say new workspace. I'm going to make create my own. Before there was a 3D and photography and graphics, but now I'm going to have my own. Okay. So I'm going to say advanced

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Speaker A

tools and then DC for me. All right. And now notice here is panel locations will be saved in the workspace. Keyboard shortcuts, menus and toolbars are optional. Okay. But no, I actually just customized those. Wonderful. Great. Now I am set to go. I click on save

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Speaker A

and this is exactly how I wanted. I love all this stuff here. But then let's just say here I am in the future. I go a little crazy. I go here and then oops, I even lost my layers panel. My favorite

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Speaker A

thing there. My properties panel. I love that. Okay. I'm going to make that a little bit smaller. Okay. And things are getting a little bit messy for me. Okay.

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Speaker A

So, I like to think about this as the Mary Poppins effect, right? What did Mary Poppins do? She came in. She said, "Hey, children, clean up your toys." Okay. And then what did she do? She wiggled something around or said some

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Speaker A

magic potions or did something with her nose. I don't remember. But she did some pretty great magic. and all the toys went into their rightful place for everything and everything in its place.

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Speaker A

So, how do I do that? Click on the little drop down and then notice this is selected. That's kind of weird. So, what do I have to do? I have to say reset advanced tools and then look at that.

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Speaker A

Mary Poppins is very happy. All right. So, you have a lot of customization options to do. What I'm going to recommend you do is pause the video and then do whatever types of customizations you would like. And of course, this may

219:44

Speaker A

change, by the way. So, just let me just say one quick thing is that I might come back over here and say, listen, I'm not working with patterns. So, I'm going to close that. And then, for example, I

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Speaker A

might want to have my colors down here. Right? So, I'm changing all of this stuff here. Right? Which is going to happen. So, what you do is you just come over to here and then I would just say

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Speaker A

new workspace again. And then it's kind of weird, but I would have to say advanced tools DC, literally the same name, and then go to here, do the same thing, and it's going to tell me that the custom workspace advanced tools DC

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Speaker A

already exists. Do you want to replace it? I'm going to say yes. Okay, so now that has been overridden. It's a little cumbersome, right? But it's essentially it's like a save as. You're replacing what you've already done, and then

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Speaker A

you're good to go. All right. So, pause the video, practice it, and we'll see you in the next lesson.

220:39

Speaker A

Now, we've all worked with layers at this point, okay? We've seen how layers are just the magic. Really, just the engine that makes Photoshop be Photoshop. So, if we look at my layers panel over here, we're in the hot

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Speaker A

peppers 3.pst file. And you'll see that I have a lot of layers here. And notice I also have a clipping mask that's happening here. I have a group. Okay?

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Speaker A

I've got all kinds of different things here. I'm going to bring this out so I have a little more for me to work with.

221:05

Speaker A

All right. Now, let's just see some of the other options within our layers panel that you may have chosen to ignore because they're relatively new. Some of you may have some experience with Photoshop, but you're not necessarily accustomed to some of the new things and

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Speaker A

maybe you've just ignored some of the options that are available to us. All right, so let's take a look at some of these options over here up on top. Okay, so these are really extraordinary when you have lots and lots of layers. It's

221:34

Speaker A

really great for viewing what you want to view and for filtering out for certain elements and also for searching for what you want to. Okay, so let's just take a look at what we have here.

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Speaker A

Currently, I have nothing filtered. So therefore, all my options are showing here. But let's just say I only want to show just my photos. I don't really care about all my type. So I click on this little option here. You see it says

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Speaker A

filter for pixel layers. I do that. Oh, great. So, all that other stuff that I didn't really care about just kind of goes away temporarily. Click on it again. Comes right back. Okay. Really, really awesome. What if I only want to

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Speaker A

see my type? I click on that. That's great. I love that. Come back. All right. And you'll notice that as I'm filtering, I have this little little guy here that's telling me that things are filtered out. When's that going to be

222:28

Speaker A

important for you? It's going to be important for you when you're working on somebody else's stuff and you're just like, "Hey, where's all the stuff?

222:34

Speaker A

Where, you know, Sally, she came in and she was working on everything. Where is it?" Oh, she filtered. Oh, I see. And see, they're telling you this nice little red dot. Say, "Okay, things are filtered. Cool. Now I know." Okay. So, I

222:46

Speaker A

can bring that back up. All right. Now, let's take a look at some of the other options here. Because currently, we would be filtering by kind, right? Not nice, but the type, right? That's what we're looking at here. Pick a filter

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Speaker A

type, right? Like our images or adjustment layers or type, etc. I click on this, but also note that you can click on name and then just do a search for something. Okay, so I'm just going to type out BA NER. And then look at

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Speaker A

that. Wonderful. That comes right up. So if you're looking for something, you can't find it, you can also search by name. Maybe you're working on different effects. So, let me go ahead and just change this back to kind. So, we're back

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Speaker A

to score one. Click on this. I'm going to choose effect. Okay. And then notice I can then look for different effects.

223:33

Speaker A

So, do I have any drop shadows here? Oh, I certainly do. And look at that. Comes right up. So, it could be a situation where you're like, listen, we're not doing drop shadows anymore. That's very 90s or whatever story you're telling

223:46

Speaker A

yourself. You can find all your drop shadows and then just change them just that. Just like that, right? So, super easy. you'll have them all in front of you, nothing else, cuz it only shows those effects that are that effect that

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Speaker A

you want to work with. Let me come right back to here. And then notice that there's a whole bunch of other options here that you might want to work with. Okay, you might want to go a little bit deeper in

224:09

Speaker A

certain things. Notice here I'm showing my different modes. We're going to talk about blending modes in just a little bit, but you can see if you're only looking at certain modes, you can then come back and activate these if you

224:21

Speaker A

like. Maybe you're looking for certain colors. Okay? And then we're going to talk about color coding our layers in just a little bit. So notice you can then filter out certain colors. It's not about the color on the canvas, it's the

224:34

Speaker A

color of how you color code it within the layer. I'm going to come right back here and we'll see. Okay. Very good.

224:40

Speaker A

Fantastic. Okay. Love all this. All right. Now, you'll also see if you haven't worked with these before, okay, your opacity. Okay, great. You can work with that nice and easy. Okay, you can just basically make this transparent if

224:53

Speaker A

you want to. This particular layer, you can bring that down. Okay, that's great. And also note a nice little shortcut. If you're working with a little mouse wheel, you don't have to go and click on that little drop down. You can just move

225:07

Speaker A

your mouse right on top of the number. And I'm using my mouse wheel to go up and down so I can kind of see it in real time. Saves me a little bit of time as well. Again, just move your mouse right

225:16

Speaker A

on top of it. And then using the mouse wheel does that. And you'll also note that I can move my mouse right on top of the word opacity and bring that this way or that way. I don't see it in real time

225:26

Speaker A

as quickly. Okay. But it still does it nonetheless. All right. Now, down below, you also have these options here to lock certain things. What are you trying to lock?

225:36

Speaker A

you're trying to just lock just my transparent pixels, right? You can just try to lock, you can see it'll tell you my image pixels, lock the position of whatever you're working with here. So, you can see you can also uh prevent auto

225:49

Speaker A

nesting into and out of artboards and frames. Okay? So, basically, you don't want it to necessarily just automatically fall right into a frame if it's doing that if you are working with artboards. Some of you working with Illustrator may have some experience

226:02

Speaker A

with artboards. And you'll see here also I can just lock the entire thing and then bam I can click on the lock again or I can click on this lock and you're good to go right and then fill as much

226:17

Speaker A

as this will work to a certain extent for these right kind of does the same thing as opacity generally this is reserved for for shapes okay so you can actually just kind of remove the fill for these right but essentially does the

226:30

Speaker A

same thing as opacity does all right So great control over your layer management. Okay, so just really understand kind of what all the things you can do up on top here that you may have chosen to ignore. Now

226:44

Speaker A

right-clicking goes a long way with your layer management. Okay, so if I right click on this right here, you're going to see I have a lot a lot of options here. Okay, so one is to convert to a

226:53

Speaker A

smart object. Uh in my earlier class, we did talk about smart objects. So smart objects basically protect your your layer, right, from actually having any kind of like destructive nature to it, right? So any kind of things you're

227:09

Speaker A

going to do to this particular image, it's not going to be affected if you make it into a smart object. Okay?

227:15

Speaker A

Typically, me personally, I make something into a smart object exclusively when I'm going to put a filter on it. Okay? Okay, then it becomes a smart filter and it becomes non-destructive. And then that way I can also manipulate it. You'll see more of

227:28

Speaker A

that in our earlier class that we published and also later on we're going to be doing more stuff on filters just the same. All right, create clipping mask. Right, I showed you how to do that in earlier class just using the alt key.

227:41

Speaker A

So, lots of options here that you could uh do with the right click, but we're going to do uh other ways that I showed you. Okay. And then once you have some layer styles, notice here's some other options to copy and paste layer styles.

227:55

Speaker A

Okay, you can flatten the image, right? So therefore, it's going to be no more layers at all. Maybe you want to do that, but make sure you've committed to that. And then finally, we have some of these other options here for color

228:06

Speaker A

coding. Okay, so let me just go over here to my clipping mask group, and I'm going to make that red. And notice how the whole group then gets red. I'm going to right click on my banner. I'm going

228:17

Speaker A

to make that yellow. Okay. And notice how that becomes yellow. And then coming back to where we were before, let's choose color. And I will choose now red.

228:27

Speaker A

And then look at that. Because that's how I am organizing things. I'm organizing things by color. So therefore, when I only want to see that particular color, I can access it. No problem. All right. So I'm just going to

228:39

Speaker A

go ahead and I can also click on this to clear out of it. And that takes me right back to everything. All right. So again, another way to organize your content and that's through right-clicking. Okay, so right clicking really does go a long way

228:53

Speaker A

uh in this program. So don't be shy about that. Okay. And you'll also see how I have a group here, right? This is a clipping mask group. Let's say I want to group other things. So, how do I group things?

229:18

Speaker A

Pretty easily. Just go ahead and select the two things or the three things or the 50 things you want to group. So, I'm just going to click on the first one, hold down the shift key. So, now two

229:28

Speaker A

things are selected. And very simply, I'm going to come down to this guy right here. Looks like a little folder and click on that. And it should even tell me create a new group. And now that's a group. I'm going to simply double click

229:40

Speaker A

on that and just call that images. Great. Lovely. And I can of course open that up and I'm good to go. All right.

229:49

Speaker A

So, lot a lot of power working with just this amazing amazing layers panel that you may not have experienced before. So, I recommend really when you have a large large document, when you have um a big project you're working on and there's a

230:06

Speaker A

lot of layers, working with all these tools to make it so you can um really customize things, control things, and then filter out things however you want to. Absolutely recommend that. So, we're I'm going to pause the video for now.

230:19

Speaker A

I'm going to have you pause the video and then we're going to move on to um something within the same document working with what we call blend modes.

230:29

Speaker A

And blend modes are a gamecher for a lot of people. And there's a lot of different ways you can use blend modes.

230:34

Speaker A

So, go ahead and pause the video, bring up your own document if you want to experiment, see what else is available for you and how you can control all your layers accordingly. All right. So enjoy and we'll see you in the next exercise

230:47

Speaker A

on blending modes. Let's now discuss blending modes. So blending modes, as the name implies, allows us to blend together more than one object to see what type of effect we can get. It might make it darker. It might make it brighter. It might make it

231:07

Speaker A

more luminescent. Okay, there's so many different things that we can do. And then a lot of times they're predictable.

231:13

Speaker A

and other times it's like, wow, we don't really know how Photoshop's algorithm is going to make two things blend together.

231:20

Speaker A

So, we're going to be looking at several different examples of currently that are on here, but also how we can kind of move around them. Now, I also have posted um a little sheet that kind of talks a little bit more about what each

231:31

Speaker A

does, okay? Because it kind of break it down for you in kind of more kind of plain language, but really this is a spice to taste. Sorry for the pun now that we're looking at jalapenos. Um, but you're going to want to really just

231:43

Speaker A

experiment with what you see uh in front of you and then see how they all kind of blend together. But you'll be very pleasantly surprised. And there's a lot of different elements and different sort of context that you might see blend

231:56

Speaker A

modes. So, let me just show you one example. Right now, right, I am working with um this clipping mask and I have this blend mode. This is where my blend modes live on my layers panel, right?

232:09

Speaker A

Called pass through. If I click back in my banner, this should just say normal.

232:13

Speaker A

I click on this, says pass through. I click on that, that says normal. And that says normal. So, what in fact is this doing? Well, let's just experiment.

232:22

Speaker A

So, I'm going to click on this, and I'll say normal. You can see how that changes the look and feel of how these things are now interfacing with each other. You see that? So everything that's underneath it is what's making the blend of this to

232:44

Speaker A

all these guys here do what it's doing. Okay. So pretty extraordinary, right? To be able to get such a magical quick effect without really a whole lot of effort. All right. Let's try something else now. Let's now work with our

232:58

Speaker A

peppers. Okay. Do you see here I have my peppers? You can see they're there. And you'll notice that there is a background. Okay. You can't see that background. If I click on that now, you can see it, right? And that's pretty

233:09

Speaker A

cool. All right. But I want to kind of create something a little bit more interesting, a little more visual interest, something that I could not create myself. I'm going to have Photoshop do it through a blend mode.

233:21

Speaker A

Okay. Again, it's going to blend the two these together. So, my peppers are going to look a little bit different.

233:27

Speaker A

Currently, they're not really blending at all because it just says normal. So, I can't really see through this. And this is not going to the background is not going to feed into my peppers so much because there is no blend mode. Now

233:39

Speaker A

let's blend them together. I'm just going to choose dissolve. Let's just go through them one by one. And I'm just by the way just hitting the arrow key just to go through them one by one. So I start off dissolve. Nothing too fancy.

233:50

Speaker A

And then right away like ooh darken. That's darken is what it's doing. That's for sure. And it's kind of interesting, right? Because looks like it's kind of on fire. It's like in an oven. Okay.

234:01

Speaker A

color burn. Okay, we know burn means darken typically as well. Okay, but it's taking some of the darker colors there.

234:08

Speaker A

And then again, you just want to sort of experiment what is going to be the look you're looking for. How is this going to kind of tell your story without distracting things too much? Oh, that's kind of neat. Color dodge.

234:22

Speaker A

Some of the words we've seen before, like dodge and burn, come in here as well.

234:27

Speaker A

Okay. And by the way, you'll just notice that these are all broken out into different sections here, right? This is a very much, you can see here is burn for darken and for lighten. You can see there's the word dodge. Okay? And then

234:39

Speaker A

some nice little um light options here. Okay? But very clean overlay. Okay? And a few other more kind of abstract ones.

234:47

Speaker A

You'll see like that's kind of an interesting one that really really makes it looks like it's it's under like hot coals. Okay. So you'll really want to experiment with all of these. Okay. Now, sometimes you do want to combine them

235:00

Speaker A

with your opacity because if it's coming a little bit too strong, maybe you want to bring down the opacity of what's underneath it and then so therefore it's not quite as strong. You're still getting kind of a nice subtle effect

235:14

Speaker A

there. Again, this is very much a spice to taste type of thing, right? So, really experiment with it. This is a good document to experiment with. Um, but you may have one or two things that you want to work with. Certainly type

235:27

Speaker A

with something that's underneath it can really have a pretty extraordinary effect. So work with that. Now you're going to see blend modes in a number of different uh capacities. All right, I'm just going to show you just one of them

235:40

Speaker A

and I will point it out as we go through our class how you'll see them again and again and again. All right, but the more common way you'll see it is typically going to be underneath where you have

235:50

Speaker A

your effects. Okay, so maybe you've done effects before, right? where maybe you've done a drop shadow or you've done a glow. Okay, what we're going to do is we're going to do a color overlay for this particular banner. So, you'll see

236:05

Speaker A

lots and lots of options here. I'm going to say color overlay and it's just going to color it with black. Okay, not what I want, but sometimes that's pretty good, right?

236:15

Speaker A

Maybe that's actually exactly what you want it to do. That's great. Color overlay. Fantastic. You'll also notice here's the option for opacity. So maybe I just want to make that just slightly kind of darkened or whatever. Now this

236:27

Speaker A

is coming in as black, right? You can see that I don't want this as black. So what I can do is just maybe simply go over to here and just choose this nice little fire color of orange. Okay,

236:38

Speaker A

that's great. Love that. Still not doing what I wanted to do, obviously. I could again bring down my opacity and do all that, but let's see what happens if I apply a blending mode to my actual effect. So, we've only done blending

236:54

Speaker A

modes between two different layers, but now we can actually do with this color overlay and what it is in fact overlaying.

237:03

Speaker A

Okay, so you can see what this is going to do. Okay, so let's just see.

237:08

Speaker A

Dissolve. Not too much. All right, darken. Something's happening. Oh, that's kind of interesting. Oh, that's a little better.

237:17

Speaker A

I'm starting to see some lines in there I didn't notice earlier. So, I might want to affect that ahead of time. All right. So, you can see how what it's doing for each of that interaction that I see here between that color

237:33

Speaker A

and my banner. So, I might like this a little bit. Notice subtract is kind of doing the opposite on the color wheel a little bit. So, I can then go ahead and just blend it in a tiny tiny bit. Maybe

237:44

Speaker A

see what some of these abstractions can do. Okay, you just want to experiment with this. Okay, that's kind of nice. Looks a little retro. Kind of cool. Let's make it go harder, maybe softer.

238:01

Speaker A

All right, love that. Right, so I'm pretty much good there. And I click okay. And notice it doesn't show up over here except for the color overlay. Okay, it doesn't show up here, but it is in fact happening. So when I double click

238:16

Speaker A

back in color overlay, I'll be able to see that I have a blend mode on this. So it's a nice kind of like hidden trick to be able to actually affect something without affecting it on the layer proper. All right, so again, something

238:29

Speaker A

you want to definitely experiment with. All right. And I will be pointing out once again of how we can work with different um blend modes as these things come up. All right. So again, pause the video, experiment with it, see what you

238:44

Speaker A

can do. And then what we're going to do when we come back, we're going to work with this same exact file, our hot peppers, and we're going to learn about something called layer comps. And I can assure you, you're going to love it.

238:58

Speaker A

What is a layer comp and why do we want to use a layer comp and why are we going to love them as promised? So, a layer comp is designed to give you different iterations within the same file. So, if

239:14

Speaker A

I have a client and they say, "Well, listen, can you just give me like four or five different versions of what you're working on here, but I want to see them all in one page. I want you to

239:22

Speaker A

create a PDF. I want to have several different ones churned out." It's like ah really. So that means that I got to now create four or five different versions and I lose the initial one I did or I have to find those other three.

239:34

Speaker A

That's a bit of a pain. Layer comps are an amazing amazing projectbased tool that's going to allow you to then say, "Hey, listen. I want to try one with my banner down below. I want to try another one with a different kind of blend mode.

239:47

Speaker A

You know, I want to move things around." Right? You might want to just take away some of our effects. You can do that using layer comps without having to go to another document al together in order to process it all. So currently I'm

240:02

Speaker A

working on my layers panel. There is a panel called layer comps. So I'm going to bring that up. I'm just going to bring this over here. Don't need my notes. And for right now I'm just going to bring over my layers this way so we

240:18

Speaker A

can kind of see everything a little bit better. So currently I have a layer comp panel that has no layer comps on it. So what do I need to do? I need to create those layer comps. Okay, those

240:31

Speaker A

iterations now need to be created so they can be saved and preserved and exported so I can then show them and use them. Okay, so it's really really awesome. Okay, this is going to save you just a ton of time and make all of your

240:45

Speaker A

clients and co-workers very happy. So this is my starting point. So I'm going to make this a layer comp where it's like I can always come back to this or this is maybe one of the iterations I'm working with. So I want to save this. So

241:00

Speaker A

you'll notice that down below here is a little plus sign. So I can go and click on that to say, hey, create a new layer comp. And it's going to ask me, well, what's the name of this going to be? All

241:12

Speaker A

right. And I could just call this um orange banner top. Okay. And then I'll just call this pass through blend. Whatever you want to call it. Okay. And then you can put some notes here and here if you want to,

241:29

Speaker A

right? So, especially if you're working collaboratively, you'll want to put some notes here. Okay. Whatever. I'm not going to do that right now, but certainly know you can do that. And then what are you now preserving? Okay. your

241:39

Speaker A

visibility, your position, your appearance, absolutely everything. I want everything to be preserved. I click okay. And now I have a new layer comp right now. Let's see what we can do if I make some changes. Okay. I'm just going

241:51

Speaker A

to go ahead and just turn off this effect. All right. So, just keep it at that. That's that's my very simple new layer comp I'm going to do. So, I'm just going to go ahead and click on my plus

242:02

Speaker A

sign. And this time it's going to be green banner pass through. All right, same deal.

242:14

Speaker A

Okay, great. Now I have two layer comps. This is the one I'm currently on. Now let's make some other changes here.

242:21

Speaker A

Let's say I want to experiment with my blend mode to be a little bit something else here. So let's just try this little fiery one there. Love that. That's pretty great. And that's it. Just making one simple change. Totally up to you. Go

242:37

Speaker A

to here. All right. And I'm just going to say, let's make sure I remember what that's called. That is my color dodge.

242:47

Speaker A

Color dodge peppers. Okay. And then again, green banner top. Click. Okay. All right. And then let's just do one more. Let's go be a little more dramatic where I'm going to now move this banner way down below. So, I'm

243:09

Speaker A

just going to go ahead and click and drag while holding down the shift key so it keeps it in straight line.

243:16

Speaker A

Great. Keeps aligned. And now I'm going to go over to my clipping mask. And then I'm just going to bring that up using my arrow keys, holding down my shift key to make it go a little bit farther and faster. And then, okay,

243:29

Speaker A

great. something completely different now. Just trying it out. Why not? So, I'm going to click on my little plus sign. I'm going to say banner green bottom.

243:43

Speaker A

Okay. And then we'll just keep it dodge blend. Okay. Wonderful. That's great. Now I have four different iterations.

243:53

Speaker A

Okay. Cool. All right. Now, let's just see it in action. So when I click over here, takes me right back to what I want to work on, right? And then notice how I clicked on the left hand side, not right

244:05

Speaker A

here on the words. I clicked on this left banner to then activate it. So you can see I can go from here to here to here to here. Oh, look at that. Big jump. Big jump. Big jump.

244:20

Speaker A

All right. Now, you're probably asking yourself, well, what if I want things to change a little bit, right? So for this one, you know, it's a little maybe I wanted to do for the bottom one, I actually want to do a different

244:32

Speaker A

blend mode for the banner one on the bottom. So guess what? I can now make a change to this currently. Let's go ahead and do that. I'm going to make a change to this. So it's going to be a little

244:44

Speaker A

bit different. Okay, let's do that. A little greener. Okay, linear light. So, guess what I can do now? I can then refresh it and update it based off of what Let me go ahead and zoom in here so you can see what we're

245:03

Speaker A

looking at. Just that guy right there. Basically saying, hey, update this blend mode with what we currently see on the screen. So, I click on that and then bam, there that is. Okay. So, if I compare the two, they are now different.

245:17

Speaker A

Okay. And if I double click on that, I can then come back to here and I can say, "Hey, listen. This is going to be a linear light blend mode." Okay, great. Now that's all set. All right, so that's

245:31

Speaker A

great in and of itself. But now the power comes in the fact that we can then export all of these individual layer comps as individual files, PDFs, PSDs, JPEGs, PGs, you name it, whatever you want. And they're all going to be

245:49

Speaker A

separate from each other. So, how do we do that? If we go over to here to file, you're going to see way down on the bottom, there's going to be this set of exports, okay? And you're going to see

246:02

Speaker A

here is this option for layer comps to files, layer comps to PDF. So I'm going to click on files for right now.

246:11

Speaker A

And it's going to ask me very simply, where do you want to put it? So I'm going to click on browse, right? And I'm going to put this in my class folder here.

246:26

Speaker A

Right. Bam. There it's going to go. And then here is asking me my file name prefix, right? is the name of the file.

246:31

Speaker A

I'm going to keep that. That's great. And then it's asking me, well, what file type do you want to export this as? So, when I click on the dropdown, notice I can do a JPEG, a PDF, right? A TIFF. All

246:42

Speaker A

kinds of different PNG options there. Okay, that's great. So, let me just do a JPEG for right now. Notice you can adjust the quality. Let's make that super high quality.

246:53

Speaker A

Click on run and then just watch the magic happen. Right. Just processing everything. Processing everything.

247:03

Speaker A

layer comps to files was successful. Great. So now let's go ahead and see where they ended up and what they look like. Fantastic. Awesome. 1 2 3 four different JPEGs for me to work with, right? To me to share, me to put into a

247:19

Speaker A

newsletter, me to put in a contact sheet, however you want to do it. But now notice I just have them. I can click on them and they're going to be just these individual layers that I've created. one by one by one. Look at

247:31

Speaker A

that. Now I have them. Saving me a ton of trouble in the future. Let's do it one more time. This time, let's do it for PDF. So, file, export. Going to say layer comps to PDF, right? And then

247:44

Speaker A

let's put it maybe in the same folder. Okay. And then we'll just call up peppers.

247:58

Speaker A

All right. And then notice it does give me the option here to advance it in case you're doing a slideshow. I don't really care about that. I'm not doing a slideshow, but maybe you are. So, you can absolutely do that if you want to.

248:09

Speaker A

Notice you also have the option to only export selected layer comps. Again, totally up to you. So, let me click on run.

248:22

Speaker A

Same process. Turning it out. Doing the script. running through each layer comp and it tells me it's successful where it's going to go to. That's great. And now come over to here and look at that one PDF name peppers. And I click on that.

248:43

Speaker A

We'll be able to see gonna say don't care about screen mode. So right now we'll be able to see all the pages. Look at that. In one PDF. It is absolutely amazing. All right, so let me just come right back

249:00

Speaker A

to here. And I want to encourage you again to pause the video, try this out yourself with any kind of thing that you're working with where you're manipulating the layers, uh, to then just have, you know, different iterations, okay? If you're working on

249:14

Speaker A

different projects, absolutely hopefully see the value in this and, uh, give you some time to practice and then we will come back with our next exercise. Have fun.

249:26

Speaker A

Switching up gears a little bit, we're going to talk a little bit about shapes, illustrations, vectors, working with the direct selection tool, and you're going to see how although we're in Photoshop and not Illustrator, this is really going to serve you well uh working with

249:44

Speaker A

um understanding how shapes work just in terms of your graphic design capabilities because these types of things occur everywhere. You'll see them inside of posters. You'll see them in newsletters. But understanding also how we can master things like our direct

250:02

Speaker A

selection tool will help us with different types of selection techniques which we'll move forward to later on to be a little more advanced with our selection techniques. So you probably know already we have a bunch of shapes that we can work with, right? So you can

250:16

Speaker A

see here I can just choose a rectangle, rounded rectangle, etc. I can also choose what color I'll be going to. I can also choose a color from here. Let me go ahead and just choose a solid color. Nice little magenta there. Okay,

250:30

Speaker A

that's great. I can also choose what stroke, the strict, the thickness of the stroke, etc. Okay, so let me just do just a very basic perfect circle by holding down the shift key.

250:41

Speaker A

Great. Perfect. And then I can go ahead and move that. Maybe I'm going to be a little more kind of up on guard. It comes a little bit off. Gives creates a little bit of motion. All right, that's

250:49

Speaker A

great. And then I can also do the alt key or option key on the Mac to then just to clone that and maybe I move this over here.

250:57

Speaker A

Okay, great. Wonderful. And I can go over to my appearance panel and change the color to something else. Very easy.

251:05

Speaker A

Okay, so maybe you've seen that before. Super easy. Okay, sometimes you might want to work with the polygon tool.

251:12

Speaker A

Okay. So if I click on that now you will see with my polygon tool I can then click and just say hey listen how many sides is my polygon going to be? You'll also notice that up on top it's also

251:26

Speaker A

giving me the option to say hey listen how many sides do you want it to be? And when you look at your properties panel a little bit you'll see it's going to give you some similar options there even

251:35

Speaker A

after the fact. So let's just say I just want to do a very simple pentagon. It's great. And then my star ratio is actually going to be 100 because I'm not doing a star. So, make sure you keep an

251:48

Speaker A

eye on that. Corner radius is going to be zero. And now I have that. That's great. And I can resize this just like anything else. Holding down the shift key to constrain proportions. And there you have it. All right. Let me bring my

252:00

Speaker A

properties panel up a little bit so we can see some different choices that I have here. And you'll notice how I can Okay. And then and I'm going to go and resize that holding down the shift key. And then

252:19

Speaker A

don't forget to apply and commit what you're working on. Now let's bring out my properties panel. And we'll see that I have all the options like we saw the color fill. Okay. As well as the ability to then actually change the sides here

252:33

Speaker A

right there on the fly. So I just want to do that. Notice I can very very easily do that. Let's just make that into a six sided shape. Okay, that's great. And then maybe I want to work with a 20 pixel corner radius. Let's

252:50

Speaker A

make that a little bit bigger so you can see it. And that's a nice little shape very quickly and easily. Now, you also have the option to do stars. So, let's take a look at stars.

253:02

Speaker A

So, again, choose your polygon tool. I'm just going to click anywhere. and you will see that there's an option that comes up for how many sides you want.

253:10

Speaker A

Corner radius, same thing. But now we're going to talk about our star ratio if you're planning on doing a star. This is kind of a neat thing. So, how many star sides do I want? How many kind of points

253:21

Speaker A

do I want? So, I'm just going to say 10. It's a nice star. And then I have to say here, well, how is my star ratio going to be in here? You'll see what that looks like. Essentially, it's going to

253:32

Speaker A

be sort of the radius, if you will. Okay. So, I'm just going to say okay.

253:37

Speaker A

And now, just like that, I've created a pretty neat star. Resize it if you like. Change the color if you like.

253:52

Speaker A

Okay, wonderful. Maybe we're even working with gradients. Maybe you're comfortable with gradients at this point. Notice you can very easily apply these. Okay, that's great. Let me just go over here to radial. It's kind of nice. That's even nicer. Awesome. Wow.

254:08

Speaker A

Look how much stuff I can do so quickly and easily just from my properties panel. And then I'm going to go even crazier where I'm going to make this a 20 pointed star. And just like that, it now becomes kind of a cool little sun.

254:25

Speaker A

Okay. So, really, really neat stuff. Okay. Now, what we're looking at here is just an overview, a little review for some of you on shapes. Okay? Now, this is just the beginning. There's so much we can do. All right? These are known as

254:42

Speaker A

vectors. Okay? So, this is a vector shape. So, essentially what that means, just kind of putting it into quick layman's terms, that I can make this as big as I want, and the lines get very, very smooth, right? They maintain their

254:56

Speaker A

smoothness. No problem there. Okay? So as opposed to a bit mapap image as opposed to a JPEG which is going to actually lose some of its resolution if you make it too big bigger than its initial resolution. Okay. But a vector

255:11

Speaker A

image will not lose it. All right. So let's see what we can do now that we have a vector option in front of us here. So let's see what the direct selection tool can do for us. The direct

255:26

Speaker A

selection tool. What that's going to do, it's going to allow us to play with the vector points or path points, right? You might hear them be called. Okay, so all of this, let's say I want to really customize all these little spikes on the

255:40

Speaker A

star to be a little bit less uniform. I can control that, no problem, using my direct selection tool. Okay, not this one, but it's going to be this guy right here. See? And you'll see Oops. You'll see here

256:01

Speaker A

how I get to it. So click on that and it even tells me select the individual points and segments of a path. Right? So these are all called paths. So you also might hear it called path points. So everything gets very

256:14

Speaker A

activated as I do that. Now, if I click directly on one of them, notice how this one gets dark blue and the rest of these are hollow. See that? Hollow. Hollow.

256:27

Speaker A

But this one is solid because I decided to select on that. So, I'm going to go ahead and click it. And then watch me as I click and drag.

256:38

Speaker A

Stretching that out. Okay. The operation will turn a live shape into a regular path. Yes, I want that. So very good.

256:46

Speaker A

Now it's become kind of an official path and a shape giving me all of the power in the world. Now to then play around with this. Let's make it kind of not so perfectly uniform. This is going to go way out here. This one maybe out

257:06

Speaker A

here. Maybe his neighbor is going to be way out here. Okay. So you can see all the things that we can do.

257:14

Speaker A

to manipulate this shape. Okay, let's just go to another one. I just bring this over here. Come back to my regular move tool. And let's just move that out of the way for a moment.

257:29

Speaker A

And let's go over to here. Go back to my direct selection tool. And then when I click on this one, you'll notice it's going to be a little bit different. Okay, it's going to be a little bit different because I have

257:40

Speaker A

curves here. Okay. So, when I click on this one, you'll notice that there's going to be these little guys right there. Okay. These are known as your bezier handles. And by the way, this is a really nice introduction for for

257:52

Speaker A

Illustrator, by the way. So, understanding how the the direct selection tool works and also these little bezier handles. But notice how you have this little option right here.

258:03

Speaker A

And you also have this little option right here. these this is now connected more to the shape itself. But this will actually control the curvature and the sort of magnitude of that curve. Okay?

258:14

Speaker A

As opposed to just like a hard right angle. So if I just simply click and drag this out, notice I'm just kind of making it kind of longer. Okay? Making it sort of bigger. So I'm going to say

258:25

Speaker A

yes again. And this time I'm just going to use this little bezier handle. And then watch what happens to this little curve right here as I do that. Click and drag out like that. And then maybe I want to match this to be out like that.

258:39

Speaker A

And then I'm going to drag drag this guy here. And then notice I can start making a pretty unusual shape very quickly and easily. I just started off with this shape, but then I was able to then manipulate each individual path point to

258:54

Speaker A

make it what I want to be. Okay. So really cool, really easy to work with.

259:01

Speaker A

Okay. in case you want to manipulate your own. I'm going to show you in a future exercise about how we can make our type get converted into shapes. So therefore, you can almost kind of create your own font if you will. All right. So

259:14

Speaker A

let's just do one other thing with shapes before we convert something to a clipping mask. We'll see how we can work with shapes and clipping mask, but we're going to use the custom shape tool. So, I click on that and nothing really

259:27

Speaker A

happens, but you will see that you're going to have an option over here for shape and then showing right now is the most recent shape that I've worked with.

259:37

Speaker A

Okay. So, I'm going to click on the dropown. I'll be able to see all of these individual shape categories that I have available to me.

259:46

Speaker A

You'll also notice I have some legacy shapes and there's even more and more and more hiding in there. Okay, lots and lots of options. And then you'll also notice that under the window menu, you're going to have a shapes

260:00

Speaker A

shapes option right there. And then you can always click on this little flyyou menu and then you can also just organize things in the way that you want to and then even bring in the legacy shapes if you don't currently

260:13

Speaker A

have them. All right. So, shapes essentially these are going to be a little bit more graphic, a little bit more kind of like complete, right? Not so basic versions of different drawings, if you will, right? So, I can just very

260:29

Speaker A

easily bring out some of these and then manipulate them if I want to or just keep them as is. So, this is very beautiful. I love this. Okay. And look at that. Really nice. They've done all the work for me. That's great, right?

260:42

Speaker A

Let me bring in something a little different. Commit to that. Okay, let's just bring in this beautiful rhinoceros.

260:54

Speaker A

Okay, I'm just creating a scene here. You can see maybe this is even the beginning of my logo.

260:59

Speaker A

Photoshop is doing a lot of the work for me. So, this is a shape. So, guess what? I can manipulate this, right? Let's just say this horn. I want to manipulate that. Okay, how do I do that? I just

261:11

Speaker A

simply go right back to my direct selection tool. Notice all my path points now arrive. And guess what? I can then go zoom really in so I can see, okay, what am I selecting here?

261:27

Speaker A

I can go right to that path point with my direct selection tool. And now, bam, I can then manipulate this a little more.

261:39

Speaker A

So, it's a little bit more pointy, right? Maybe going up higher like that. You can go nuts. Maybe you don't even want to see this part here. You can control all that. So, this is a shape that Photoshop created for us as a

261:51

Speaker A

vector, but we're able to control it and own it and do whatever you'd like. Okay, so pretty neat, right? A lot of cool stuff here.

262:02

Speaker A

Okay. So, I now have another image that I'm working with that's over here in this Cuba curves. I'm just going to drag that up into here. Drag that back down here. And I would like to just maybe put

262:15

Speaker A

her inside of this star. Whoa, that's kind of interesting. I can do that. Well, let's just try it out. I don't know. So, I'm going to bring my background up above and unlock her. Just like that. She goes away. And now, guess

262:31

Speaker A

what? I can do a clipping mask with a shape. Right? If you followed along in my last class that I taught for my intro, we learned about clipping masks with basic text and basic JPEGs. But text essentially kind of acts as a shape

262:47

Speaker A

in a way for you to frame your image, however you want to do it. So, if I want to make this clip into this, very simply, hold on the alter option key and click. And look at that. How cool is

263:01

Speaker A

that? Now she is the star. She is living inside of this little sun. And I can do all kinds of interesting things here.

263:08

Speaker A

Let me go ahead and just bring in a solid color background. Let me bring that down underneath.

263:18

Speaker A

Okay, cool. Fun. Maybe you want to go step further. Do a gradient background instead. Okay, you can do that just the same. Have lots of fun with it. and just bring that down below. Okay, little bit of a different look, but you can see how

263:35

Speaker A

you can combine all of that knowledge now to then manipulate your shapes, right? Of course, I can manipulate this now. Again, even if I wanted to now play around with these stars, I can easily do that. Now, bring this up a little more,

263:50

Speaker A

show some of the image, you have all the control in the world to be as creative as you want with kind of minimal effort, you know? Kind of cool. Now I can see more of that image that I couldn't see

264:01

Speaker A

otherwise. Okay. So, what I want you to do is pause the video and start experimenting with shapes. If this is the first time you're working with shapes, start slowly. Work with some of the basic shapes and then see what

264:16

Speaker A

happens when you manipulate it with your direct selection tool and then maybe bring in some of your custom shapes. See what you can do there. Change the colors. Apply a gradient if you like.

264:27

Speaker A

All right. And then just as a bonus, if you want to do something fun like this where you can do a clipping mask, practice that as well. Okay, enjoy and we'll see you in the next video.

264:40

Speaker A

Let's talk about text, baby. Um, we're going to go a little bit deeper than you might have gone with text in the past where we're not going to be doing about topography and letting all that stuff.

264:54

Speaker A

You can watch our intro class on that. We're going to talk about how we can work with type um as shapes and also how why we want to do that and then also how we can work with type on a path as well.

265:09

Speaker A

Okay. So why would we want to do uh type as shape? Number one, you may have your type coming in when you're printing it slightly pixelated. Okay. So when that happens, you want to do what we call creating as outlines or converting it to

265:25

Speaker A

shape. So your printer might say like, "Hey, listen. It's coming a little pixelated. Can you convert them to shapes?" So if I were to try to print this, it's going to look a little jagged or whatever it is just because it reads

265:36

Speaker A

it as like a bit map. If you convert that to a shape, that'll address that problem. That's going to be number one.

265:43

Speaker A

Another reason you might want to do that is to be able to kind of create custom fonts, right? I like this, but I don't love it, so I might want to change it.

265:51

Speaker A

It's a starting point for me. So, you can be super creative and then make your text look exactly how you want it to.

265:57

Speaker A

Okay, so really cool. So, what can we do? How do we do it? So, right now, this is just a regular type that I just typed out, right? No big deal here. Okay, just click on it. Okay, that's great. Now,

266:08

Speaker A

you'll also notice, move my layers panel out here, I have this Photoshop layer. It's a type layer. You can see there that is. Now I'm going to right click on that and you're going to see there's this option here to convert to shape.

266:22

Speaker A

Okay, so if anybody ever says like, hey, create outlines out of it. In Photoshop, this is how you do it. Um, in other programs like Inesign and Illustrator, they literally say create outlines. So I'm going to click on convert to shape.

266:35

Speaker A

And you'll see just like that, it's going to look very familiar if you watched our last exercise about how we worked with shapes themselves. Okay. So now they're all individual shapes. Okay.

266:46

Speaker A

They're not manipulatable anymore as type. Just know that. All right. But I'm going to have all the control in the world now to now just select this, this, and this all independently as individual shapes. And of course, you'll notice how

267:01

Speaker A

I get all these individual path points for me to work with. Okay. So let's just say I wanted to make this H look a little different, right? Let's make it kind of like a metal kind of look, right? like metal, like heavy metal. So,

267:15

Speaker A

if I click on this now using my direct selection tool, notice how I get all my hollow white path points and now I get this solid one. I can just simply click and drag that up. Let's do this.

267:30

Speaker A

Very different look now. Okay, just like that. Okay, maybe make this a little bit smaller. Kind of be a little more fun.

267:38

Speaker A

Okay, cool. All right. So, just a little bit of a different look because now these are individual shapes that I can work with. Okay. So, really cool.

267:48

Speaker A

Excellent. So, just you want to kind of play around with these just the same.

267:52

Speaker A

Now, we have not gone uh deeper into working with shapes in terms of the pen tool. I'm going to show you one little excellent kind of featureette that lives inside of the pen tool and that is to convert points. Okay, we have not worked

268:07

Speaker A

with any of these to actually draw some things. That's a little bit out of the scope of this class, but we may dabble a little bit of that when we get into our advanced selection. But we're going to

268:17

Speaker A

do here is convert the point. What does that mean? Convert the point. Let's say I want these to be rounded. I don't want them to be this kind of like hard angle.

268:27

Speaker A

So, if I click on convert point and then I click and drag on this, I've now got a nice little bubbly.

268:35

Speaker A

See that? Now it's going to look like that. Okay. And then maybe you've converted that to a microphone. Cool. That's going to be kind of fun. Or maybe you're going to make it into a paintbrush, something like that, right? Whatever you want to

268:46

Speaker A

make it to kind of communicate what you're trying to communicate. Now I'm going to hold down the shift key. And now I select both using my direct selection tool. This is selected and this is selected. And I'm just going to

268:59

Speaker A

use my arrow keys. Bring that down. Bring that up. Okay. Just see how much control you have over this now that we've converted it to a shape.

269:10

Speaker A

So you can be super creative with this. Now these are still seen as a group. So in order to actually like excise these kind of excavate them from this whole group, you would need to put them on their own individual layer. So, if I go

269:28

Speaker A

over to here and I just say the path selection tool and I select one of these shapes, notice I can go ahead and select it. Okay? And the path selection tool is living in with the direct selection tool. Selects the whole shape inside of

269:42

Speaker A

here. And then I do something that maybe some of you know already. I go to layer, new, and then layer via cut. It then will create its own layer for that object. because otherwise if I don't do that um if I make a change to this it

269:58

Speaker A

changes all of them. So as an example if I click on this right now when I make this its own color I can now do that. If I choose let's just say this layer here with all my other

270:11

Speaker A

letters. Okay. And I make a change to it. It changes all of them. Do you see that? So what I need to do is now just extract this out. So I'm going to go back to my path selection tool. I click

270:23

Speaker A

on let's just say this P. Go over to here to layer new and then shape layer via cut. And this is a good keyboard shortcut to remember. And now see this is going to be separate. So I might want

270:34

Speaker A

to actually name these if that's going to be the case, right? Just to make that a P. Okay. And then I can change the color of this. So I can have all the control in the world now to make each

270:46

Speaker A

individual letter its own individual color. And I can go ahead and move it someplace else. I can have a lot more fun with it because they're all now going to be kind of separate from each other. I can rotate it, you know. So,

270:57

Speaker A

you can actually kind of cheat treat them like shapes, but it's going to spell something out. Okay. So, next level thing we're going to do is work with um type on a path. And you can see type on a path is relatively

271:11

Speaker A

straightforward working with Photoshop um as opposed to other programs where you actually have to actually activate u type on a path. So, what is type on a path? I have a little path here and I want to put some type on here. Okay. And

271:24

Speaker A

your path could be anything. If you know how to actually draw out some paths, it might be around a mountain, a cloud, a star, something like that. We're going to keep it nice and simple for right now. So, I'm going to just choose my

271:36

Speaker A

basic type tool. And you're going to see I'm just going to kind of zoom in a little bit. You're going to see as I move my mouse with my type tool over the shape. Okay, let's go ahead and just

271:48

Speaker A

make this shape active. And I move my mouse over it. You're going to see very faintly a little circle. And then as soon as I move my mouse right over the edge, you're going to see a little wavy

271:56

Speaker A

line. I'm just going to go ahead and click. And you say, whoa. What does that do? It brings in a whole bunch of type based off of whatever the last font size I chose. And it also brings in all this

272:09

Speaker A

Lauram Ipsum. You may have seen this before. So, I want to use this as sort of a teachable moment to come back to our preferences. So, you can see maybe I don't want this coming in. So, I'm going

272:21

Speaker A

to go ahead and just hit escape and undo. So, you can see back to edit and then preferences. There's an option here for type. And if you don't like all that Lauram ipsum, you can see here is fill

272:36

Speaker A

new type layers with placeholder text. So, if you don't want that, go over here to the type tab and then just uncheck that and it will no longer come in. But sometimes it's a good idea because like for me, that font came in really big.

272:51

Speaker A

So, it's at least a label to know what it was. But just know that you have the option to turn that off if you like.

272:57

Speaker A

Okay. And also just keep in mind what size font you're going to be applying right when you create the type the text box. So, I'm just going to go ahead and click. And then I'm just going to say

273:07

Speaker A

around the world with Photoshop. Okay. And this is now text that I can easily highlight, change the color of it, whatever I'd like to do. Maybe I want to change use it to the same color here. Or you can put all

273:26

Speaker A

kinds of different things on here if you like in terms of a stroke, right? Drop shadow, all that good stuff. And now here comes the little bit of a tricky part. How do you move it around and around the actual shape itself? We're

273:40

Speaker A

going to come back over here to our direct selection tool. And I want you to notice that when I select it, I can find this. Oops, not that one. Okay, I'll be able to find I told you it was tricky.

273:52

Speaker A

Okay, you're going to see that there's going to be like a little arrow right there that appears. A tiny tiny little guy right there. You can barely see it.

274:00

Speaker A

It's like a little triangle that tells me where it's going to begin over here.

274:04

Speaker A

You can see now that little line appears. Then it also shows me over here as I'm clicking and dragging. Look to the left like kind of where the equator is. This is going to show me where it's going to end. Kind of disappears a

274:16

Speaker A

little bit. Okay, this is a very unintuitive way that they're doing things, right? So you can see, okay, things kind of like disappear on me.

274:24

Speaker A

Okay? Because things got a little bit too um sort of short for it. So the text box essentially got a little bit too short. So we want to kind of play around and understand that it's it's conforming to whatever kind of text you have

274:41

Speaker A

beginning and also ending. Okay. So if you have any extra spaces there, just kind of play around with it to understand what it's in fact doing.

274:50

Speaker A

Okay. But you can control that nicely and easily and you can do all kinds of great things working with type on a path. All right. And let's just do one last set of options here. Going to draw out

275:06

Speaker A

another set of options. Working with Photoshop. Make that nice and big. And by the way, good keyboard shortcut. What I'm using right now is control shift and then like the little right arrow or the period.

275:26

Speaker A

And you can see that actually will make the text grow in real time so I don't have to use my pesky old mouse. Okay, love that. There that is.

275:38

Speaker A

And now I'm going to select my type and go over to here to this option that you may have chosen to ignore to be able to do some warping of my text. I click on that and you're going to see that there are some

275:54

Speaker A

presets that you can say, listen, I'm going to just do a little arch. Maybe not so much. Bring that down a little bit. Okay. Maybe you want to distort things a little bit. kind of make it kind of superhero style. Absolutely, you

276:09

Speaker A

can do that. Try another one. Let's just do bulge. Okay. Again, make that grow a little bit. Bring that in. Kind of even it out a little bit. Great. And again, this is one of those things where you

276:21

Speaker A

just do spice to taste. How you want to kind of have it at the end. You can always come back to it. No problem.

276:29

Speaker A

I click okay. Click away from it. And you'll notice that unlike working with shapes, this is still type, you know. So I can treat it as type. I can come back here and I can just add on a little

276:41

Speaker A

exclamation point if I want to. Great. I come over to here. I can add in maybe a little bit of a stroke, drop shadow, all kinds of different things here very easily.

276:52

Speaker A

Okay, there that is. That's great. Going to keep that there just for the sake of the exercise. And then again, if I decide I want to play around with this again, I can just double click on the T,

277:03

Speaker A

go over here to my T again, and then play around with it and maybe do something completely different.

277:11

Speaker A

All right, so again, pause the video, play around with this. Notice that you have all the control in the world to be very creative with type, making them into shapes and understand the reason why we do this is for visual and graphic

277:25

Speaker A

elements, but also for when you're sending it to the printer, so you can have cleaner edges as well. Okay, so have fun, play around, and we'll see you in the next exercise.

277:36

Speaker A

Welcome back everybody. Hope you're enjoying your exercises. In this lesson, we are going to cover 3D text. How do we convert our text, our type into 3D? First thing I want to tell you, it's a good idea to use a font

277:55

Speaker A

that's going to be nice big and blocky like this before you convert it. So, if we take a look, our font is luckiest guy. You can see that's what I'm using right there, but you can use the font of

278:05

Speaker A

your choice. So, how do I make this into 3D? Very simply, we're going to just doubleclick on the T. That selects all the text. And you will see that I get this little option here that says 3D that I can now activate. So, I'm going

278:20

Speaker A

to click on that. And what it does is it automatically takes me into this 3D space. Okay, this 3D workspace. Maybe some of you have seen this before. When you click on this little dropown, there's an option for

278:35

Speaker A

3D. Probably never really had a need for it. Now you do. All right. Now, what we're going to do is we're going to just stay within the properties panel because working with all this stuff here, right, to move it around and click and drag it.

278:50

Speaker A

As tempting as that may seem to do that, it can actually be not super intuitive and very clumsy. So, we're going to use all the options here and a couple of the options here to play around with 3D. All

279:03

Speaker A

right. So, the first thing you'll notice again is my properties panel. And you'll see that there are these tabs up on top that I can then play around with. And there's a few other options down below that correspond to whatever those tabs

279:16

Speaker A

are. So, let's just see what I can work with. First of all, there is this shape preset for my 3D.

279:24

Speaker A

Okay. So, that's pretty cool how it comes in right now, but I might want to do a totally different one. You can see there's a whole bunch of ones that are a little bit crazier, a little bit kind of

279:32

Speaker A

like twirly and things like that. I click on this, you'll see slight change. Slight change. Slight change. I'm going to go over to that one. A little bigger of a change, right? No thanks. But the options there if you want them. I can

279:46

Speaker A

very easily go right back here. Right. You'll also notice that I can adjust the extrusion depth. Right? That's what this guy is here. That guy over there, the light gray that I see. So if I now just bring this out like that and notice how

280:02

Speaker A

it gets more extruded. Okay. So pretty cool. So great. So I'm going to make it go just a little more out like that. A little more three-dimensional, right? A little more visual interest, a little more depth.

280:16

Speaker A

Now over here, I can change the color of this. So of the foreground. So let's just change this to this nice color green. You'll see how it changes right there on the fly. Love that. Just make sure your intensity is at a place where

280:30

Speaker A

you want it to be. Okay? Because it could sometimes for whatever reason just kind of be up here or down there. So, I'm just going to make that maybe like that. Of course, I can always come back and change it. So, that's going to be my

280:43

Speaker A

foreground there. No problem. All right. So, I'm pretty cool here. Just notice also if I wanted to, I can edit the source. And let me just show you what that's going to do. If I click on that, that's essentially going to take me

280:54

Speaker A

right back to my font here. And if I wanted to change this to Rome or the coliseum or piaza or pizza or whatever you want to do, you can easily change that. Now, what you may not notice is

281:04

Speaker A

that it actually creates a new tab with a new file, which is this PSB file, which that's essentially just kind of spitting out kind of a temporary thing for me here. So, I don't need that. Just going to go ahead and say close

281:18

Speaker A

because I'm not making any changes. I'll just say yes anyway. And then it takes me right back to where I was. Okay.

281:23

Speaker A

Okay. So, in case you are making those changes, just know it's very subtle. It creates a new tab here. So, let's continue on with our properties. Let's go to here and notice where am I? I am in my deform. All right. So, what do you

281:37

Speaker A

want to do here? So, here's another option for my extrusion depth. All right. So, it's doing that. All right.

281:44

Speaker A

That's kind of cool. Yours may be doing something a little bit different because potentially you have a different set of elements here. like you maybe are adding on your twist, right? Oh, that's kind of fun. Or maybe not so much, but you can

281:56

Speaker A

see. All right. Welcome to Italy. Okay. The home of the pin wheel. All right. I'm going to bring that back to zero. And taper might be something you're interested in because it does that. Or it can do that, which I really

282:09

Speaker A

like. See that? It's kind of like and then it's just sort of like a superhero.

282:14

Speaker A

Let's bring that down a little bit. Notice what I'm doing. So, but totally up to you. You have those options, whatever you'd like. All right. And then you can experiment with some of these as well because notice how you can play

282:25

Speaker A

around with which is it the X or the Y in terms of the angles that it's coming in. You can kind of control each of those. You can see that's going that way. Let's come this way. I'm just using

282:38

Speaker A

my my mouse wheel. You can see maybe you want it to point down that way. So it's left, right, up or down. Again, you have that kind of control over how your extrusion's going to go. All right, let's come back up. And and by the way,

282:52

Speaker A

again, here's your presets one more time. Let's come over to this tab. Cap. And cap is essentially like I have a little bit of a cap on mine since the last time I worked on this. But let me

283:02

Speaker A

just show you what it's going to look like. And we can play around with different ones.

283:09

Speaker A

You can see how we add a little bit of thing there. We can just add on more or less.

283:18

Speaker A

Bring that down to whatever. Essentially, what this is doing is playing around with this kind of a bevel effect. Again, do you like that or not?

283:26

Speaker A

Play around with that. Okay. You can see, oh, that's interesting. A little more sort of chiseled, if you will. And there are some presets.

283:35

Speaker A

Love them or hate them, they're there. Okay. Kind of neat. And then also it's asking me, well, what which one are you playing around with? The front or the back or the front and back? So you have some consistency. Again, play around

283:48

Speaker A

with that. So it's looking pretty good. And now that I've had a few more kind of width and angles that I play around with, let me just go ahead and just play around with the strength of it. And

284:00

Speaker A

again, the angle now a little bit more. A little bit less. All right. very much spice to taste with this, but it's really understanding how to work with these things. All right, try not to go too much on the canvas, like I said,

284:12

Speaker A

because that will just make you go crazy because doesn't work very well. All right, so let's go. Well, it works, but it's just not super intuitive. And that's where this part comes in here.

284:23

Speaker A

And that's the coordinates because that's really the part that kind of throws people because when you try to go over here, you try to like click and drag and do all kinds of stuff over there. It's when it it doesn't really

284:34

Speaker A

kind of do what you expect it to do in my opinion at least. All right. So, that's why I like to work with these areas here. So, let's just see what this is going to do to see. I can make this

284:44

Speaker A

go left, make it go right. You can see I'm just moving it, right? Moving the X, moving the Y. Like I said, it's up and down or left and right. And you'll see what the Z does is like, oh, it's just

284:55

Speaker A

coming at you. Cool. Just kind of making it grow a little bit. That's your Z-axis. Let's take a look at our angles now. See what does this do.

285:08

Speaker A

All right. And let's see what this does. Oh, okay. Things are starting to get a little more interesting, right? You can start to see the sort of three-dimensionality of it. So, let me just change this to like 25. You can see

285:21

Speaker A

that. Let's change this to maybe negative 25. Oh, interesting. Do I like that? I don't know. Let's just bring that down to maybe 10. And let's just bring this down just to 10.

285:38

Speaker A

Cool. So, got I got something happening here. All right. And of course, you can come back and change it if you don't like the twist. Whatever it is, just know what your options are and how we can play around with them. All right.

285:50

Speaker A

This one is just going to be our scale. You can see dimensions or percent, however you want to do that. So, you can see All right. that's coming in like that or that's coming in like that depending on which part you're looking

286:03

Speaker A

at, right? The X or the Y. You can see they all kind of work together in unison and very easily you could reset it back if you like.

286:12

Speaker A

Okay. And then finally, you'll see here I can play around with different elements on here as well. So you can see paint system, texture, projection, right? Okay, that didn't go very well.

286:25

Speaker A

So, I'm going to come right back to what that is. And you can see how it also kind of like messed with my computer system a little bit. This does take a lot of processing power. So, just understand that.

286:37

Speaker A

Okay. Now, I would like to change maybe this little green area here. Okay. So, I want to actually play around with what we're looking at as the Italy extrusion material. So you'll notice how as I choose these each individual one, okay, I'm going to

286:57

Speaker A

get different choices depending on what I want to work with. So all of these are their own kind of individual set of properties. We've been looking at all of Italy right here. So that's actually adjusting everything. All right. But I'm

287:12

Speaker A

only going to work with this extrusion material. And you'll see that I have some options like glow, metallic, roughness. And again, this is going to be very much spice to taste. Play around with whatever is going to work for you.

287:24

Speaker A

But let's see what we can do if we change, for example, some of these presets. And I just changed this to like gold.

287:34

Speaker A

You'll see just like that that changes here. And you'll see that there's my base color, my interior color. Okay.

287:40

Speaker A

Kind of neat. Let me just go and bring up the glow a little bit so I can see.

287:45

Speaker A

Oh, that's kind of neat. So, I want a little more metallic. the roughness. See what the height does. Some of these things are not going to do too much.

287:59

Speaker A

Okay. Let's just see what the translucence is going to do. Oh, interesting. Okay. So, just kind of play around with these things. Density.

288:13

Speaker A

Combine some of these things here. See what they do. All right. So, I'm good to go with this. I love this. This is great. I want to bring this back to where I was before. So, I'm just going

288:25

Speaker A

to simply go back to my layers. I'm going to click on my background layer.

288:30

Speaker A

And now, here I am back here. And I can see here's all my layers, right? I'm still kind of in this 3D mode, more or less. So, what I'm going to do is I'm going to rightclick on this Italy layer

288:43

Speaker A

and I'm just going to say rasterize. You could say render 3D layer. That takes a long time to do it. Okay. And you'll see that you might actually have a little more options to do that. And then it's

288:54

Speaker A

actually give you special kind of format for it. But for our purposes right now, you're essentially going to get kind of a good deal with this, which is saying rasterize 3D layer. And then it takes me to that and it's great. Right. So, it's

289:06

Speaker A

no longer I don't have the ability to then like play around with it anymore.

289:10

Speaker A

I'm pretty much committed to this because what I want to show you you could do is you can now play around with individual parts of this if you like.

289:18

Speaker A

Okay. So, like let's say I wanted to put a stroke kind of something subtle on this or something else on this kind of little foreground here. I can do that.

289:28

Speaker A

So now that I have made this into a rasterize object, I'm able to now maybe isolate certain parts of this to maybe have some more control over it. You know, maybe there's different elements you want to do to this. Maybe you want

289:41

Speaker A

to change the color of each individual thing here. Maybe you want to put a stroke on it. That type of thing. All right. So with my Italy layer selected, I'm just going to very easily go to my quick selection tool. And then you can

289:52

Speaker A

see I can just very slowly and carefully select that and then hold down my actually it might even be better to do my magic wand tool since they're all kind of green. Bring down my tolerance.

290:14

Speaker A

Bam. Bam. Bam. Holding down the shift key. That's great. All right. So now what I could do in this case is now rightclick on this and just say say layer via copy or layer via cut. I'm just going to say copy. I now have a new

290:31

Speaker A

layer there. And then I'm able to do all kinds of different things with this one separately yet while still maintaining my 3D. So let's just see what I can do.

290:39

Speaker A

Let's just add on a stroke to that. That's kind of cool. I like that. Let's make it even thicker. Let's see what that does. Let's bring up the opacity.

290:47

Speaker A

What does that do? All right. Maybe you want to just do all kinds of different things. Put a blend mode on there. Fill type. Maybe you're going to work with a pattern. Right? So, whatever. Just go crazy with whatever

290:58

Speaker A

you want to do. But just know how I have control over this, right? Completely separate from what I did underneath there. All right. So, again, I'll just leave that.

291:11

Speaker A

And I'm pretty much good to go. I'm very happy with what I've done here. a nice 3D which I can now move around together.

291:21

Speaker A

Move them around. Notice I have a nice little shadow there. And I can maybe take away the stroke if I want to do that anymore. Actually, I kind of like it without the stroke. Great. 3D type very easily once you understand how the

291:36

Speaker A

system works. All right. So again, just want to repeat, try not to work with the stuff that's in the middle with the click and drag because it will be, in my experience, kind of an exercise in frustration. Just use those tabs there.

291:49

Speaker A

But have fun. Love to see in the comments what you've done with this. Take a break, pause the video, practice it. Remember to start with some big blocky text, and have fun. See you in the next video.

292:05

Speaker A

This next set of videos is going to be about advanced selection. Okay, we've probably seen how we can do selection with our marquee tools and with our lasso and with our quick selection tools and, you know, our magic wands and all

292:20

Speaker A

that good stuff here. Sometimes you're going to be combining one with the other. So, I'm going to break out this lesson segment into two um where we're going to actually show you one type of advanced selection tool and then I'm

292:32

Speaker A

going to show you how we can actually work with selecting hair um using something that's called the smart radius. Okay. So, let's just first see what we can do to kind of have a little bit more precise and smoother selections

292:44

Speaker A

for our objects using something called paths. So, we're going to start off just by using a regular selection. Right? So, I'm just going to just kind of do a little sloppy, very quick selection using my quick selection tool. And

292:58

Speaker A

that's a nice size. And you get a little bit too much there. Don't worry about it. I'm just going to go ahead and bring that in over there. Maybe you want to zoom in. I'm going to hold down the

293:07

Speaker A

option key. And then notice how the option key brings in my selection. I'm going to go very slowly, very methodically.

293:16

Speaker A

Okay. And again, I'm not going to worry about getting it super perfect for right now because we're going to use the next tool I'm going to show you. All right.

293:24

Speaker A

So, what we're going to do next is we're going to learn about how we can use path points to be able to have a little more precise and smoother selection. Okay.

293:35

Speaker A

So, path points. So, earlier in our lessons, we worked with shapes. Okay. But this time, we're going to make this little selection into shapes so we have a little more control.

293:46

Speaker A

over this sort of like kind of atomic level of each individual point of what's happening here. Okay, so it's not doing like that great of a job. Okay, but it's doing okay. But if you really zoom in, okay, there's like kind of problems

294:00

Speaker A

here. So, we're going to want to manipulate this selection to be as good as it could possibly be. All right, so how do I do that? We're going to bring up our paths layer, excuse me, our paths panel to be able to do that. If yours is

294:13

Speaker A

not up, just go over to window, bring up paths, and then there you have it. Now, right now, there's no paths. What we're going to do is we're going to convert this selection to paths. You'll notice that there's an option right here. Move

294:25

Speaker A

your mouse over. It says make work path from selection. Hm, it's weird. What does that mean? So, I click on that and you're going to see, oh, interesting.

294:37

Speaker A

Looks like a bunch of shapes all over Phto's body. Okay. So, what I can do is I can actually manipulate it a lot easier than I could with my quick selection tool and everything. Uh, excuse with my quick selection tool.

294:49

Speaker A

Now, I'm going to go to my direct selection tool to then really get very, very precise with my individual selections. See that? Even added on some extra things. Maybe I don't need some of those. So, we're going to learn some of

295:04

Speaker A

our pen tool options to be able to manipulate those. You see some things it got, some things it didn't. So, just notice what I'm doing here. I'm just using all the things that we learned about how we manipulate shapes.

295:18

Speaker A

Now, for an individual selection, if you're not comfortable yet with the keyboard shortcut of the space bar, this is really the time to use it because we're zoomed in and we want to be able to move around here. This is our hand

295:31

Speaker A

tool. It's a nice quick, easy access to get to the hand tool. So, I can click and drag, move this around, and only get the stuff that I want. I'm going to really zoom in and say, "Oh, wow. I got

295:41

Speaker A

a lot of extra stuff here. I don't need a lot of these little path points." So, I might want to get rid of them. And guess what? I can go back over to my pen tool. I'm going to say delete anchor

295:52

Speaker A

point. And then just get rid of it. Get rid of it. Get rid of it. Okay. And get rid of it. Okay. Well, I got a lot of stuff here. Things are going a little crazy. No problem. I'm just going to

296:03

Speaker A

just really minimize how many I have. See that? Now it's just a straight line.

296:08

Speaker A

Then I can control it. Coming right back to what I want to work with. Okay. So again, just click click click. Get rid of it. Get rid of it. What don't you want? Just trimming the fat. And then

296:23

Speaker A

maybe I'm going to bring this in a little bit. understand the difference between the round grabbers right there and the little anchor points right there. Remember the little round grabbers are going to be the bezier handles and that's going to affect your

296:38

Speaker A

curve a little bit. Okay. Again, I don't need this. So, just delete all your squares you don't need.

296:47

Speaker A

Okay. And maybe bring this in. So, I could be here all day doing this. Okay.

296:52

Speaker A

I'm also going to get rid of these. Hit the delete key. Don't need any of this stuff here. Hit the delete key. Just marqueeing over that using my direct selection tool. Okay, that's great. Now, okay, of course I can be here all day.

297:03

Speaker A

You certainly don't want to watch me doing this, but just know how easy this is and how effective this is going to be. It's going to take you a little bit of time to get that level of of

297:12

Speaker A

perfection, you know, but it's going to be absolutely worth it to make sure you don't get too much, not too little, the way that the quick selection tool allows you to do. It's somewhat limited. So, this is going to really give you that

297:26

Speaker A

granular level of selection. You see that? I got a little bit too much. Great. Bring that in. Bring that in.

297:34

Speaker A

Okay. And then bring this out. Okay. Look at that. It missed an entire segment there because I'm now at like 230%.

297:41

Speaker A

I can now really really get what I want. In the next exercise, I'm going to show you how we can work with all this hair.

297:48

Speaker A

Let's not worry about that for right now. And let's just say we are very satisfied with what we've done. And what we're going to do is now we're going to convert it back to a selection. So earlier we were at the paths panel and

298:04

Speaker A

we clicked on this. Now we can't because we're currently in the path. So we kind of do its counterpart here which is load path as selection. It's kind of the opposite of what we just did. I click on

298:15

Speaker A

that and it's going to take the new and improved path and make that back into our little marching ants for a selection.

298:22

Speaker A

Okay. And then just kind of click in this gray area so you don't see the path part anymore. Okay. And then that's going to be a lot better for me to work with to do the thing that I ultimately

298:32

Speaker A

want to do, which is to create something like this. And I'm going to be creating an adjustment layer of just that selection. So it says, "Hey, listen.

298:41

Speaker A

make everything black and white except for Photo over here. Okay. And it's going to be nice and easy to be able to do that when I have a nice little selection for me to work with. Okay. So, we're going to be doing um in the next

298:54

Speaker A

exercise kind of part two of this how this works, but then using our um our smart radius. So, if you want to if you want to practice doing what we've done, but what I'm going to do is actually

299:06

Speaker A

save this selection, I recommend you doing that as well by going up to select and then you can save the selection down here. And then just call this dog selection. So that way you can always come back to it if you need to.

299:26

Speaker A

Click okay. And now that's going to be there. Now, if I accidentally deselect, I can always go back to select, load selection, and then there's my dog selection, and it comes right back. All right, so just take a few

299:42

Speaker A

minutes, take a break here, pause the video, and then practice using your paths panel and then also you're working with the combination of your direct selection tool and then also your deleting anchor points, right? to be able to um delete some of those anchor

299:59

Speaker A

points that come in that you don't necessarily need. Okay. And then convert it back to our selection and then save your selection. And then we'll come right back and we're going to work with the smart radius tool.

300:16

Speaker A

Okay. So, let's continue on with our discussion on advanced selection. And this is going to be with selecting hair and then going into our select and mask set of options here. So if you click on select way up on top you're going to see

300:30

Speaker A

here is the select and mask options. And that's going to get you a little bit deeper in terms of the types of things that you can select how you want to select them. Right? You can go a little

300:39

Speaker A

bit deeper with smoothing your selection, feathering out your selection, some shifting of your edge.

300:46

Speaker A

Okay. Lots and lots of options here. So the way I'm viewing this right now is very much like how the object looks, but I want to be able to isolate the object from its background. So if you look over

300:57

Speaker A

here in the upper right is the view option. What I want to do is actually make it so I can either look at my marching ants from how I started. I can go to my onion skin, right? So I can

301:10

Speaker A

kind of see a little bit of the background but mostly the foreground so I can see like, okay, how much of an edge is really happening here? Maybe you want to check out just doing it on black, not black, of course. So, you can

301:21

Speaker A

actually adjust the opacity on that. So, totally up to you. Everybody's got a little bit of a different preference.

301:28

Speaker A

Now, let's just play around with some of the basic tools. Maybe just one or two things is going to do it for us. So, notice how the edge of his hair, right, it's not super kind of like natural. So,

301:40

Speaker A

let's just see what we can do to play around with that. And then notice here is this option under edge detection.

301:46

Speaker A

and radius and also the smart radius options. So, let's just go ahead and click on smart radius. I want you to kind of keep an eye on the edge of of his fur as I do that. I click on that

301:59

Speaker A

and then I'm going to bring up the radius just slow and steady. Notice what it looks like now. Let's bring it back to what it looked like before. Bring it up again. Even more so. Okay, you see that? doing a pretty good job, right, of

302:16

Speaker A

edge detection, right? It's getting it. Now, you'll also notice that there's some other really helpful options, including refine hair and then also just some basic refinement of the edges if you need to do that. Okay, so mine's actually looking pretty good up until

302:32

Speaker A

this point. So, do I want to mess with it? Maybe, maybe not. But I'll just kind of give you a little preview of what we can do. If I click on that now, notice how that refine hair, it went a little

302:43

Speaker A

bit crazy, right? I don't want to do that. Like it kind of like overdid it.

302:47

Speaker A

And watch watch as I have do that. Oh, okay. You know what? Didn't need to do that because Photoshop sort of misinterpreted things. But I could also come over to here and I could say refine the edges, right? If it's not coming in

303:00

Speaker A

how I want it to, let's just bring in a little more kind of a wisp. I can do that, right? I can bring those things in or take them away. Notice that the size of the brush will also kind of help me

303:11

Speaker A

out with the strength of that. But it's really actually done a pretty great job for me. So, I'm not going to change this at all. I love how this is, but just know what your options are and you're

303:21

Speaker A

good to go. And it's done a nice job. So, I'm going to click okay. And remember, my goal is to get it to look like this. How do we do that? We're going to use an adjustment layer. And I

303:32

Speaker A

want to make sure that the actual selection is going to be good for something like this. Okay. So, let's now go ahead and choose our adjustment layer to apply this.

303:49

Speaker A

A Now that I have your attention, let's talk about masking. This guy wants to be more ferocious. So, some of you may remember from our last class for the intro to Photoshop, we made this guy into a lion or part lion, part dog or

304:06

Speaker A

part dog, part lion. And we did that using masking. Okay, masking is an incredible tool that you can use to replace having to erase something because remember that masking is not permanent or erasing something is permanent. You can always bring it back.

304:24

Speaker A

And recall that there are two elements. There is black and there is white. And we will apply it using a brush tool. And then sometimes using now the gradient tool. Okay. But essentially we want to understand that we have black and white

304:46

Speaker A

color to work with. Now, occasionally you're going to have gray that enters into the mix because black and white also consist of gray. Okay? So, that's going to make it reveal slightly. So, you're going to get a nice little

305:01

Speaker A

surprise when you work with those. Okay? So, with gray, with gradients, okay? And also maybe modifying your brush somewhat. So, let's do a little review on how we can do some basic masking. And you will see not only is this going to

305:15

Speaker A

help you for what I just talked about as far as um replacing the erase option, but it's going to help you when you do adjustment layers to be able to control how much of that adjustment layer you're going to show. And also when you're

305:28

Speaker A

working with filters, okay, some of the filter you want to show. Let's say if you want to do a blur filter or a black and white filter, certain parts you don't want to be black and white. So you

305:38

Speaker A

can go ahead and mask that out. All right. So, white is going to conceal where black is going to reveal. Now, think about with masking. I'm going to say this again in a little bit, but I want you to think about masking as a

305:51

Speaker A

blindfold that then gets put onto an image, but then if we poke a hole in it, it becomes a mask. That's really what we're talking about here. Okay. So, now let's go ahead and place in the image that we want to mask with this little

306:05

Speaker A

puppy here. All right. And earlier, if you recall, I made a keyboard shortcut for placing, right? How did I do that?

306:13

Speaker A

Anybody remember? You go to edit keyboard shortcuts. You can see I can place by going to file and then where was that again? Place embedded. Right?

306:23

Speaker A

So, if you recall this, I made a keyboard shortcut to be able to do that.

306:27

Speaker A

Maybe you did that as well. So, I'm going to use that because I love that and it takes way too long to do everything else and remember it. So, I'm just going to do control shiftp. That places it in there. Wonderful. Bring in

306:38

Speaker A

my little lion's face. Okay, that's amazing. And now also see that when I bring it in, not great that I have these little frames here. I don't want that.

306:47

Speaker A

So, I'm going to do shift and alt or option if you're on the Mac. And then click and drag from the corners. And just notice how it grows out from the center. Okay, perfect. Just like that.

306:59

Speaker A

All right. And then I'm going to commit to it. Wonderful. And I'm good to go.

307:04

Speaker A

Now, let's apply our mask. So, how do we apply a mask? Very simply, we're going to go right to the layer that we want to work with, right? We're going to work with the lion's face, and then I'm going

307:14

Speaker A

to apply a mask onto that layer. So, very simply, let's click on the mask. And then there's my blindfold. See that? So, it's still concealed. I want to be able to reveal by just going right into there to be

307:30

Speaker A

able to do that. And remember, it's black and white. using my brush. So, I'm going to go to my brush tool or just hit the B key and just kind of check all my mirrors and everything like that, making

307:39

Speaker A

sure everything's okay. I'm going to look at my opacity to be 100%. I'm going to make sure that my hardness is down to zero, okay? Because that's going to make it so it's a little bit more sort of

307:49

Speaker A

gradual, right? So, it's not a very sort of abrupt little shift from whatever is going to be concealed and revealed. But that's entirely up to you. You can change all these things if you want to.

308:00

Speaker A

So, I'm also going to switch between black and white. I'm going to give you a nice little shortcut. See, there's this little arrow right there, this little kind of button hook. It even tells you switch foreground and background colors.

308:11

Speaker A

And then, oh, there's an X right there. What happens when I hit X? Oh, that's kind of neat. And for some of you, this might not actually be the colors you want it to be, right? Let's just kind of

308:21

Speaker A

choose like this kind of color there. And like, oh, that's not what I want. If you hit the D key as in default, right, that switches back. Or you can also hit this guy right here. And if you move

308:33

Speaker A

your mouse over it, it will tell you that it is D for the keyboard shortcut.

308:40

Speaker A

Okay. Well, let's have some fun making some sweet little doggy a little more ferocious. So, bam. I have my brush here. I have my two colors that need to be switched now. So, I can then reveal.

308:54

Speaker A

And I'm just going to simply click and drag to reveal. Oh, look at that. There he is. Okay, now I have a noeyed little lion there with a weird looking face. Okay, but if I decide to change my

309:08

Speaker A

mind, go that that didn't go well at all or like I just kind of hit the wrong spot, something like that. Oops. No problem. I can just switch right back to white and I just hit the X key again on

309:17

Speaker A

my keyboard to be able to do that. And I just bring that back. I can bring back the dog, bring back everything. Excuse me, bring back the line in this case.

309:24

Speaker A

All right. So, no problem there. But let's just go for it. I'm just going to hit the X key again. So, I can then just smooth out just a middle part of the line. Doesn't have to be perfect because

309:35

Speaker A

remember, none of this is destructive. I can always bring that back if I need to.

309:40

Speaker A

All right. So, I'm just going to do my best. Then, I'm going to come over here to my background layer. I'm going to unlock it. And so, I'm able to move it.

309:47

Speaker A

I'm going to hit the V key on my keyboard to get to the move option. Or you can always just hit the move tool here. I'm just going to nudge it with my arrow keys. So then I can just say,

309:58

Speaker A

okay, great. That's starting to look pretty cool. Pretty ferocious. Very nice. Okay. And maybe I want to finesse this a little bit. So I'm going to go back to my mask, go back to my brush, and then what might I want to do? Like,

310:13

Speaker A

oh no, that's a little bit too much. So I hit the X key. actually kind of want to do the opposite. Just make it so like the dog's face is really blending in nicely with the mane. See that? So it's

310:25

Speaker A

like it's one item here, one unit. So it's really sort of his face is growing right out of the main, her main.

310:36

Speaker A

Okay, very good. All right, great. So I love that. Now, let's say I want to just kind of tinker with this a little bit. I can very easily say, "Listen, you know what? I'd rather have the dog have the

310:47

Speaker A

lion's eyes and do something a little more interesting." So, super easy. Let's go ahead and just click and click. And wow, dramatically different. Just think about how you can do this, right? Like maybe you're bringing in somebody's face

311:00

Speaker A

on top of somebody else's face. Maybe you're doing a logo onto a shirt. Maybe you just want to just put yourself inside of, you know, a a dreamy landscape. Something like that. You can very very easily do that just by poking

311:14

Speaker A

a hole through whatever you're in to then bring it into whatever is underneath it. Okay, let's try doing the opposite. Let's go ahead and just bring back the sweet eyes, but then let's bring in the lion. So, we're just going

311:28

Speaker A

to have a sweet little sad lion instead now. Kind of like that. Okay. And I'm going to just make that so it's just blending in nicely. And then leave it at that.

311:41

Speaker A

that's the pet that you want to take home with you and he's also going to protect you and cuddle with you. Okay, very good. So, that is just the basics of masking. Now, let's talk about gradient gradient masking. All right, so

311:53

Speaker A

let's just bring up an image. I'm going to bring up this uh door knocker and then I'm going to place another image on top of it. So, I'm going to again do my control shiftp. All right, and I'm going

312:03

Speaker A

to bring in this incense. And now they're right on top of each other. going to unlock this and bring my door knocker on top of my incense layer. Now, let's see what I'm going to do here. I'm going to do another type of masking. So,

312:16

Speaker A

I'm going to apply a mask here, but this time what I'm going to do is use the gradient mask. Okay? So, gradients just by definition go from one color to the other and then Photoshop kind of fills in that color of everything in between.

312:32

Speaker A

Right? All right. So, if I'm going to go from black to white, it's going to go from black to gray to white. All right.

312:37

Speaker A

Now, um earlier we talked about black and white as far as being masks. So, I need to also incorporate that same set of rules for my gradient that I'm going to apply to a mask. Okay, if that doesn't make sense, let me demonstrate

312:52

Speaker A

for you. What do I need to do? I need to find something over here. It may not be showing up here, but I need to find my gradient tool. Now, if yours is not showing, it might be hidden underneath

313:03

Speaker A

the paint bucket tool. Okay, so yours may look like that. Simply right click on it, choose gradient. Okay, wonderful.

313:10

Speaker A

That's great. And now you'll notice that I have white going to black in this case. If yours is not there, you can always just click on it and then go to basic and then you can choose it right

313:20

Speaker A

there. Most of the time it will be there unless you've done something different recently. All right. And then also notice I have different types of gradients. Typically, you're going to be linear gradient or you might even be doing a radial gradient depending on the

313:32

Speaker A

effect that you want to create. All right? And I'll show you maybe both of those. So, let's now do something. I have no idea what. So, let's just learn about how the gradient tool works. So, if you click and drag going from one

313:46

Speaker A

corner to the other, you're going to be applying this white to black in that direction and in that distance. So, watch what happens now if I click and drag. You see what I'm doing? I'm just simply clicking and dragging. I let go.

314:00

Speaker A

And now, just like that, I've got white to gray to black. And if we take a look down here, you will see exactly what I just did. Okay. Earlier, we were working with the brush where we were just like

314:12

Speaker A

dragging, dragging, dragging. Here, we have a nice subtle kind of reveal that we didn't have before. And like maybe you're done. Like this is great. But I'm not done. I'm not actually very satisfied with this because maybe I want

314:24

Speaker A

to apply my gradient in a slightly different way. Let's just go to here and let's just see what that does. Oh, that's kind of neat. Let's try this way.

314:32

Speaker A

What's that going to do? Come over to here. Just depending on where you begin, where you end, how far you go. Maybe you're going to start off the canvas.

314:42

Speaker A

Okay, pretty neat. You see that? Okay, cool. What am I looking for? I kind of like that. That's kind of cool. So, you can really experiment with this. You don't have to undo. You just keep going over and over and over again. Let's just

314:54

Speaker A

see maybe quickly what the radial gradient does. I do that and then oh, I have that kind of effect. Or maybe I go the opposite direction. Or maybe I was going to do it right on top of the

315:05

Speaker A

knocker. Oh, that's kind of cool. I sort of like that maybe the best so far because the knocker is actually the most in focus, but it still brings everything else in line there. Okay. So, kind of nice. But just remember where you begin,

315:18

Speaker A

where you end, and how far you go. that is going to determine what your gradient's going to look like. So, if we look at it this time, we'll see over here, it's now got a gradient going from white to gray to black. All right. Now,

315:35

Speaker A

this could be a poster you're creating. Sure, why not? So, this is maybe a poster for the country of Bhutan. Okay.

315:43

Speaker A

And Bhutan is also very radical according to this font here. Okay. So, all right. Excellent. And there you go.

315:51

Speaker A

And now you've got a nice little poster. And then maybe I would bring down the opacity a little bit on this. You know, maybe you'd add on a little shadow.

316:00

Speaker A

Maybe you just do all kinds of cool things to this. Maybe you're even thinking about doing blending modes. Who knows, right? Just play around with it.

316:07

Speaker A

Okay, that's kind of fun. We learned about blending modes before. And we'll see what we could do here.

316:15

Speaker A

Some of these work better than others. Maybe with a different color it might work. Just play around with all this.

316:20

Speaker A

Okay, that's kind of neat. All right. Kind of subtle. Just bring this up a little bit.

316:29

Speaker A

Excellent. So, very good. We'll leave it at that. Excellent. Please pause the video, practice on your own. Lots to enjoy here. And just know that everything we're doing here is going to gear you up for other practices with

316:45

Speaker A

masking. whether it's just going to be replacing erasing or it's going to be something creative kind of like this working with gradient mask. But then it could be something even more creative and more controller oriented like working with

317:00

Speaker A

adjustment layers. If you're working with black and white and you don't want to see all the black and white, you want to make color shine through, you can absolutely do that. Okay? Or you're working with filters, you only want to

317:10

Speaker A

have certain part of the filter to show. You want one part blurry, another part not blurry, another part rippled, another part not rippled. Okay, that kind of thing. So, it's going to give you that kind of control to either

317:21

Speaker A

conceal or reveal. All right, so go ahead and practice that and we'll see you in the next lesson.

317:30

Speaker A

Okay, now let's talk about filters. We're moving on to this discussion on filters, and Photoshop has lots and lots of them. Uh if you want a review on the basics of filters, you can go check out our intro video um as well. But let me

317:46

Speaker A

just give you a little bit of foundational information about where to find filters. We can go up to here. We can find our filters. Lots of options there. So when I click on that, lots of options here and like some flyyou menus

317:58

Speaker A

as well. But what I want to say, and this is very important, that virtually every time you create a filter, what I'm going to recommend you do is you make your layer into a smart object, also known as a smart filter, but essentially

318:15

Speaker A

do the same thing. So, I can say filter and then convert to smart filter, or I can just rightclick and just say convert to smart object. They're essentially the same thing. And what that's going to allow us to do is have some kind of

318:30

Speaker A

protection and sort of like modularity, if you will, around our filters if we want to. So you'll see how this works.

318:38

Speaker A

So let me just go ahead and do like a very simple simple filter here. I'm going to go to filter. I'm introduce you to this great section here called render. And there's lots of options I can do on this. I'm going to go ahead

318:49

Speaker A

and just say a lens flare. And you will see that there's this cool little lens flare that's happening there. Okay, kind of cool. Let me even get a little bit brighter than that. So, we can really really see it. And you'll notice how it

319:02

Speaker A

kind of goes up into the sky. Goes kind of all over the place, right? So, it's kind of neat. You'll also notice how you can change certain things. Okay. What's the effect you're looking for? Oh, that's kind of neat. The movie effect.

319:15

Speaker A

All right. So, whatever you want. So, I'm just going to choose maybe this first one cuz I like these little circles coming out there. And I'm going to keep with this level of brightness so you can see what I can do because it's a

319:24

Speaker A

little bit too bright for me. I click okay. And you'll notice there's my lens flare. Looks pretty cool. Has a nice little effect. And you'll see now that I currently have this little smart filter mask. Earlier we've talked about masks

319:40

Speaker A

already and we've seen them in kind of a different context, right? Where we just saw plain old masks, but now we have masks on a filter. And remember about the masking. It's either a blindfold or it's a mask. And then this is now

319:55

Speaker A

concealing what's inside here, but I want to actually reveal what's inside there. So, what does that look like? I'm going to click right on top of that mask. And remember, with masks, what are we talking about here? We are talking

320:09

Speaker A

about black or white or possibly gray. And you're going to use the brush tool to apply that. Okay. So, let's just go ahead and see what that's going to look like.

320:20

Speaker A

Meaning, I don't want to see so much of that lens flare. I love this, but I want this to be a little bit more faded inside of here. So, I'm going to click on this. I'm going to go over to my

320:30

Speaker A

brush tool as promised or hit the B key. And this time, what I'm going to do is I'm going to paint black. Okay? Because remember earlier how we work with our mask and we're able to make our blindfold into a mask. But instead of

320:44

Speaker A

just painting right through it, I'm going to bring down my opacity a little bit to see if I can just very very subtly kind of poke a hole right into that section there. So, I'm just going to go ahead and click. You can see, oh,

320:57

Speaker A

that's pretty neat. Maybe is a little bit too much. So, let me go ahead and bring that.

321:03

Speaker A

And maybe that's still a little bit too much. So, let's see. Let's actually bring it to much lower, in fact. Okay, there we go. That was the ticket. So, not bad. Okay, so I'm able to Let me just kind of maybe kind of go a little

321:20

Speaker A

very subtle thing like that. Maybe like that. Like that. Like that. Kind of a spice to taste situation. Let's just kind of bring in the color of the bricks, the color of the building. Yep, there you go. I like that. Notice it's

321:30

Speaker A

still got the ring there. Still got that there. And if you look at the original, that's what look like before. Now we have this aspect on there. So, if you'll notice that this whole thing around there is kind of like filtering over

321:43

Speaker A

everything. So, if you don't want some of that, you can easily easily take care of that by simply clicking on the mask.

321:49

Speaker A

I'm just going to make this nice and big. So, it's just like a little kind of powder all around there. Right. Just a little bit. Get rid of that. Get rid of that. Just so it's kind of subtle.

321:58

Speaker A

Again, I'm at 15%. Maybe bring that up a little bit more. Make it a little more powerful. Let's look at the before and the after. Okay. So, this is just one of many types of filters I'm going to show

322:11

Speaker A

you, but I want you to notice that we can very easily control what our filter is going to be and to what degree by using our masks. Okay.

322:23

Speaker A

Now, you'll also notice that sometimes we're going to have these extra options to be able to control it and also to turn it on and off again. Okay. You'll see that there as well.

322:35

Speaker A

Okay. So, we're going to continue on with some other filters in just a little bit, but pause for a minute. Go ahead and practice this very little bit here.

322:44

Speaker A

And again, don't forget to apply your smart object to your main layer before you apply a filter. All right, go ahead and try that and we'll be back in the next exercise.

322:55

Speaker A

Now, continuing on with our discussion on the rendering filter, let's just discuss some other ones that are kind of filters, but not really filters. they just render something for you. So, let's look at the frame filter where it's

323:09

Speaker A

going to kind of generate kind of a creative set of frames for us with lots and lots of different options. Now, I want to put a frame over this picture, but I do not want to put it on the

323:19

Speaker A

picture itself. So, a nice little tip is to guess what? Create a new blank layer right on top of it. And that's where my frame is going to go. It's going to give me all the control so it does not get

323:31

Speaker A

stuck to the image itself. So, let me go over here to filter. I'm going to say render. I'll say picture frame.

323:43

Speaker A

And when I get here, you're going to see here is a little preview of maybe the last one that I chose. And there's lots and lots of options here. You can see here is what frame you want and all the

323:53

Speaker A

colors, the margins, right? All these settings here. And these are going to be very much spice to taste. So, you can just kind of pick and choose from all of these. Go to town with them. So, let's just go to romance. See how much that

324:04

Speaker A

changes. Okay. Let's go to eyelash. Very intriguing. Okay. What are those going to be? And I can guarantee you they're going to look a lot better than this rendering is. So, just be patient with it. So, I'm going to come back to bush.

324:21

Speaker A

And then I can change all these things here. Vine color. You can't really see the vine, so I'm not going to spend a ton of time on that. Your margin. I can really play around with that if I want

324:31

Speaker A

to, but because it's going to be its own separate layer, doesn't really matter because I can then manipulate that.

324:36

Speaker A

That's what's so cool about it. The size, we'll be able to see what the size is going to do, right? Pretty much what you think it's going to do.

324:45

Speaker A

Makes the whole thing just grow kind of out from the center. My arrangement, right, that just kind of randomizes things a little bit. Let's just kind of go a little crazy. See what that does.

324:55

Speaker A

Kind of a little bushier, a little more symmetrical, right? Okay. So interesting. All right. And then we also have our flowers and our leaves. And you just really just experiment with those.

325:04

Speaker A

But I really want you to see what our options are going to be. So the flowers should be there in the front and the leaves are going to be there in the back. Notice there's the color of them.

325:15

Speaker A

All right. So let's just say I want to do something kind of lavendery. All right. That's kind of nice. And you'll see that these guys get nice and lavender. Okay. Pretty cool. And I can change the size of that if I like to as

325:29

Speaker A

well. So that'll make those grow. All right. And then also here's my leaf color. I'll just keep that just like that for the sake of this exercise. Keep these exactly as they are. And I'll go over here to advanced. And you can just

325:44

Speaker A

really play around with these. Like my angle and then the fade. My experience doesn't really do a ton. But you'll see this invert is kind of interesting.

325:53

Speaker A

What do you want it to do? Right? See how it kind of like inverts it a little more kind of like hard angle versus a little bit more of a soft edge. Like how framy do you want it to be? Okay, I'm

326:04

Speaker A

just going to actually uncheck that. And now I'm ready to go. I'm going to click okay. And let's just see what it does.

326:10

Speaker A

And remember, I'm on a new layer all by itself. So, it is not on the pixels themselves. And I can move this around independently. It's really cool. And guess what? I can resize this independently. I can even decide to I

326:26

Speaker A

wouldn't delete. I would mask out some of this in case I change my mind. Right?

326:30

Speaker A

We've been talking about mask. So maybe I want to do that. Maybe I want to bring down the opacity a little bit. And you see I can totally control all that. And then maybe some of you thinking, well,

326:40

Speaker A

you know what? I want to change the whole color. So I could actually come back to my filter and make some changes to it. If you want to do that, go back and then go back to your picture frame.

326:51

Speaker A

But also, guess what? because it's its own layer. Maybe you want to go even further and go to effects and then you just want to play around with the color overlay. Maybe you want to do a whole completely different look on this right

327:03

Speaker A

on top of what we've already got. So, if we go to like let's say color overlay, notice how that changes just like that.

327:10

Speaker A

And let's just go to red. But then I bring this down a little bit. I can play around with the colors in that way. And then guess what? Here's blend modes all over again. And if you've been following

327:22

Speaker A

along so far, you've heard heard us talk about blend modes quite a bit. So, let's just see different kind of things now we can do. Ooh, that's kind of cool. Color burn with that. How could I have gotten

327:32

Speaker A

that otherwise? Now I'm able to really get some pretty dramatic, very creative effects that I wasn't able to get otherwise. So, I click on that and like, boy, am I happy. That is so cool at the end of it all. Okay. And again, I can

327:46

Speaker A

get rid of this if I want to and I can do so much with it because it's on its own layer. Okay. So, go ahead and practice that. And we come back, we're going to do one more rendering exercise,

327:56

Speaker A

and that's going to be with creating trees. Okay. So, let's talk about rendering trees. And this is a pretty extraordinary thing again how Photoshop just gives you a nice little gift. I have a blank transparent layer ready to

328:12

Speaker A

now render some trees. So, I go over here to filter. I'm going to say render.

328:16

Speaker A

I'm going to say tree. Fantastic. That's great. And you will see that I have a number of different options here to choose from to create a tree. And this is a pretty nice looking tree. And I have a whole bunch of other ones here.

328:30

Speaker A

Very, very high quality. Just depending on what you're looking for. Let's look at the cherry blossoms. Ooh, that's kind of nice. Right. Let's go back to an oak.

328:38

Speaker A

See what that can do. Right. Just depending. Maybe you're creating a scene. Maybe you are, you know, uh you're you're in charge of creating like the the architecture, the design for a building, something like that. And your job is just to bring in some trees. You

328:53

Speaker A

can find some pretty high quality trees and also create multiple trees. And maybe you just want to know what some trees are like, right? What do they look like? Now you're looking to understand, you can spot them when you see them. All

329:04

Speaker A

right? And you'll see a lot of these again are sort of spiced to taste, right? So it's like the light direction, right? just kind of changes that angle of where the light's coming from. So you can kind of keep things consistent when

329:16

Speaker A

you are rendering. You kind of want to give that realism. So just make sure you're doing that. Leave them out. It's great. Size, branch height, right? You just really want to play around with these. Okay. And then you can see the

329:28

Speaker A

arrangement. That's going to just kind of throw out some random things there. You just try it out however you like.

329:35

Speaker A

Again, very much spice to taste. Now, if we go over here to advance, I think there's kind of a nice thing where you can custom color the leaves. So, let's say it's a different time of the year and you want it to be this kind of like,

329:47

Speaker A

you know, auburn color, if you will, right? You can go ahead and choose that.

329:51

Speaker A

Click okay and like, oh, that is very obviously a different time of the year.

329:56

Speaker A

And you can certainly do the same thing for all of these as well. All right. So, let's just go ahead and click okay. And let's see the beauty that has now been created for us. And look how awesome

330:07

Speaker A

that is. Look how high quality this is. So if you wanted to have like a whole forest of these, you can go ahead and just, you know, resize this. It's going to be its own layer. Okay. And guess

330:17

Speaker A

what? I can then hold down the alt option key and then make a different one like that. Maybe it's a little bit smaller. Maybe I'm going to go to let's just say edit transform. And then let me just flip this so it looks like slightly

330:37

Speaker A

different. Okay. All right. That's kind of neat. And then maybe I'm gonna just do that. Same thing. Maybe you're going to add on a little drop shadow. You can do all kinds of different things there.

330:49

Speaker A

And then maybe you're even going to go a step further like I showed you with this other one is that you're going to put in maybe a little bit of a different effect on here for a little color overlay, you

330:59

Speaker A

know, for something different. And then playing around with the blend modes. And then finally, you're done with your aspens. Let's just add on another tree.

331:06

Speaker A

How easy is that? So, let's go ahead and create another layer. Go over here to filter. Let's say render. And then, just for fun, let's just bring in one more tree. Creating our new little world here. Let's just bring in a spruce tree.

331:22

Speaker A

Okay. We're going to be in another part of the country that I'm in. This is going to be up in the mountains. Okay.

331:28

Speaker A

So, love this. But maybe I don't need it to be quite so much the same color. So, let's make that kind of a dark green.

331:36

Speaker A

See what that's going to do. Okay. But maybe I can play around with changing the color of my branch there. Make that a little bit darker. Okay, great. Love that. Looking pretty good.

331:51

Speaker A

And again, you can play around with some of these things as well. And all these really do add a little bit of flavor to it. You can see here. Just play around with it until you get what you like.

332:04

Speaker A

Does that add to your realism? Add more and more or take away. Maybe less is more for you. But just know that you do have these options. And again, when you're finished with it, you will have complete ownership over this because

332:20

Speaker A

then it's going to be on its own layer. And then you can bring this down. You can do whatever you want to it. Okay. bring down the lightness of it. Bring down the opacity of it. Okay. Put on a color

332:32

Speaker A

overlay. Do all kinds of great things to it. Even maybe playing around with some of our uh ls and our curves and any of these other things, the vibrancy. Okay.

332:44

Speaker A

Now, let's just make this kind of the tallest guy in the bunch. He's in the background.

332:53

Speaker A

We're over here. And then again, really just kind of creating your world accordingly. All right, so enjoy, play around with that. Hopefully have some good uh usage for that, some good utility.

333:14

Speaker A

And we'll come back in the next exercise where we're going to continue on with our discussion on filters. We have a few more to go with filters that are not going to be rendering. They're going to be a little more creative, a little more

333:25

Speaker A

nuance. So come back and we'll see you in a bit. So pause your video and practice away.

333:33

Speaker A

Now continuing on with our discussion on filters. We're going to be going to something a little more creative, a little more nuance, and that is something called the vanishing point.

333:43

Speaker A

Now, we have this building here that has all these angles and everything. And I want to actually put something on here that conforms to the angle itself. Okay.

333:52

Speaker A

Okay. So, I'm going to be putting on this little logo right there. Okay. Little bit of branding. You can see there it is. Fine. I want that to look very smooth and I want it to fit in perfectly with that angle. So, if I were

334:05

Speaker A

to copy and paste that and then I were to transform it and all that stuff, it's going to look very sloppy. I don't want to do that. Okay. So, there's a few things I need to do before I apply this

334:16

Speaker A

filter is number one, I want to make two layers. Okay. Okay. So, if you haven't done this before, I'm just going to go ahead and just hold down the alter option key, and that duplicates it.

334:25

Speaker A

Super easy. Come back to this top layer. And then this is going to be what I'm going to copy and paste into there. So, essentially, this is the item that needs to go into the vanishing point filter.

334:37

Speaker A

So, guess what I'm going to do? I'm going to highlight everything, which is going to be command or control A. So, you're actually selecting everything. I know it's kind of weird. And then you're going to copy it. Command or control C.

334:48

Speaker A

Then come back over here. Now let's go ahead and click on filter. Go to vanishing point. Okay. If you see anything like this, just say okay. And now you may actually see something living here from before. I'm just going

335:02

Speaker A

to delete that. Just make it go away. And now very simply, I'm going to create a similar grid as what you saw in terms of where I want it to live and what the vanishing point's going to be because

335:13

Speaker A

notice it's not like a straight angle. And Photoshop needs to know where's it going to go. So, I'm just going to click four times. This is where it's going to begin.

335:22

Speaker A

It's going to go to here. It's going to go to here. It's going to go to Yeah, right about there. Keep it on the floor. And just note, if you don't do a good job, you can always bring it in if you want to.

335:37

Speaker A

This way, that way. You can absolutely play around with that a little bit more up here if you want to tuck that in. For sure. Now I'm going to paste. So I paste and I'm going to go over here to my free

335:50

Speaker A

transform tool, believe it or not. And I can now resize this, move it around, do whatever I want to it. So let me just drag this in to my little box here. And just like that, I now have it. And

336:03

Speaker A

notice how it just like conformed perfectly to the same angle as my grid. It's the coolest thing. Let me bring that in a little bit. You can see. Nice.

336:14

Speaker A

Not too shabby. All right. Now, I think I'm pretty much good to go, right? I love this. And you can see the magic of what this has done. You'll want to practice this, right? But this is great.

336:25

Speaker A

Love this. Let me click okay. And you can see that's good. Not great. It's not very convincing, but it is does do it along the sides there. And maybe I'm happy with this, but I really kind of want to make it look a little bit more

336:39

Speaker A

sort of natural that's on there. And there's a few things that I can do. We talked about blending modes earlier.

336:46

Speaker A

We're going to see blending modes in action in this case as well. So if I click on this top layer, remember blending modes are going to blend into whatever is underneath here or whatever it is, right? So it needs to understand

336:58

Speaker A

that like this white really it doesn't belong there, right? It's not meant to be there. Don't care about that. So guess what? I can do any one of these blending modes and experiment to see which is going to be the best one. Is it

337:09

Speaker A

dissolve? That didn't do anything. What about this one? Darken. All right, I'll keep that in mind. What else? No. No. Darken's still the winner. What's this one? Darker color. Okay, we see we have a pattern here of what it can do. So, it's taking

337:25

Speaker A

that white and say just darken that right to whatever the background is. The background essentially wins in this case. So, I love this. Or maybe it's just darken, right? Either one's going to work for me. Now, I could bring down

337:39

Speaker A

the opacity as well, so then it really kind of brings in some of the paint here. So, it does start to look a little more natural, maybe a little more faded.

337:47

Speaker A

And then the last thing I'm going to do is make it so these windows are not in fact part of the paint, right? So, it's like, oh, that actually looks cool, but doesn't look very realistic. Okay. So, what I can do is apply a mask to it and

338:05

Speaker A

then just poke a hole right through the mask. So, what I'm going to do is I'm going to use the polygon lasso tool just by going to here and then just going from one corner to the other to the other to the other.

338:20

Speaker A

Essentially, this is what I want to get rid of. And then guess what? When I draw black into that, as we know about mask, it's only going to draw inside of that box. So, you don't have to worry about

338:33

Speaker A

being so perfect because it's only going to do it within that. Okay, that's pretty cool. Maybe I actually want to go a step further. But see, it actually looks kind of neat because it does conform to the edges here. All right.

338:44

Speaker A

And let's do it one more time. Let's do it for this part for this part of the window.

338:52

Speaker A

Bam. Bam. Make sure you're on your mask. Go to your brush and then poke that out.

339:00

Speaker A

And let's just go zoom out a little bit. And that looks pretty slick. pretty cool using the guess what? Vanishing point filter. So, really cool stuff.

339:12

Speaker A

Experiment with that and then combine it with our blend modes and then also combine it with your masking. So, we're starting to see all of our tools come together, aren't we? Right. We're starting to kind of build a symphony, a

339:25

Speaker A

chorus, right? So, a whole sort of, you know, litany of different things that we can work with just by knowing one tool and then combining it with a few other tools. we can be really powerful with all of our tools. Okay, so this is

339:39

Speaker A

another filter. We're going to come back with another one in just the next lesson. So, pause the video, practice this, and have fun.

339:48

Speaker A

In this next series of videos, we're going to be working with this particular file so we can learn how do we use the polar coordinates and the zigzag and a few of the other distort filters, the distort filters. Now, this is going to

340:02

Speaker A

be one of the things we're going to create. You can see this there. Pretty cool. Pretty neat. But I want you to understand how we started from this. So if I'm going to click on this guy, and this is essentially where I started

340:14

Speaker A

from. But even before that, I started from this top layer here that actually had a ton of other individual little shapes there. So I actually had to create this first and then merge them together as one big one. So if you right

340:31

Speaker A

click on it, you can see here is the option to merge the group. And then I created this guy right here to be able to do that. Now just so you understand, Photoshop gives you some nice tools to

340:42

Speaker A

be able to work with when you are in fact creating things like that. And that is to designed to give you a little more kind of perfection. And that is going to be the grid option. So you can see I

340:54

Speaker A

have all these little grids here. Now I just drew out one shape and I colored it. and I drew out another shape. I colored it and then I just cloned, cloned, cloned and wind up being fitting perfectly in each of these individual

341:07

Speaker A

grid lines. Okay, so you can see also I have the option to snap to the grid lines. So that made it much much easier to create something like this. So for the purpose of this exercise, I just made it easy for you so you have access

341:21

Speaker A

and ready to go. So we're not going to use this top one. This is what one of the things we're going to create, but we are going to be using this one right here to create it. So, make sure it

341:31

Speaker A

doesn't actually merge together as one big shape before you do that. So, let me turn off my grid. Okay. And I am ready to go.

341:41

Speaker A

Now, again, remember the rule of thumb about before you make something into a filter to do what? We're going to make it into a smart object. So that way I can then tinker with it later on. Come back to it, turn it off, do all kinds of

341:53

Speaker A

things in case I change my mind. So let's play around with this polar coordinate. How do we make something like this? Pretty great. This is all set up, ready for me to go. I go to filter.

342:04

Speaker A

I go over to here to distort. And you'll see there's this option to polar coordinates, right? Or po to apply polar coordinates. So I click on that. And you'll see, wow, there's my preview.

342:16

Speaker A

Fantastic. Let me zoom in or out. Right. Let me just go ahead and bring this in, bring it out, whatever you want to do.

342:23

Speaker A

Okay, great. Now I can see the whole thing. I click okay. And just like that, you've created this really, really cool effect. And just note that I can turn it off, turn it back on again. Double click back on here. And now I can see it all

342:37

Speaker A

over again. can't really change it so much, but what you can do, okay, is you could apply potentially some blending modes on this. And we're going to be playing around with some blending modes in just a little bit and

342:50

Speaker A

how that works. All right, so this is just one thing you may want to do. Now, I love this and I want to continue doing some more on this. So, I'm going to go ahead and clone this. And selecting this

343:03

Speaker A

same shape, I'm going to go back to filter. I'm gonna choose distort. And this time, let's see what twirl does. That's kind of fun. Notice you can go this way. You can go that way. Wow. Interesting. I can see. Wow.

343:20

Speaker A

I'm going to go all the way up to close to 500. I click. Okay. And got to blot this out to see it. There we go. Now I can see what I've done. Pretty neat. That's kind of interesting. Let me

343:35

Speaker A

go ahead and clone this one more time. And let's just see another effect we can get.

343:45

Speaker A

Going to blot this out. Come back to here. Going to apply another filter to this. Let's do distort. And I don't know. Do we do wave? Let's do wave. See what that does.

344:00

Speaker A

Huh. Lots of stuff here. This will definitely be like a spice to taste thing here. Okay. See what that's going to do. Okay, that's kind of interesting.

344:09

Speaker A

Bring that in there. Wow. Maybe that's all you want and you're good with that.

344:13

Speaker A

But you can play around with all these things here. And I have a goal with all this because I don't this doesn't need to be perfect necessarily, but you can really just you maybe you love this and this is where you're going with it.

344:24

Speaker A

Okay, it's great. Maybe bring down the scale. It could be something maybe a little bit more kind of obvious in terms of what you're trying to create. But again, spice to taste and remember where this actually started from. Okay. Where

344:37

Speaker A

did this start from? Okay. So, I'm going to click okay. Just say I'm good with this. Click okay. And that's great. And I love this. All right. Fantastic. Now, let's see what we can do where we just start going a

344:53

Speaker A

little bit more kind of crazy with this using guess what? Our blend modes. So, I'm going to click on this and I'm going to put a blend mode on this particular one that I first created. Actually, let's do it on this one that I have

345:08

Speaker A

here. Let's have this one. And let's have that one. I'm going to bring this guy up on top.

345:22

Speaker A

Just tear this out so I can see the whole thing. That's better. And now let's just see what happens when I blend these together. So I'm going to say dissolve.

345:33

Speaker A

Not so much. Whoa. Darken. Where did that come from? Oh my god. Okay. But oh my goodness. Whoa. Lighten.

345:43

Speaker A

What did that do? Whoa. That is so cool. All right. You know what? I love that.

345:49

Speaker A

See what I did there with screen. Okay, screen is kind of a lightning blend mode. And by the way, for blend modes, there's a in the courseware there's a little description of blend modes. But now, let's do another one.

346:01

Speaker A

Whoa. I just added a blend mode to the layer that was below the other layer I just did it to. And then we'll just see what does that do. Oh man, I can do so much with this. Holy cow. Now, just by

346:17

Speaker A

virtue of the fact I created these three independent distort filters, I'm now able to create something very different.

346:26

Speaker A

Okay? And then maybe for some of you, you're going to say, "Well, I also want another color here." Okay? So, guess what? You can do a color overlay, right?

346:35

Speaker A

Or maybe you're going to want to just make this independent. However you want to do that, where you maybe make that into a raster after the fact all said and done. But let's just try color overlay for this one. Okay. And then

346:48

Speaker A

let's just make that blue. You see that does in terms of how it all comes together. Bring that up again one more time. Let's bring this up a tiny bit.

346:58

Speaker A

Let's make that normal. Oh, okay. Interesting. Let's bring that down a tiny bit. Oh my god. So, this is going to allow you to number one never get any sleep at all. Number two, just to be as creative as you want to be in a really,

347:15

Speaker A

really interesting way. And the more you start to do these things, the more kind of predictability they will have, right?

347:21

Speaker A

Looking at I have my twirl, my polar coordinates, okay? I have my wave. Okay?

347:27

Speaker A

So, you can see, wow, there's a lot that I can do combining all these things here. Okay? And of course, if you'd like, you could just start painting through some of these filters if you don't want to see them. You want to see

347:41

Speaker A

what's inside of there just by using black into the mask of the filter. Okay?

347:47

Speaker A

So, you have all the control in the world. If there's something underneath here, you want to make that pop out and then get rid of that filter. You can absolutely do that. And likewise, you can actually just put a mask on the item

347:58

Speaker A

itself. So you can actually have more than one mask if you like. So if I wanted to kind of see what's inside through here, I go back to my mask, hit the brush tool, and then I can have something a little bit less kind of

348:16

Speaker A

linear just by drawing inside of this. And see that? Ooh, that's kind of cool.

348:24

Speaker A

It's kind of coming out concentrically. And if I change my mind, of course, like or I make a mistake. Oops. No big deal.

348:31

Speaker A

Switch back to white and bring it back. All right. And now we've got a really, really cool effect.

348:40

Speaker A

Practice this. Okay. And make sure you use all the files that I've provided for you. And then I would also recommend doing a save as so you have this originally so you can come back to it anytime you want. All right. So have fun

348:52

Speaker A

with this. Practice it. Pause the video and we'll come back with another filter for you to work with.

349:02

Speaker A

Now, in this exercise, we are going to learn how to create something like this.

349:07

Speaker A

And this is known as a displacement map, but we're also combining a number of different other things like a pinch filter. We're also working with a number of different layer adjustments and a few other elements here. All right, working

349:22

Speaker A

with opacity, etc. Now, this is a slightly complicated process. That's why I saved it towards the end. So, you'll want to watch this again and again.

349:30

Speaker A

Definitely take some notes on it. All right. So, this is going to be a slightly sort of numerous set of things here. All right. So, what we need to do first of all is to create what we call

349:43

Speaker A

our displacement map based off of our initial image. So, the first thing we're going to do is go to our first image, and we're going to duplicate this image by right-clicking on it. And then we're going to make a new image out of this,

349:57

Speaker A

right? Sorry, a new document out of this image. Okay. So, I'm just going to go ahead and type this out and just call this displacement map. Right? That's it. Just calling it that. And then I click okay. And now

350:11

Speaker A

this is now its own separate thing. Now, once I do that, I'm going to put a blur on this. Okay, that's part of my displacement map. So, go over here to filter, go to blur, and very simply, we're going to say gajion blur. And you

350:26

Speaker A

can make it anywhere between like, you know, maybe one and three, something like that, just so it's a little bit blurry. Okay, so it just kind of has like the semblance of it. Okay, so I'm going to click okay. Then I'm going to

350:38

Speaker A

make this black and white. Go over here to my little adjustment layer here. go to black and white and then usually default settings should be fine and then make sure to save this. So file save or just do whatever you want to do here and

350:54

Speaker A

then now that's saved and you're going to save that for later on. So I'm going to close this now and you're going to see where that's going to come into effect.

351:04

Speaker A

Now let's come back to our original image and again remember what our goal is here. We're gonna go and put something like this on her face, but we're going to make it look very kind of realistic. So, how do we do that?

351:19

Speaker A

I'm gonna go to my image here that I have set up. You should have access to this as well. And this is now a smart object. Very important. This is a smart object. And what I'm going to do is I'm

351:31

Speaker A

going to bring this image that I have here by using my move tool over this tab.

351:39

Speaker A

And then bring this back down over here and have that ready to go. And just kind of bring it in so it's kind of like over her face a little bit. And then maybe bring it in. Bring it in just so it's

351:53

Speaker A

kind of more or less the shape of her face. Of course, you can move this later on, but see it's nice and centered there. Do whatever you got to do. Bring that in. Okay, great. Now, what I'm going to do next, let's just go ahead

352:08

Speaker A

and just center it that way. All right. And commit to that. And let's just bring down the opacity a smidge so we can kind of see what our sort of goal is going to be. Now, let's apply our first filter on

352:22

Speaker A

this. And remember, this is an smart object. So, it's not going to be destructive. I'm going to go to filter, go to distort. I'm going to say pinch.

352:30

Speaker A

And the pinching basically implies that there's going to be like a little bit of her nose there. So, we want to kind of have a little bit of a lump how that's going to go. So, I'm going to maybe bring mine down to like

352:42

Speaker A

maybe - 20 or so. Click. Okay. You can see it's starting to kind of like swell up a little bit where nose is. So, it kind of like makes that kind of go up a little bit to where the bridge is. Maybe

352:53

Speaker A

I want to change that. Let's actually make that a little bit less. So, so it's just slight like that. You know, not a ton, but it kind of creates the illusion that there's definitely some things happening here. Okay. Now, let's start

353:09

Speaker A

working with this a little bit more. What else can we do after we pinch?

353:14

Speaker A

Let's now see what we can do with our blending mode. So, I click on this little drop down and let's just see what other things we can do to make this do what we want to do. Oh, it's starting to

353:25

Speaker A

look a little better. See that? What about linear burn? Darker color. Nah, not so much. Okay. See some other ones here. Overlay. Not bad. Kind of interesting.

353:37

Speaker A

So, you just kind of shop around until you find the one you like. So, I'm just going to try color burn for now. And you see that's actually pretty cool. Like just that in of itself, I kind of like

353:49

Speaker A

that. So, you might just stop right here. And obviously, I'm going to want to poke a hole through this and everything like that, but let's just see what we can do if we add on this displacement map to

354:02

Speaker A

our layer here. Okay. So, let's go over here to filter. We're going to go to distort, displace, and we're just going to choose these settings here. 55 stretch to fit and then repeat edge pixels. And then when we click okay, it's actually going

354:22

Speaker A

to ask us for that first initial image that we created. Now that displacement map is designed to be sort of a mold for where it's going to kind of find the curves and all that kind of stuff to

354:34

Speaker A

make this a little more maybe realistic, right? Totally up to you, right? You may not want it that way. You may decide that this is totally fine. I'm going to go over here to displacement mat. And you see how things kind of like shifted

354:46

Speaker A

a little bit. Kind of made it maybe a little bit more kind of curvy and it kind of found her lips and everything like that based off of all those settings that we saw before. So, let's just get it before after. Okay. Yeah,

354:59

Speaker A

kind of like that. But let me just maybe warp this a tiny bit just so you can see what it does in case you need to do that. It kind of like asks me, hey, we're going to be turning off the pinch

355:08

Speaker A

for just a split second in case you wanted to just do a little bit different something. Let me move this up a little bit off her face a little bit. Okay, commit to that.

355:19

Speaker A

All right, coming together. Really like that. And now maybe what I'm going to do next is I'm going to of course get this out of her eyes. So, I'm going to mask that.

355:33

Speaker A

And I'm going to put a little bit of black through there so I can see her eyes coming through. Obviously, she's not going to have any paint in her eyes.

355:43

Speaker A

So, let's fix that. Maybe even over her lips. Let's actually see her lips coming through. She's not going to have paint there.

355:54

Speaker A

Okay. paint. Anything else other place you don't want it to be there, you can absolutely get rid of it there if it's too big, whatever it is. And then just for fun, let's add on maybe a vibrance adjustment layer. Maybe I'll bring that

356:09

Speaker A

up a tiny bit. Bring up saturation a little bit. Maybe down. Totally up to you. Whatever your look is for. Bring that up a little bit. So, little more texture there. and coming together pretty good. All right. And then maybe

356:25

Speaker A

you'll play around with maybe some other different ones that you like, different blending modes. Just play around, see what the look is that you're looking for. All right. So, keep that as is. And there you have it. Displacement

356:40

Speaker A

map. And this is used in so many so many different ways. Okay. So, you'll see that a lot of examples, you know, on buildings, on newspapers, on books, right? all kinds of different things, but these are the steps on how to do it

356:53

Speaker A

primarily. All right, so practice this and you'll see that it's a lot simpler than you realize. All right, so pause the video, practice, and we'll see you in the next lesson.

357:08

Speaker A

So, next session is going to be around another filter that is essentially kind of a one-stop shop for so many things from our color, our lighting, our healing, right? So many different things. There's even some presets we can

357:24

Speaker A

work with. And that's going to be the filter called the camera raw filter. So, if we go over here to filter, you're going to see here is camera raw. So, what I'm going to do before I apply this

357:35

Speaker A

filter, as I am with many other filters, is I'm going to make this into a smart object, as I've recommended before, because that way we can just turn it off. It's non-destructive, and then we can mask through it. So, let's just see

357:48

Speaker A

what our options are with this camera raw filter. Going to click on filter, go over to here to camera raw filter, and click on the option. It's going to bring us over to this and we see we have a lot a lot a

358:06

Speaker A

lot of options here on the right hand side we have all of these options right for basic curve detail etc. So many other features down below if you look at this for for color mixer color grading right effects all kinds of stuff. Then

358:24

Speaker A

we also have these little kind of subdivisions here on the right hand side for healing for different ways of applying all these different effects and um color improvements and lighting and all that good stuff here. So we'll be

358:38

Speaker A

exploring some of these. But what we're going to do at first before we go any further is I just wanted you to see some of these presets that are going to be available for us in case maybe this is

358:49

Speaker A

the main reason why you're here. So you'll see that there is color, creative, black and white, da da da, all these things here that you can just play around with on your own and just kind of see do they work for you and bam, you

359:02

Speaker A

love this. So I click on that and we'll see as I move my mouse over it. Pretty neat. Pretty quickly I'm getting some nice effects and maybe this is all I really need to improve my photos. Okay, fantastic. What about creative? See,

359:16

Speaker A

let's see what these can do. And really just experiment, go shopping around. You can apply them. You can stack them on top of each other if you want to. Let's see what black and white does. Notice how there's several different kinds of

359:28

Speaker A

black and white. Some a little more rich in contrast, little sort of chrome oriented, a little more aged. Look at that. If you want to make like like make it look like a really old photo very quickly and easily, you can go right to

359:40

Speaker A

Camera Raw and do that. So, like I was saying, this is sort of a one-stop shop where we have a lot of the things that we can do in our adjustment layer and our filters, okay? And um some other

359:54

Speaker A

ways, you know, with our effects and all this stuff we can do here. So, I'll just kind of just show you a couple more we can work with and then we'll go into more sort of manual way of how we can

360:04

Speaker A

use Camera Raw. So, we can see a curves. We've talked about curves in my intro class. Curves is basically looking at the curves of our different levels, right? We have different levels within each photo. We have our highlights, we

360:19

Speaker A

have our mid tones, we have our shadows, and we have lots of things in between for individual colors that they have their own curves, and we'll be able to manipulate them in a little bit, but these are going to allow us to then just

360:30

Speaker A

kind of do things a little more automatically. All right, so really just kind of play around with these like sharpening.

360:36

Speaker A

That's kind of nice. Now you can just see what kind of sharpening it could do.

360:41

Speaker A

Light, medium, heavy. And you can see very subtle things there where the edges get a little bit sharper. And let's just check out vignetting. Oh, that's kind of nice. You can see how there's a slight slight little vignette. It's coming

360:54

Speaker A

around the outside. Just kind of like a little glossy little frame that sort of like frames the inside. Almost kind of draws your eyes into it, creating maybe a little more of a ethereal look. Okay.

361:07

Speaker A

So really come back and play with these. You'll see that there's a lot you can explore and really save some time. So maybe this is all you do when you're working in your Camera Raw filter and you're good

361:21

Speaker A

to go and you're happy, right? And then you leave here feeling like, okay, I did something pretty good, pretty creative, pretty quality, and my photo looks amazing. Now, let's go to some other elements where maybe you really want to

361:34

Speaker A

kind of like do things a little more manually. You want to kind of cherrypick different parts of it. All right. So, if you've ever worked in Lightroom before, this is very similar to Lightroom. And if you have not worked with Lightroom,

361:47

Speaker A

you're going to see that you'll be able to work with Lightroom a lot better after this tutorial. So, if we look over here on the right hand side, we have this guy here. We have all these guys here. We're going to be exploring these

361:59

Speaker A

to a certain degree a little bit deeper. So notice here is the edit tools and we have this is where we started by the way and you're going to see here we have basic curve details all these things.

362:10

Speaker A

Let's just play around and see what we can do with a handful of these. So if we go over here to basic, you'll see how I can work with my color temperature.

362:18

Speaker A

Let's just go ahead and give this a little more of a cool color temperature.

362:21

Speaker A

Notice how that does a whole cast over the whole thing. Okay. Do I want that?

362:25

Speaker A

Maybe, maybe not. So you'll just notice also when I move over and I said I don't want that anymore. If you doubleclick on the little stop, that takes you right back to zero. So that's kind of nice. I

362:36

Speaker A

do that. And that just does a whole cast over the entire image. Double click to go back to zero. And the same thing here for exposure, highlights, shadows, right? What are we actually working with? Okay. If I'm only

362:48

Speaker A

want to work with the shadows, you can see only the dark stuff gets affected where the light stuff not so much. And maybe that does actually add to some things. Maybe you come back to this after you've done some black and white.

363:01

Speaker A

You like it, but then you want to make that black and white contrast a little bit deeper, a little bit richer. You can come back into all these and experiment.

363:10

Speaker A

Let's go ahead and just bring up the saturation. You'll notice, ooh, that's pretty neat. Check it out. All my blues get bluer. All my greens get greener. My sky upstairs even gets a little bluer.

363:21

Speaker A

Okay, that's kind of cool. Bring that back. We talked about curves earlier. You'll see here again my highlights, lights, dark shadows, all these things here. I can play around with all of these inside here. But with my curve

363:36

Speaker A

itself, what I like to do is work with this guy, which the targeted adjustment tool. So you'll notice here that is that's going to allow me to then target a particular part of it. So let's just say for example, I only want to focus on

363:51

Speaker A

the green grass. I can click on that and then notice how like when as I move my mouse around the curve kind of goes all over the place. Where is it in the histogram here? Where does that color

364:02

Speaker A

live? Is it the brightness? Look how the brightness goes way up. Let's go to this dark area here. It goes way down. You see? So, it is kind of instructive in terms of what it's going to do. All

364:13

Speaker A

right. So, let me just go ahead and just bring this up a little bit. And notice how it's only affecting certain parts of it, but it is affecting what I want to affect. So, it's everything is kind of

364:22

Speaker A

in that same spectrum on the histogram, including some of the gray and some of the sky and everything like that. Okay.

364:29

Speaker A

Just notice how I can go left and right, up and down, different degrees of my color, different degrees of my lighting.

364:38

Speaker A

I'm just going to go and bring that back. Double click it. And let's maybe just come over here to my effects.

364:47

Speaker A

You'll see that maybe you want to add some grain. Maybe you're making like kind of an old photo, if you will.

364:53

Speaker A

Vignetting. Sometimes you can see, bam, that works kind of nicely. All right, that's great. How much is that doing for me? Okay. All right, great. So, do you want to go dark? Do you want to go this way? So, earlier we saw our vignetting

365:07

Speaker A

where it was adding something on for me automatically. Here, I can do it a little more. more manually. Okay. So, wow, that's kind of nice. And maybe I love this. So, let's bring that back.

365:17

Speaker A

Bring that back. So, let's see other things that we could possibly do. And I'm going to skip over this spot removal one. Just let me just zoom in here so you can see exactly what I'm talking about here. So, you can see

365:34

Speaker A

here is my spot removal. I'm going to zoom out for right now. We're going to come back to that in a bit. But let me just show you this adjustment brush.

365:42

Speaker A

Okay. So, you'll notice here how I have all these elements here that I can now just brush directly onto the canvas. So, I might want to get things set up a little bit to make it so it's going to

365:53

Speaker A

do what I want to do. So, you kind of want to check your mirrors, so to speak, before you go into this, right? So, you can see here's my temperature, my tint, my exposure, you know, and then you'll

366:04

Speaker A

also notice that I also have my saturation over here. So, let me bring that. So, it's going to be maybe mid-range or maybe a little bit higher before I actually start executing what I want to do. So, let me just just try to

366:18

Speaker A

now kind of paint in over here. Not a whole lot happens, but let me just go a little bit more blue.

366:25

Speaker A

And let me just bring up my saturation a little bit. And you can see I'm now just starting to paint in a nice blue sky.

366:34

Speaker A

See that? And I'm also painting in a little bit of a green tree. I don't want that. So, let me just zoom in a little bit. I'm going to come in here, zoom in.

366:44

Speaker A

I'm going to hold down my spacebar to come in there. Actually, maybe I do like that green tree now that I think about it. But if I didn't, I can just hold down the alt key and get rid of that.

366:55

Speaker A

Okay. But you want to be very focused on what you're going to do, right? So, you notice how I did that and then it just kind of took me right back to what I wanted. you probably more likely want to

367:04

Speaker A

just brush in what you want at that point rather than kind of overriding it with having nothing on there. So, you'd want to actually control what the temperature is going to be and what your saturation's going to be, etc. with all

367:19

Speaker A

these other things here. Okay. So, if I were to bring this now back. Okay. I can then just zap that out if I like. All right.

367:32

Speaker A

Okay, I'm going to undo. Bring that back. Come back to 100%. Take a look at our beautiful sky. Um, not too bad. It's a good start. So, you'll notice I can also do the same thing with my car. So,

367:45

Speaker A

I can just make that a little more of the color that I want it to be. See that? I'm in control now. I'm not letting the whole program take control over it. Okay. So, pretty nice. It's going to allow me to really

368:01

Speaker A

control which parts that I want to work with independently rather than working with this whole editing toolbar that does the entire thing. When I use my brush tool, it's going to allow me to be very specific and very kind of surgical

368:16

Speaker A

about what I want to work with. Okay, so really, really cool. Now, you'll notice that I have this little balloon that popped up here.

368:27

Speaker A

Okay, that is all related to these individual parts that I can create that I can have control over individual parts to say, listen, this is going to be separate from this. This is going to be separate from this. This is going to be

368:39

Speaker A

separated from that. So, if I were now to just simply click down here, I'm now going to get a new balloon, if you will, and then whatever is activated at that point will then get affected separate from the rest.

368:56

Speaker A

Okay. So, notice how that is getting a little bit greener temperature. And let's bring up my saturation so we can see kind of loses a little bit of saturation. Gets a little saturation, but nothing else gets affected. Okay?

369:10

Speaker A

Because this part is separate from this to separate from this, separate from this. Okay? So, I only have two parts here. And again, if I wanted to go directly on my car, I can focus on that.

369:21

Speaker A

If I want to go directly on my tree, I could then say, "Hey, let's create a new adjustment layer." And then bam, that's now separate. So each of these things can be all independent of each other as you're

369:36

Speaker A

applying all of these individual effects on color and light, shadows, levels, all this good stuff here. Okay, so really, really neat. And if you're done with one of them, just simply click on it, hit the delete key, and it goes away, right?

369:52

Speaker A

So, no more power for that. Now, sometimes you might want to work with a slightly different style, which is this graduated filter. Okay? And that's actually pretty good for skies. We're not going to do it here, but you're

370:06

Speaker A

going to see here, this is going to give us an option to actually just say, "Hey, listen. I want whatever I'm going to do to affect from here to here as almost like a gradient, if you will. So, let me

370:17

Speaker A

just bring this up a little bit. And then here's my saturation. It's super super high. And now, if I just click and drag now, notice what I'm doing here.

370:28

Speaker A

See that? So, I can even make it go like that way, that way. Right? So, it's kind of a neat thing. And then since this is live and active, I can then bring that up.

370:41

Speaker A

Can bring this down, manipulate this, come back over to here, and even have control over what I can delete as well. So I can go over here to this little eraser option, and I can choose that and say, "Hey, listen. I

371:02

Speaker A

don't want that as part of this." So I can control how much of that wave is going to go. And I can also come back and just be a little more specific using this guy here with my brush. So it's a

371:13

Speaker A

combination of the last thing we did, but I'm actually using the gradient to do this, but then I'm adding it in here to this if I like. And again, let me just see if I can remove that. Okay,

371:24

Speaker A

pretty cool. It's really all about control over how you're working with these things here. So I'll come back to this and then manipulate this however I want.

371:33

Speaker A

And then I can make some changes to it so you can really really see it.

371:38

Speaker A

Then maybe come over to here, erase some of that. So, wow, not bad. So, really neat stuff.

371:47

Speaker A

This is all about all the control you want. I mean, some of you once you learn about working with um Camera Raw and you can see all of the different sort of elements and sub elements in here, you really never go

372:00

Speaker A

back because this is again a one-stop shop. I mean, this is really kind of amazing how they have everything in one place that you might want to work with.

372:09

Speaker A

All right. Now, why might not you want to do this? I mean, for me, if I'm going to be working on my my levels and curves and my black and white, you know, and then I want my saturation, I might want

372:21

Speaker A

to just have those on independent adjustment layers to be able to do that independently in the non-camera RAW. So, it's really up to you. You have that kind of control. This is like, hey, I'm just working on this canvas right here.

372:34

Speaker A

And you can always come back to this anytime, whenever you like. So, there's kind of pros and cons or it's really up to your own personal style and comfort level. So, let me just go ahead and say okay for right now. Imagine, okay, there

372:48

Speaker A

I am. There's my new image. And because I put this into a uh smart object, notice here is my mask for my smart filter. So, you can see before and after. So, you'll see the great work that I've done. And even better, I can

373:06

Speaker A

always come back and make some changes to it. Okay. Again, because we are working with a smart object. All right.

373:13

Speaker A

And this takes me right back automatically to my editing tools. All right. So again, we were here. And then you'll see radial filter is going to be very similar to our graduated filter, but instead of going in a straight line,

373:27

Speaker A

it's going to go in a circle, in a concentric circle. All right. Here's the red eyee removal tool if you want to work with that. the presets we already worked with. And then you can go ahead and just check out some of these things

373:38

Speaker A

as well. Reset to the defaults. You can create a preset based off of what you already have selected here. Maybe you're already saving some settings. You want to load settings from other systems. All right. So, lots and lots of control

373:51

Speaker A

here. So, really experiment with this. Okay. This is really kind of beyond, you know, spice to taste because like you have this whole cooks kitchen of all the things that you can do with this that is again sort of a one-stop shop for all of

374:07

Speaker A

your creative color management, you know, um all these different things in terms of lighting, different effects, and different ways to actually apply your effects. Right? So the other thing I want to say, this will be the last thing I'm going to tell you is I can of

374:24

Speaker A

course work again with my mask. All right. So this is here to say, hey, listen, remember what masks do? It's either going to be a blindfold or it's going to be a mask. Which one do I want it to be? Right? So some things I really

374:37

Speaker A

don't want it to have the thing or whatever it is. So I little did it over a little bit. I overdid it a little bit on this part here. So maybe I just want to let that shine through a bit. and I

374:47

Speaker A

don't want to have to go back into Camera Raw. So, what I can do is simply click on this. And you guessed it, it's either going to be black or white. So, I'm going to poke a hole to make my

374:57

Speaker A

blindfold into a mask by simply going over to my brush tool. Just hit the B key. And then notice here's my black and white. If they're not already like that, you just hit the D key. And you can also

375:07

Speaker A

switch them around just hitting the X key. Little review for you. And then you just want to check the size of your brush. And you also want to look at your opacity. just depending on, you know, how hard you want that to come in, how

375:20

Speaker A

dark you want it to be. And then also, you can play around with the hardness of your brush just the same. So, I'm just going to keep it at this. See what that does. And then, can I bring in some of

375:29

Speaker A

that? Yep. There's the original building. There's no blue sky in the building. Okay. So, you can see I can come right in there and just remove that.

375:40

Speaker A

Cool. And then all is well with that. And maybe I want to bring that tree back. And maybe I'm going to really really zoom in and maybe make my brush a tiny bit smaller. And I can just really

375:50

Speaker A

come in and have some control over what I'm going to show. See that? And of course, I would zoom in. I would kind of get rid of some of those little white spots and take care of it accordingly. But you can see what

376:04

Speaker A

I'm doing here. Again, the power of masks on almost every advanced level here we can work with. All right, that looks a little bit junky, but you know what to do. How we just switch that back to guess what? White. Just by hitting

376:17

Speaker A

the X key and then bring that back. No big deal. Okay, nondestructive. Awesome. Okay, so pause the video, practice this. Find a photo that you love or that you want to improve upon anything and really see what you can do

376:39

Speaker A

to make it look this much better using the camera raw filter. All right, enjoy and we'll see you soon.

376:47

Speaker A

Okay, so who is ready for some action? In this lesson, we're going to talk about actions. All right. So, if you don't have actions, let's see how we can open them up. Click over here to window.

376:58

Speaker A

Go over here to our actions panel. And we will see a whole bunch of stuff pop up here. What is this that we are seeing here? This is essentially Photoshop offering to us a whole series of pre-recorded steps to finally execute

377:13

Speaker A

something that we might want to do. Like for example, Photoshop has recorded all of the steps for a vignette, for a wood frame, to cast a shadow, right? All kinds of other kind of interesting things here. So therefore, we can just

377:27

Speaker A

save all those steps and execute it. These have been pre-recorded and then we can simply run them. Okay. So if we take a look at what are some of the things that have been saved and pre-recorded, we can open these up. We'll see. Okay,

377:40

Speaker A

for example, my cast shadow, which is notice is only going to be for type.

377:45

Speaker A

It's going to be good for type. That is probably the best, but you can try it out for other ones for sure. Other ones that have to be for a layer. Some of them you want to have a selection like

377:53

Speaker A

the marquee or working with the lasso tool, etc. And notice how we have these little triangles there to open it up to see what in fact those steps are that have been saved and what will be able to

378:05

Speaker A

be executed. So, if I click on, let's say, the cast shadow, open that up, and like, oh, wow, Photoshop has really saved a lot a lot of steps for me to be able to execute. You'll see there's even

378:16

Speaker A

kind of little subparameters within all of this. Okay, that's great. I can collapse that. Go over to here. Oh, it's going to fill it in gray. Okay, gaj and blur. Oh, radius. Oh my god. So, just think about all the things that it can

378:28

Speaker A

save you. Now, this is what Photoshop has actually done for me. In a little bit, I'm going to run it and you're going to see one of these things in you get it action, right? And you're also going to see how we can record our own

378:42

Speaker A

actions because sometimes we're not going to use any of these, right? Don't care about those, but thanks anyway. So, let's just see it in wait for it action.

378:51

Speaker A

So, I want to do like this kind of water reflection effect on this. Okay. So, and you can see again what's inside of that.

378:58

Speaker A

It's going to do a zillion different things here. Oh my god. Wow. I can never do all that. So, and nor do I have the time to do it. So, notice here it says type here, right? You can see I have

379:10

Speaker A

this and then it's going to be really good for type. And also notice how I have this as a type layer. All right.

379:16

Speaker A

So, that's going to be a good candidate for me to work on. Make sure that your type layer is in fact selected. Click on my action. And then, guess what I'm going to do? I'm just going to hit the

379:25

Speaker A

play button. Right? You've probably seen this before. any of you who are still working with DVDs or maybe on your players of any sorts, click on that and then watch the magic happen. How cool is that? Right. So now

379:40

Speaker A

you'll notice that there is now a new layer that it did a zillion different things for me. Okay, so this is actually separate from that. So if I wanted to do other things, if I wanted to bring down

379:50

Speaker A

the opacity even more, I can do that. I wanted to stretch this out a little bit.

379:54

Speaker A

So, if I hold down the control or command key, notice I can do something like that and stretch that out. Kind of make it a little more warped. Hit enter.

380:03

Speaker A

Cool. So, I still have control over it. Even though Photoshop kind of started me off with something, I can still do whatever I want to it. Okay. So, pretty cool. They are independent of each other, right? So, if I make this one go

380:15

Speaker A

away, this does not get affected. So, just understand that it's not like a drop shadow. It basically just copied the layer. Well, we can see exactly what it did, right? You can see made a snapshot of it. Okay, did all these

380:25

Speaker A

different things here, converted it, blah blah blah. Did all these things here, but the implication is that it did have to make it into its own separate layer. Okay, so really fantastic experiment with these. Really pretty great. Now, let's say I want to come

380:42

Speaker A

over to here and I'm just going to do one other one that's another preset so we can see one that's not in text. And we're going to do this one that's just sepia toning. All right. And we're going

380:52

Speaker A

to do it on this layer right here because notice how it says layer. So we want to make sure we're doing it on the entire layer. And very simply, let me just execute. Let me run it. So go over

381:02

Speaker A

to here to my play button. And ooh, very cool. I like that a lot. And you will see that not only that, now I'm able to see that I actually get an adjustment layer that I can play around with. Let

381:17

Speaker A

me make this a little bit wider. Get very, very sneaky there. Okay. And it's done a whole bunch of other things as well. Okay. See there it is. And it's done hue saturation. Wow. I don't even know what it did. But guess what? I can

381:30

Speaker A

come back and I can edit it just by double clicking on this. Go to my properties panel and I can see. Okay, cool. There's some interesting things there. I can play around with it if I want to, right? Maybe bring up the

381:40

Speaker A

saturation a little bit, do all kinds of different things. But Photoshop has given me a starter on what I'd like to do. All right. So, two very good examples to help you save a lot a lot of time as you are making some pretty cool

381:54

Speaker A

creative stuff. Okay. So, let's see what we can do on our own. So, I'm going to just do something on my own. Like I'm just going to put maybe a stroke around this and maybe do like an inner shadow.

382:07

Speaker A

Who knows, right? I'm just going to keep it nice and simple. But essentially, whatever I'm going to do right now, I'm going to have Photoshop record it as an action. So therefore, I can then apply it later on to something else. Okay. So,

382:21

Speaker A

how do I do that? You'll notice here is a nice little plus sign, right, for doing new stuff. So, I click on that and it's asking me, okay, what do you want to call this? And I'm just going to

382:32

Speaker A

call this uh text stroke and then inner shadow. Okay, that's what I'm going to do. And then you can also set some function keys if you want to. If I want to do like shift control F3, if I'm using that a lot, I

382:49

Speaker A

can do that. I can also put a color on it. If I start using these a lot, I can actually make it kind of stand out a little bit. Maybe I'm grouping them together. You know, that type of thing.

382:58

Speaker A

All right. So, and now notice this button here. It says record. So, as soon as I hit record, it's going to be recording all my actions. And then I'm going to stop the recording and it's going to basically just seal in in its

383:11

Speaker A

back pocket all the things that I just did. So then I can execute it and run it all over again. So watch this. I'm going to hit record. And you'll notice how my little red button is there indented. And

383:24

Speaker A

it's waiting for me to do stuff. Okay. So here I am with Italy. All right. And then I'm going to go over here to my effects. I'll put a stroke around it.

383:34

Speaker A

And then Okay, great. I can do that. Maybe I like that. Maybe I want to do it a little bit more subtle. It's starting to look a little bit like a Italian horror film. Okay, cool. I like that.

383:45

Speaker A

And then certainly you play around with all these things, whatever you want to do. Maybe I'll do an an inner shadow.

383:51

Speaker A

Okay, maybe that's a little bit more than I want. Maybe I'm going to bring that down a little bit. Okay, a little more subtle. Bring that in a tiny bit.

384:00

Speaker A

Okay, see it before and after. Yep, I like that. Give us some texture. And guess what? I want to use this for a whole bunch of other things just the same. All right. So again, just for the purpose of this exercise, I'm keeping it

384:13

Speaker A

simple. You can make it as simple or as complex as you want. So now let's click okay. That's now in the back pocket right there. You can see it. So I have to tell it that I'm done. I click stop

384:26

Speaker A

and we'll see. There it is. All the amazing things that Photoshop has done for me. Saving it, saving me time, saving me stress. Amazing. So, and you can even see my keyboard shortcut. So, seeing an action is very simple. We're

384:43

Speaker A

just going to bring in some text. I'm just going to type out the word piaza.

384:50

Speaker A

Oops. Maybe haunted piaza. All right. So, I'm going to keep this as is, right? Make it maybe a little bit different than this here. And I'm ready to go. I'm ready to execute. So, how do I do that? I can

385:05

Speaker A

click on this and I can click on the play button and then again remember my keyboard shortcut shift controllf3. Of course yours might be different but let's just see now because this layer is selected and I execute. Let's watch it

385:19

Speaker A

happen. Click on that. Okay. So that that didn't go well. Also, I need to interrupt my my thought here.

385:35

Speaker A

So, before I actually execute, right, now that I I I typed out all my text, I need to make sure it is actually outside of this layer here because if I execute now, it's going to take in this hue

385:49

Speaker A

saturation, right, of what I did before. So, let me just bring that up to the top. That's great. Now, it's all ready to go. So, where it actually ends up is, of course, up to you where your layers

385:58

Speaker A

go. So, of course, always keep an eye on your layers. This is going to end up on top away from my adjustment layer because I do not want everything to be in black and white of course because I

386:08

Speaker A

want it to look exactly like this. So now let's see it in wait for it action.

386:14

Speaker A

All right. And again I can then execute my keyboard shortcut if I want to. Shift control F3. Yours might be different.

386:22

Speaker A

Totally up to you. But I'm going to just click on this little button and let's see it in action. Go. Nice. That took like a nancond to execute. See that? And yours could be done in however capacity you want, whatever your creative

386:39

Speaker A

imagination dictates for you. And maybe it's just the same thing you do over and over and over again, 50 times a day. It doesn't even have to be creative. It's just something technical, but you keep having to do that. Like resizing things

386:51

Speaker A

could be as simple as drop shadows. Whatever it is, give it a shot. Record yourself doing it. Save it. and then execute over and over and over again.

387:01

Speaker A

All right, we'll see you in the next lesson. Please go ahead and pause the video and practice this and love to see some of your comments to see how you're using actions.

387:13

Speaker A

Thank you for watching everyone. This concludes our advanced Photoshop class. Hope you enjoyed it. I definitely had a blast teaching it. We covered a lot in this class. We discussed layer comps, blend modes, a ton of filters, gradient

387:28

Speaker A

masks, camera raw, how to create 3D text, how to work with Photoshop actions, and so much more. Now, remember, you have the exercise files to practice on, and of course, please come back and watch this video as many times

387:43

Speaker A

as you like. And please check out our other videos on additional Adobe programs, MS Office, and a lot more.

387:50

Speaker A

Thank you again and keep on learning.

Topics: Photoshop tutorial Photoshop workspace Photoshop layers image manipulation clipping masks color correction Photoshop tools graphic design photo editing Learn Skills Daily

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