Adobe Photoshop CC Intermediate | Intellezy Trainers | Skillshare

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Adobe Photoshop CC Intermediate

teacher avatar Intellezy Trainers, Learning Simplified

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

44 Lessons (3h 42m)
    • 1. Introduction

    • 2. Painting with Brushes

    • 3. Brushes Options Bar Settings

    • 4. Defining Custom Brushes

    • 5. Saving Brush Presets

    • 6. Working with Paint Symmetry

    • 7. Using the History Brush Tool

    • 8. Working with Custom Shapes

    • 9. Using the Pen Tool

    • 10. Using the Freeform and Curvature Pen Tool

    • 11. Work Paths Explained

    • 12. Understanding Vector Masks

    • 13. Spot Colors and Vector Shapes

    • 14. What are Libraries?

    • 15. Adding and Deleting Assets in the Library

    • 16. Sharing Assets Across Applications

    • 17. Organizing Library Assets

    • 18. Sharing Libraries with Others

    • 19. Using Filter Effects Gaussian Blur

    • 20. Applying Distort Filter Effects Displace

    • 21. Creating a Pixelated Look

    • 22. Using the Filter Gallery

    • 23. Using Liquify

    • 24. Working with Smart Objects

    • 25. Using Smart Filters

    • 26. 039 Photoshop 2 C4L8 Creating a Text Clipping Mask v3

    • 27. What is a RAW Image?

    • 28. Processing RAW Images

    • 29. Opening a JPG File in Camera RAW

    • 30. Strategies for Retouching Photos

    • 31. Using Retouching Tools

    • 32. Using the Dust and Scratches Filters

    • 33. Applying Sharpening Techniques

    • 34. Final Results

    • 35. Actions Explained

    • 36. Creating Actions

    • 37. Creating a Droplet

    • 38. Using the Image Processor

    • 39. Using Merge to HDR Pro

    • 40. Using PSD Files in InDesign

    • 41. Using PSD Files in Illustrator

    • 42. Setting Up Color Management

    • 43. Proofing your Document Settings

    • 44. Course Recap

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About This Class

Adobe Photoshop is the premier photo editing programs. In this course, students will paint and use brushes, create custom brushes, and save tool presets. Students will work with vector shapes, create custom shapes, use the pen tool, discover paths, use vector paths, and use vector objects and spot colors. In addition, students will work with advance special effects, including blur and distort filters, stylizing effects, liquefy and smart filters, and work with Smart Objects. Students will understand and work with RAW images. Students will learn retouching basics, use retouching tools, and apply sharpening. Finally, students will automate tasks using Actions, create Droplets, HDR images, and a panoramic image, explore integration with other Adobe software, and understand color management.

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1. Introduction: Welcome to Photoshop CC intermediate. I hope you're ready to take the knowledge you have in Photoshop to a whole new level. Because we're going to put you in overdrive. First, we're going to start working with brushes. And specifically, we're gonna talk about how we can go in and paint and how each of the painting options that you have available will change the results that you might get. But paint, you'd make it look like watercolor and make it look in several different ways using brushes, that kind of thing. We're also going to talk about creating and using our own brushes. Then we're going to talk about using vector tools, the pen tool. We're going to use the convert to point tool, meaning that it's going to make corners are smooth shapes are going to use the direct selection and the selection tool in order to be able to manipulate those anchor points and change that shape completely. We're going to talk about some new features for the Freeform Pen Tool and the Curvature Pen tool as well in this lesson. Now we're going to talk about using libraries, specifically Creative Cloud Libraries, and how you can share documents across bow, across applications and with other coworkers. And how the Creative Cloud makes that very easy to do. With advanced special effects. We're going to talk about going in and working on distort. And we're going to convert a two-dimensional image into three-dimensional images. We're going to talk about using the filter gallery. We're going to talk about the liquefy, which lets us recognize face and contours around the face and information there. So a lot of good information there. Working with Ryan images, we're going to talk about what what Ra is and how you can if you have a camera that takes raw, go in and manipulate the individual data that's saved within the raw photograph. Raj just means non compressed. But not all cameras can do raw. And for those that can and can't, we'll talk about which ones they are. There. We're gonna talk about retouching. We have photographs that we've scanned in to our computer using a scanner, their physical photographs. So at some point they were damaged. We're gonna go in and fix them. We're gonna make it so that way, your family members are happy with the photos that they have and with the print outs that you might do on Canvas or using the glass plates or whatever new offerings that there are for output. With regards to automating tasks, we're gonna see what that means when it comes to creating a recording that we can repeat over and over again for a task that we want to accomplish. We also learn how to use Photoshop document files in Illustrator and InDesign. It's very easy with the integration of Creative Cloud to move those photographs and to use them in other applications. And then lastly, we talk about understanding color management. Now that's a pretty big topic, but we're going to try to cover as much as we can in the time we have allotted. And make sure you understand that a little bit better. So if you're ready, roll up your sleeves and we're ready to add to the knowledge you have with regards to Photoshop by taking you through the intermediate steps of working with the Photoshop tools. 2. Painting with Brushes: Photoshop is famous for many things. One of them being working with brushes. Specifically, we use brushes to do photo retouching. We use brushes to go in and fix problems in our photos. We use brushes to paint, will use brushes to mask, and we use brushes to erase content. Understanding brushes in Photoshop is going to be very important. But also understand that Photoshop does come with a lot of presets that you can use. So you don't have to know everything about brushes that you're such an expert that you create your own. You can just use ones that people have created on the internet. You can do a search for brushes and you can find some free brush samples out on the Internet. Grunge brushes and other kinds of brushes. So we're going to dive in and use our brushes to paint within Photoshop. I'm currently using the Gerber Daisy PSD file. In this file, I have a painting of a picture I took of a Gerber Daisy that I had in my yard. And I painted it on a canvas using acrylic paint. Now the background here is red. I'd like it to be supported the block blue sky color, which I've already added here as my as a layer. But I'd like to paint over the petals and paint over this area here that has the bud. So the first thing I'm gonna do is sample the colors I want. So for example, I want sort of these yellows and oranges that are here. I'm gonna grab some of this yellow, and then I'll grab these browns and greens that you see here. So I'm just going to grab those colors and you can see they're applying them to my swatches panel. Then I'm gonna go to my layer, my background layer, and I'm going to change the opacity settings. I'm going to lock the layer and reduce the opacity. This way it doesn't become a distraction. And what I'm trying to do. Next, I'm going to go click on my Brush tool. In the tool panel here, you see a brush icon. And when you choose the brush tool, you can see it. The control panel changes appear at the top. On the left-hand side. I'm going to go down and select brushes under the general brushes category. Now you might see the folders like this or you might not even see that this rectangle is that large. You might see something like this. And so I like to have mine so I can see a lot of information because I do have a lot of brushes. And you can collapse or expand these folders. You, every Photoshop application should have general brushes, dry brushes, wet brushes and special effects brushes. I have a gym brushes folder because these are ones I have created or that I've used a lot in the past. I'm going to use the general brushes. In the upper left, you can see that there's a target. This target represents the size and shape of the brush. It also represents the angle at which you can change the brush. By clicking on this anchor point, I can reshape the brush and I can change the angle. So what's going to happen now when I paint upper left down to the bottom right, for example, I'm going to get a thick stroke. But if I paint upper right, bottom left, I'm going to get a thin stroke. I do really want a rounded brush. So I'm going to choose one of these presets, the soft round pressure opacity and flow. Now the reason why it says pressure, because you can use what's known as a webcam tablet. A weapon tablet is a professional industry standard tablet used by designers all around the world in because it provides six dimensions of pressure. So the harder you press with your stylus, the darker and richer the color, and the lighter you press, the more transparent and the more diffused the color. I don't have a webcam tablet that I just have my touchpad on my Mac and that's what I'm going to be using. I can keep going over the paint over and over again and it will keep adding more and more paint. As I go along. Now I can change the size of the brush here by changing the slider and moving it left or right. Or I can change the hardness since a plus a soft round brush, you can see it's 0% heart. If I chosen this hard round brush and get a 100 percent hardness, I do want the soft one here. I'm going to click away to make that menu go away. And I can see that my brush is not the size I want it, especially for this petal. If I go to the P key on the keyboard and I go to the right, there are two hard brackets. One that has an open heart bracket, one that's close hard bracket. The hard brackets will allow me to change the size. Open heart bracket will make the size smaller. Close hard bracket to the right of that will make it larger. And I want to make it larger. Now if I start here and I start painting, I need to make sure I have the proper color. I have this dark browns and that's not what I want. I'm going to go up here when I sampled those oranges and pick this orange color here, and start painting with this orange. Now, unfortunately for me, I am painting on the background layer. I was like, why is that given me a transparency, I forgot to add a new layer. I do want to add a new layer so I don't damage the original. Now when I paint, you'll see that orange come out. There. Is that orange? And I'm painting in this area. To fill it in. I'm going to resize the brush, make it smaller so I can paint this area here. And again, it's simply a matter of painting. And going in and having some happy accidents as you paint. Don't stress over whether or not you have it perfect because I'm not. You could even pause the video if you'd like, and go in and paint all of these little petals, you can be as perfect as you'd like. And I'll be as free form as I like. Maybe not that free form. Here we go. So again, I'm not too worried about my strokes. I can always go in later and fix them and work with them at a later time. And then I've got one last guy right here. Okay? What I'm going to do in a moment is I'm going to remove the background so I can see what's going on with my flower petals and whether or not a need to touch them up. So if I hide the visibility of this layer, I can see right away there's areas that I need to touch up by painting in the areas that I can see. Not too much though, it's not too bad. Now, as far as the bud here in the center, I'm going to draw an Elliptical Marquee. And I'm going to hold the Shift and the Alt or Option key on the Mac in order to paint from the center or to draw the circle from the center. You can see there it is. Drawing the circle from the center outward. Can use the paint bucket to fill that in with a dark brown here that I've sampled earlier. Here we go. Now the edge, I'm going to do Control or Command D. The edge of this bud is not a perfect circle. So I'm gonna grab my brush tool again and start painting over this edge here. Just to, to fill it in to make it feel more natural. Nothing in nature is a solid, is a perfect circle or a perfect square. And so I'm fixing that up. There we go. Okay? So at this point I can turn on my sky and you can see the blue behind that, and that looks really good. I am going to go in and apply to a new layer above the sky here. I have a brush that will let me do clouds. So I want clouds in the sky. So I'm gonna go to my gym section here and I'm gonna pull up this clouds. I'm going to show you in a future lesson how to create these clouds. So we're going to create that brush specifically. Now the first thing I need to do is I need to make sure that I have the color white. So on my tool panel here on the left, I'm going to revert back to the default color swatches. And I'm going to make sure that the white is in the foreground by swapping their places. Now, I can paint across the top here and you can see I'm applying clouds to this graphic. Now on the cloud layer, I can go to effects and do an inner shadow. And clouds always have various degrees of shadows and lights and colors. And he recounts what we applied some color, some clouds into this painting. All right, next thing I'm going to do is show you that we can also erase. So I'm gonna go to my flower layer. I'm going to grab my eraser tool. And as I mentioned, not only do you use brushes for painting, but you also use brushes for erase it. So I'm gonna make sure I have the same eraser, soft round pressure brush again. And I'm going to get rid of some of the yellow here in between these petals, just to give them a little more defined edge. And again, not worrying about it too much, just trying to give it a more defined edge between each of those petals. I could reduce the size here. So the area. So I've got a flower that I've painted with a background of a sky color. And I've got clouds in the sky. We're using all the different kinds of brushes. And the next few lessons we'll dive deeper into brush presets. We'll dive deeper into custom brushes and we'll work more with these brushes that you see. But for now, Have fun with painting with brushes. 3. Brushes Options Bar Settings: Now that we've used brushes to paint, I'd like to talk about going to the Options bar and setting some options within the Options bar. Specifically, when we use the brush, we were working in the brush panel and setting the size, the hardness, the softness, choosing the preset, or even configuring the brush tip in the direction we wanted it to go. Now we're gonna take a look at things like blend mode, flow, smoothness, and the brush settings itself. So let's dive in and learn more about our brushes. I'm currently in the brushes PSD file and I want to focus on the brushes panel art board. So I'm gonna go to the Layers panel and I'm going to Command Option click or Control Alt click on the brushes panel to zoom into it. Make sure that the layer inside that art board is selected so we can actually paint on it. Now I'm going to grab my brush tool and find a color that I like. If I start painting, you can see instantly the paint is being applied to the page and I'm going to go back in history, make sure my layers selected. So as I mentioned earlier, we were working with the brush presets that were located inside of the brush panel. And this is what we can see. However, what I'd like to do is I'd like to go and take a look at the options bar. So starting from the left, we have the ability to choose the folder with the brush on it, which will give us our brush settings. When I click on it, the brush settings panel comes up. We're going to talk more about this one will be due custom brushes. So I'm going to collapse that for now. The, to the right of that we have the ability to choose the blend mode. Now I'd like to work with the blend mode and the opacity for this particular discussion. I'm going to start by holding the open bracket in order to increase the size of my brush. And I'm going to paint a stroke using a hardness level of a 100 percent. Now I'm inside this panel, I can hit Enter to close that out and I can paint. You can see right away when I painted, first law is not very smooth. There's some smoothness or spacing that I need to fix there. But at the same time, I am applying this brush and you can see it follows the brush. And if I click, it fills the entire brush. So a hardness of a 100 percent fills the entire brush circle. If I set the hardness to 0%, what you're going to see now when I hit Enter and I paint, you're going to see that the brush actually kinda sprays on the outside of that circle. So it's not contained within the circle anymore. It's actually going outside. But it is giving it a softness and a feathered edge where the solid blue is in the center and then it feathers out to an opacity transparency setting. And instead it back to a 100 percent. Okay. Now, I'm going to reset this back and choose my layer three. So with regards to the opacity, if I grab an opacity setting of about 50 percent and I paint, now you're going to see that the color of that paint is 50 percent of what it used to be. So the tent is 50 percent. When I overlap these lines together, you can see the center is darker, but it is darker based on the fact that I'm overlapping. If 50 percent blue on top of 50 percent blue on top of another 50 percent blue, and so on, so on, so forth. I'm going to set the blend mode to multiply. So when I do that same shape after selecting the layer, you'll note that in the center of the shape, wherever they overlap is occurring, it's actually getting darker and darker. So the blend mode of multiply means to take the color and multiply it one on top of the other as they're being overlaid. If you want to make it lighter, you can choose the option called screen mode. And now when I paint, it gets lighter and lighter each time I blend over it there. So now we're getting a really light area here in the center. Now, opacity is the transparency of the paint and the screen or blend mode will change how that paint is applied. I'm going to set the opacity back to a 100 percent. And let's talk about the flow. The flow is, when I paint, how quickly is it going to follow my brush? Well, with a flow of 100%, it is going to follow it diligently. But if I lower the flow down, for example, not only is it not going to follow diligently, but it's also going to give me a softness blend. So it's going to look more like a watercolor. Now, what you're seeing here is the overlapping circles, the spacing on this particular brush is kinda off. So let me go to the settings here. And I'm going to choose the brush tip shape. And right here it's a spacing 25 percent. I'm going to lower that down closer to 0. Okay? Now, when I paint, you won't see those lines at all. So it looks much better. Okay, so there's my screen blend mode again. Let me, he said that to normal. Let me reset back. Alright, so as I paint now I'm not seeing those lines. But notice in the flow, I get a softness at the beginning and a softness at the end. And essentially the paint is following my cursor as I move it. But it's flowing a little bit difference and more like watercolors or oils. Okay, Clear my palette. Set this back to a 100 percent smoothing. Now again, I'm going to go back to my setting here in turns moving on because it's turned off. Now, smoothing is really interesting because you saw how smooth the line is. If I draw, it's nice and smooth. However, if I increase the percentage of the smoothing effect, like if I go 80 percent or 90 percent here, watch what happens. It follows my cursor, but there's a slight delay. That's because it's making the line as smooth as possible. And it's using up a lot of processing power to draw the shape. So it's really taking up a lot of processing. Having a high level of smoothing is going to do that is a little bit of delay when I paint now. So keep that in mind when working with smoothing, you want to make sure that you have a processor that can handle it. Now, let's see here. I can make straight lines by holding the Shift key down and dragging perfect straight lines from one to the other. I can connect my lines and make perfect straight lines. So hold the Shift key down will give you perfect straight lines. If I click here and then I click here while holding Shift straight line. Let's see. We're going to be talking about the symmetry tool a little bit. Let's talk about the smoothing options we have available. So if I go to smooth here and I increase the value, now I can have this Pulled string mode. Okay, So what is this gonna do? If I paint on layer three? Okay? And I want to reshape this. Well, I have to push the pink of that circle and notice it's letting me pull this along. So essentially, wherever the pink circle is, I'm pulling it around. And this gives me a chance to change direction very quick and easy. So depending on what type of device you're inputting this brushstrokes with. It'll make it easier to work with night really don't want that turned on. So I'm going to uncheck that box. It says stroke catch up or adjust for Zoom. Those are the two options that were set by default. If the smoothing is set to 0, those options are not available at all. And the gear. Now you do have Pen Pressure options. So these two with little target and a pen on the target. This is in the event that you have a webcam tablet and you're using six dimensions of pressure. And we also have a spray bottle, spray brush, airbrush. So you could use the airbrush method here. Okay, so this is using more like a spray brush. Again, the purpose of these option bar controls is to give you different types of stroke when you're working with the paintbrush that allows you to go in and experiment and see which one might work for your design. The point is to apply whatever knowledge you know about these brushes to make them do what you wanna do. And you can only do that if you go in and start playing with the different options. So have fun with the Options bar controls and play around and see what you can come up with within your designs. 4. Defining Custom Brushes: In a previous lesson, we use the brushes to create a flower. And on the blue background, we added clouds. Those clouds where a custom brush that I created. I'd like to show you now how to create your own custom brush and save that custom brush for use over and over again. So let's dive in to the brush settings so we can learn how to create our own custom brushes. I'm currently in the brushes PSD file, and I have my four art boards. I want to focus in to the custom brushes art board. In the layers panel. I'm going to click on custom brushes. And then I'm going to Command Option click or Control Alt click to zoom into that art board. Now I'm going to find Layer 4. Click on it. I'm going to grab a blue color that I like. And I'm going to grab the paint bucket, fill and fill it in with blue. This will be my sky. Now in order for me to paint the clouds, the clouds are going to need to be on their own layer. So I'm going to add a new layer above layer four. And I'm going to add the white color. Clowns need to be white. So in the tools panel here on the left above the foreground and background color swatches. I'm going to click the black and white default, and then I'm gonna swap them out. So white is in the foreground. Now I'm ready. Let's go to the brushes panel. And let's choose the soft round brush. When you do, you're ready to go into the brush settings and select the brush tip. Now the brush tip I want to choose by default is going to be this number 30 here that we can see. So this will reset all the settings. So we're dealing with that soft round brush. I'm going to change the size to 500 pixels to make it so the clouds are going to be very large. And then I'm going to change the spacing to 30 percent. So you're gonna see it's gonna give me a nice fluffy edge to my brushstroke. Now the next category, shaped dynamics. Clouds are puffy in various sizes and directions. So we're going to change the size jitter here to 95 percent. So that's going to give us varying sizes as we go through the stroke, you can see the size is changed bigger and smaller. We're also going to change the control to fade. So as we go to the end, as we're painting, and we go to the end, it'll taper off into a smaller end. We're going to set the control there to 20. And then the minimum diameter percentage is going to be 20 as well. Now you're gonna see it looks like a cloud with a tail. So that's okay. We're gonna get rid of that tail eventually. The scattering. So those large and small puffs need to be scattered along our stroke. So we're going to choose both axises and we're going to set it to a 120%. So they're going to be much larger and further away than the actual stroke. The count. We're going to set the count to 10, and that's gonna give us a nice fluffiness to that. So now we get a fluffy cloud going on. Texture. The default texture inside of Photoshop is this leaf texture. If I grab the drop-down, I can see trees, grass, and water, but I can't see anything else. Photoshop is not showing me some legacy patterns that I need to be able to use. These are patterns and I want to bring out legacy patterns that have cloud shapes to them. So if I go to the Window menu and then I go to the pattern's panel. I'll see the three categories that I had inside the patterns dropped down. But I'm gonna go to the upper right and the pattern's panel. And I'm going to click the hamburger icon and choose legacy patterns and more. When I choose legacy patterns and more, I get a new category here for legacy patterns and more. And it will show up now in the drop-down legacy patterns and more. Once you see that you can close out of the pattern's panel and grab the drop-down, expand the legacy patterns. We have 2019 patterns and legacy patterns. Well, the one I want the clouds is in the legacy patterns prior to 2019. When I expand the legacy patterns down, you can see I've legacy defaults, artistic, artistic surfaces, color paper. I've got nature patterns, patterns, patterns to rock patterns. And that there's a texture fill tool and a texture fill. I'm going to expand the texture fill. Once I've expanded texture fill, I can see a whole bunch of patterns that are available. The one in the upper left. If I hover over it for 1 second, I'm gonna get clouds 128 by 128. I'm going to click on it to select it. And now you can see the puffiness of the clouds have come in. But I'd like to change the scale to 500%. And then the mode here, I'm going to set the mode instead of height, Color Burn. Whenever you burn something, you make it darker. Whenever you dodge something, you make it lighter. So I'm gonna do color burn. And now you can see the puffiness of the little cloud items. Okay? We have one more setting we need to change and that's regarding the transfer. We're not gonna do any dual brushes or color dynamics, but we will click on transfer. When we choose transfer, you can see the opacity jitter set to fade, sorry, a 100 percent, it's going to fade out to 25. And all those settings there by default have gotten rid of the tail. So now the tail is gone and you can see the puffiness of the cloud. And that's exactly what I want. I want this cloud texture to be available so I can now paint and it gives me clouds. Now I painted on this new layer. So I can go down to the effects and add an inner shadow. And when I do, that, cloud will now have its own depth and dimension because of the highlights and the shadows being applied inside of that space. So working with a brush to go in and create your own custom brushes is going to open up a whole new world of color and a whole new world of things you can do with your brushes. Experiment with all those different settings, see which ones you like, see which ones give you the best results you want, and then use them within your designs. 5. Saving Brush Presets: Now that we've created our own custom brush, and it gives us clouds inside of our design. We want to save that for future use so we can have it over and over again to save for future use in the brush settings panel. In the upper right, we're going to click the hamburger icon and we're going to choose New Brush Preset. When I do that, I'm going to get this new brush dialogue box. And you can see a little preview here on the left it does say 500. I want to capture the brush size and the preset and the color. So it's going to be white as well. I'm going to call it clouds. And when I click Okay, now I will have this cloud is available. And when I click, it is painting the clouds. If I want to see that brush in the list, I can see clouds is now placed in the list and it is a brush and it's remembering the color white. So there's a lot of information here is, here's the size 500 pixels. It's a paintbrush and it's using the color white, because Give me a lot of that information. I can now use this over and over again in any project that requires clouds where they weren't normally clouds inside the image. 6. Working with Paint Symmetry: A new tool added to the brushes is called the symmetry tool. The symmetry tool allows you to create Mandela's or symmetrical shapes within your design. It's really fun to play with and to experiment with. So let's dive in and see what the symmetry tool can do. I'm currently in my brushes PSD file, and I'm going to zoom in to the symmetry artboard. I'm going to select cemetery. And I'm going to hold Command Option or Alt, and I'm going to click on that. Now. I'm gonna make sure I have the layer on that art board selected and make sure you have a brush selected as well. Now I probably don't want the clouds brush I had previously altruists as soft round with the tapered edges here. And I'm going to reduce the size. Okay, So a good size brush on the control panel across the top, all the way to the right, you'll see what looks like a little butterfly. When you click on the little butterfly shape, make sure you have your layer selected. Click on the butterfly shape. You'll get to choose the way you want your symmetry to go. Do you want it to be vertical, left and right? You want to be top and bottom. Do you want it to be? So you're drawing one-quarter of it and the other three quarters are being, are mimicking your work. You want it to be diagonal or wavy, a circle or a spiral. We're gonna start with the vertical line shows vertical. I get a nice vertical line in the center with handles around it. Now before I can start drawing with the symmetry tool, I have to determine what the plane is that I'm working with. In this case, that vertical line in the center is the plane that is going to use for the mirror. I can, for example, resize it. I can change the angle. But whatever I choose for the option, I can even move it. Maybe I don't want it to be in the center. Okay? Whatever I choose. That is where my symmetry is going to be built. So if I click the checkbox here and I start drawing on layer 2, click on Layer 2 to draw, oops, I'm painting with white, forgot. Let me choose a different color here, which is purple hair. You can see instantly. It starts to give you a symmetrical design. And its reason why I chose a butterfly, because it really makes trying and butterfly easy. But you can see here I just drew a set of eyes and they look like angry eyes. Everybody tells me I draw angry eyes. I'm sorry. Anyhow. I'm going to use the history panel to go back in time. And we're going to go back here to our Transform. But the idea is that I can add the marker for the cemetery and I can determine how that's going to go. So I don't want it to be vertical. Maybe I want it to be horizontal. Check the box and start drawing with a different color. Maybe what I'm drawing is, I don't know, an explosion or something. The idea is that whatever you paint with, even the color gets mimicked across that line. And so it's pretty neat. You can come up with some interesting shapes and some interesting ideas just by playing around with it. I'm going to go back in time again and choose a different option. Dual Access will give me four options. Oops, and I got to choose the correct layer here. Cancel out of this. Make sure I'm on Layer 2. And the symmetry layer. Then I'm gonna apply the dual axis. Okay, again, I can reposition, that can move, I can resize. I'm just going to check in and choose my colors again. So for example, maybe I want something like this. And then I want to do some purple. And maybe I need some pink and maybe a little green. So I can always hide the symmetry. I can say Symmetry off or hide it. There we go. So it doesn't even show anymore. And it's kind of interesting how it gives you this interesting shape. I'm going to revert this back. Select my layer two. Now I do have the ability to do spirals and to paint on that spiral. So let's see what this looks like. So as I paint with this one on the spiral, notice this is interesting. And the yellows probably not the best colors see all this, but let's call it the sin. So in this spiral, It's given me a neat effect that I'm applying to all of this content. Don't know if I care for the spiral too much. But there is a Mandela. When you choose the Mandela option, you can specify how many segments you are going to create. I don't know what the maximum is. It's not very much 107. Okay, so here we have 7, and I'm going to start applying some color now Mandela, oops, let me check. Boxer. Mandela gives you a lot different options for this. Shaping. Pretty amazingly, amazingly beautiful. But you can get the idea. Now if I wanted to, I could go back in and transform the cemetery. So I get the handles back. I could rotate it maybe at this angle and start drawing again with different colors. I'm gonna go with orange or red once I accepted. Here now you can see I'm drawing along a different axis. So it's giving me a different view into this Mandela shape. But pretty remarkable stuff. The patterns you can create are really, really wonderful. Look at that. So this is a new tool that's available. And you can play with them, have some fun, create some new content. Actually, I should probably go back in time here. I'm going to keep this one. I like this one. So really neat. But there we are. We're going to use the history panel to go back and select all those items, make sure it's there. Hi, the symmetry by turning it off. And there we are. So I get to keep that. So the symmetry tool, new in the Creative Cloud in Photoshop to create some really nice symmetrical kind of patterns. Christmas trees, things that have wonderful symmetry that you might want to use. Snowflakes, in this case looks like a snowflake. But anyway, Have fun. 7. Using the History Brush Tool: So another brush I want to talk about is the History Brush. History Brush Tool allows us to paint back in time. So in combination with the history panel and the history brush, you can always recover content back to where you started from. So for example, I'm working in the brushes PSD file. And I've just created this Mandela. Now the first Mandela with the greens and the yellows and the purples were created in one stage. And then I transform the Mandela by rotating it and created the reds and the oranges, two different stages. Let's say that I liked the star shape in the center with the dots that are red, but I don't like that little person or whatever it is in the orange that is next to the yellow. Well, I can paint back in time and get rid of that by using the History Brush tool. So on the left-hand side and the tools panel, I can click and select the History Brush Tool. It looks like a little brush where the arrow is kinda hooking to the left like you're undoing something. Okay, so it's like the Undo symbol. Then I go to the history panel itself. And I noticed that the history panel on the topmost layer has a little brush that looks exactly the same. This my history brush. So I can set the point in time where I want to revert back in time. So I know that when I first added my new cemetery path, That's right, Did the greens, the purples and yellows. And then right here the transform path is where I moved it. So I'd like to go back into time to when I move that Mandela path. And before I painted any of those other things. Now, what I want to get rid of is I think I want to get rid of every other one of these little persons. And I might want to get rid of the red dots in the center or something. Okay, so I'm going to start painting over this area here. Notice I'm painting over this area. So even though when it painted originally, painted everything in one fell swoop, I can remove the ones I don't want so I want every other one to go away. I'm just painting it away in time. So I'm using that original starting point of when I moved it to remove that content. Now I don't have to worry about going over the yellow. I do have to worry about going over the red. So the yellow and the green are there all the time, so they're not a problem. It's the red that I need to be careful of. I just clipped it by accident there so I'll bring it back. So I don't have to worry about the yellow and the green, just worry about the red. There we go. And then I think the next one was this guy. But I was trying to do every other one, but it was an odd number already. She's not going to work out the way I want it to it unnecessarily. Okay. So that's fine though. I'm happy with it. All right. So we got two there and two here. I could do the same thing with the red dots in the center. Okay, maybe I don't want these set of dots and I don't want these set of dots and the sort of dots down here. Okay, so I can go in using the History Brush and I can paint away the areas that I don't want based on the history of where my marker is. So I set the history said, here's the reference point of where it was before there was nothing there, no reds and oranges. So I'm painting them away. But the History Brush, in tandem with the history panel, will let you remove content within the work that you're creating in a way that undoing doesn't necessarily suffice. 8. Working with Custom Shapes: Now that we've learned that we can draw vector shapes like rectangles and ellipses inside of Photoshop or squares and circles. We can now talk about adding custom shapes. Photoshop provides us with some custom shapes that have preset defined shapes. Or you can bring in shapes that you've created from Adobe Illustrator. For example, maybe you've created a logo or clip art that you want to use. Any of these custom shapes can be used as masks or as a way to wrap text around that particular path. Let's dive in and take a look at bringing in some custom shapes inside of our Photoshop applications. I'm currently looking at the vectors underscore shapes, PSD file. And I do have my four art boards, so I'm going to zoom into the paths art board. I'm going to Alt click on the paths art board in the layers panel. And then I'm going to make sure that layer 3 is selected, or at least this layer in that paths artboard. Then I'm going to go to the left-hand side and look for the rectangle shape or whatever tool I can use for drawing. When I click and hold, We'll see I've got rectangle ellipse triangle like we seen before, but all the way at the bottom there's a custom shape tool. When I choose the custom shape tool up on the options bar, I'll see the custom shapes icon. And I can see the modes and everything like I've done before. However, going to the right, I'll see some shapes that are available. When I click the dropdown, I can see leaf trees, wild animals, boats, and flowers. Each one of those or a folder that contains certain shapes inside there. Here's the one for boats and submarines, for example. If I want to revert back to the old legacy shapes, maybe I've been using Photoshop for awhile and I don't see those legacy shapes here like one of them contain a heart. I used to put pictures of myself, my daughter inside of a heart. Use it as a mask. To do that. We go to the Window menu and we bring out the Shapes panel. In the Shapes panel, you'll see those four folders with those different shapes. I can go to the hamburger icon or the panel options menu in the upper right. And I can choose to bring in the legacy shapes and more. Choosing the legacy shapes and more. I can see in here that I do have those legacy default shapes, for example. And if I look through this list, there's the flower and there's the heart-shaped that I love. So how do I bring that in? Well, if I go back here to my shapes mode on the options bar, I now have that folder available. I can click to expand that down and expand down the legacy shapes and there's the default shapes. And in here, I will find the heart. Now, drawing a shape as a custom shape is the same as drawing it. With rectangles, ellipses. You have to choose which mode you want to go in. Shape mode, remember, creates a shape on your path. So you get a stroke and a fill with the path. You just get the shape and you don't get any stroke or fill and you can use it as a mask. If I want to do a pixel based shape and go into pixels, and then I draw and there's my pixels. So we can then go in and manipulate each of these in one way or another. Grabbing the Path Selection Tool, I can select the path on this layer. Or I can grab the Move tool and move the shape on this layer and reposition it. However, I'd like to create my own custom shape. I have something that I'm going to pull from Illustrator that I've already drawn. So here's my Illustrator application. And in the Illustrator application, you can see the rocket ship. So I'm going to select with my selection tool here, the rocket ship. And then I'm going to copy it control V, Control C, or Command Z on the Mac to copy. Now, now that I've copied that shape, I can go back to Photoshop and making sure that I'm on layer 3, I can paste that shape. On my path layer. When I choose to paste the shape, it gives me four different options to choose from. Now we know pixels, path and shape layers. But smart object is going to allow me to continue to edit it in illustrator application. It won't convert it to one of these other three Shape Modes. Smart object is going to bring in the full color and everything that you can see. It's exactly like it wasn't Illustrator because it's still editable in Illustrator. If I choose to click Okay, I can double-click on that layer. And it will bring me right back into Illustrator. And I can create or work on this vector SmartArt graphic. Making modifications inside of Illustrator and then saving them will make the save changes here. However, I don't necessarily want in Photoshop the SmartArt because I can't K to create a custom shape per minute. So when I paste Control or Command V, as in victory, I'm going to choose the Shape Layer and click OK. Choosing the shape layer brings in that rocket shape. I'm going to select the rocket shape with the selection tool. And then I'm gonna go to the Edit menu and choose Define Custom Shape. Choosing this Define Custom Shape is going to ask me for a name. I'll call it rocket. And I'm gonna go back to my shapes panel by clicking on the shape tool. And then grab the drop-down. I'm going to collapse these legacy shapes and there's my rocket ship. So now I can go in and draw at anytime any new rocket shapes that I want and as many as I want and whatever way I want. So I can make some that are much more squat and fat and some that are tall and lanky. But there you have it. The ability to work with shapes. You have preset custom shapes that are available to you. You have rectangles, you have circles, you have a whole bunch of options to choose from. And if you're not satisfied with that, you can bring in your own illustrations from Illustrator and populate them into the Photoshop application. So working with vectors inside of Photoshop, many different ways to do that. I'm sure you'll find some creative ways to find how you can use this in your own work. 9. Using the Pen Tool: Now let's talk about the Pen tool. The Pen tool is one of those tools that is very powerful in drawing programs that can be very complex and difficult to master. It takes practice patients, and practice again, when using the pen tool, you can create what's known as Bezier curves, named after a French designer, Pierre Bezier. But adobe knows that the pen tool is difficult to master. So in Photoshop, they've included the Curvature Pen tool and the Freeform Pen tool that we're going to take a look at it in another lesson. So let's dive into learning a little bit about the Pen tool and see how we can master this powerful drawing tool. I'm currently in the vector shapes, paths, and Pen tool PSD file. And I'm going to zoom in to the pen tool aren't port by Alt clicking on the Pen tool artboard. Now I'm going to go to the pen tool on the left-hand side. By looking for the inkwell pen you might use for calligraphy. When I click and hold that icon, I can see the pen tool, the Freeform Pen Tool, Curvature Pen tool, add anchor point, delete anchor point and Convert Point tool. When drawing with the pen tool, we need to remember that we need to our drawing mode selected appropriately. So we have the two that are available because they're both vectors. Shape and path allow us to create vectors. Pixels does not. I'm going to click on shape. This will give me a fill and a stroke. When I click the add an anchor point and I click another anchor point, I get the stroke and it's a straight line. If I keep clicking anchor points, I'll eventually get the film that comes in. But I keep getting straight lines. It's not until I click and hold that I can move and change how the line is going to curve. Now typically what I'm moving is the handles. And the handles go opposite of the direction. The curve goes the opposite of the direction of the handle being dragged. The handle is dragged in the direction of the next anchor point. So for example, if I'm dragging up and to the right, the assumption is the next anchor point. I'm going to make us up into the right. And I get this nice smooth curve. If I don't go up into the right and I'm dragging up into the right. Then when I try to go down into the left, for example, I get a weird bump here. Now you can avoid that by remembering that you drag in the direction of the next anchor point and you pull the line in the direction of the curve that you're currently trying to fit. Typically, the pen tool is used to trace or to draw custom shapes. So when tracing it makes it easy because you know where those curves are and I'll show you an example in a moment. So if I'm going to drag here and I need to then change direction, I can hold the Alt key on the keyboard and then change that direction. So the original assumption was that I'm following the curve that's leaning to the left. But the next curve might be going down into the left. So I did my Alt click and drag, and now I'm going to go into the next direction. So here you can see as I'm pulling it, that the natural ability is for that curve to go in that direction. Now, don't worry, you can always change these curves after the fact we have a direct selection tool which allows us to do that. So I click that one on the left, but this one to the left. And when I get to the last anchor point, I hover over it and I get a circle on my Pen Tool. That means I'm going to close the loop. So the loop has been closed. A couple of these anchor points are corner points. They're not round and smooth. So I'm gonna go click and hold the pen tool and get the Convert Point tool. When I click the Convert Point tool, I can convert these smooth shapes. If I didn't want them to be smooth, I can double-click to revert them back to curve or a corner shapes. Now, I'm going to make this and smooth. And I do have the handles. I'm gonna grab my Direct Selection tool. The direct selection tool is this white arrow here, just above the custom shapes tool. And when I click and hold it for 1 second, I get the Path Selection Tool and the Direct Selection. The black arrow selects all the anchor points along the path. And the white arrow select individual anchor points. So for example, if I click on this one anchor point using the white arrow tool Jim, direct selection. Notice all the other anchor points have become hollow. I can now click the handle and manipulate the handle. Or I can click the anchor point and reposition it. Maybe needed to be over here. If I don't want this teeter-totter effect with regards to my curve, I can hold the Alt or Option key on the Mac to change that curve independent on this side. So I can move that one independent, and now I can move the other one independent. I make them symmetric again, I can hold the Alt and I'm teeter tottering and they're symmetrical again. But now that they've been made independent, they are independent forever. Perhaps I've decided I need to add an anchor point to the path. So maybe down here I needed an anchor point. I can grab my selection tool and I can move that and make a bump. Maybe I need to subtract that anchor point because it didn't work out. I can delete and click. And unfortunate because of the way I've drawn that here, it's twisting that around. So I'd have to bring my direct selection tool and maybe grab these handles. That way. Then grab this handle if I can find it. Maybe played that one that way. There we go and bring that back. So using the pen tool takes a little bit to master. Let me show you an example where we're going to trace something. In my Pen tool layer. I have a layer that's hidden and then turn it on. And in here I have this coffee cup. I'm going to trace the outer edge of the coffee cup with the pen tool. I'm going to start here in the north position. I'm going to pull down and to the right because that's the direction of the next anchor point. Now, the second anchor point, I'm going to try to make it so that way the blue line follows the curvature of the cup. You can see that right away. Now I'm going to come down here where the next curve changes direction and pull that down a little bit. The further away I pulled the handle from the anchor point, the more exaggerated the curve. I'm going to come over here where it's changing direction again. Make sure the blue line is following the curvature of that white path. And then I'm gonna go back to the beginning. And I get pretty much a good circle. Not perfect however. So I'm gonna grab my selection tool here, click on these anchor points and start manipulating them independent of each other. See if I can get that a little more curve like here, this one, and hold the Alt key and move this handle up. Now my recommendation is that when you're done listening to this lesson, you go back in and try practicing. So you want to put this on pause for a moment and try practicing. And I click Alt here and make this side follow the curb little bit better. There we are. Now I can grab my type tool, for example, change the font color here. Sort of a mocha color. And I can go over this path and I can write some text along the path. So the idea is that you can trace a path using the pen tool. It gives you complete control over that curve of the path. Those curves are called Bezier curves. And you can use the handles. Pressing the Alt key will let you remove the symmetry between the handles and move them independently. And the Direct Selection tool will let you move the anchor point to reposition it, and it will let you manipulate the handles in Bennett. In the next lesson, we're gonna take a look at the Freeform Pen Tool and the Curvature Pen tool. Have fun practicing with the pen tool. Try not to get frustrated. It is difficult to master. It takes sometimes a while to master the pen tool. But once you do, you have a lot of power with which you can draw in these Adobe products. 10. Using the Freeform and Curvature Pen Tool: Now let's talk about the Freeform Pen Tool and the Curvature Pen tool. These tools make using paths and drawing paths much easier. And so I'd like to demonstrate that now. So we're going to start by going to the masks art board and in the Layers panel. And when ALT click on masks, and I'm gonna make sure layer 4 is selected. In my tools panel on the left-hand side, I'm going to look for the inkwell pen that you can use to draw calligraphy. I'm going to click on the Freeform Pen Tool. Now the free form petrol was created so you can just draw like you're drawing with a pencil or something like that. So if you click and hold with your mouse, you can draw shapes and it creates paths. You can see right away anchor points that have shown up on that path. And you can manipulate those anchor points, just like we've seen before with the direct selection tool and using the techniques that we learned on the Pen tool. Now at the same time, we can use the Curvature Pen tool. Now the Curvature Pen tool is rather interesting because it allows us to add anchor points and whatever direction your anchor points are going, it figures out the curve automatically. So all I'm doing is clicking anchor points. And look at this. I drew a perfect circle just by adding anchor points to occur. So it's pretty remarkable what you can do with the curvature tool. Now, with the curvature tool, notice as I'm drawing, I'm going up and down and up and down and it's creating this wavy line. But I can, for example, tell it to do straight lines. So if I hold Alt while I'm drawing, it will now draw straight lines. Now the good thing about the curvature tool is that with the curvature tool selected, if you hover over the path, you can then alter the shape of that path. And it really gives you a lot of control. Not only that, I can move the anchor point along the path, so I can change that up. So the curvature point tool, oops, double-click. There we go. If you accidentally double-click on an anchor point, it's going to turn it to a corner path. Now I can grab my selection tool here and I can move these anchor points out of the way, for example. Or I can do whatever I would need to do to manipulate these lines. So the idea is that we can use these tools to create similar paths like we did with the pen tool, but in a more controlled manner. So let me show you an example. Let's say I wanted to go in and trace a tree house inside of here and use that as a mask. So I'm going to grab my Freeform Pen Tool. And I'm going to zoom into this red tree house here. I can. And of course it went to the blue one because that's where my cursor was. I'm going to zoom out just a hair. Here we go. I'm going to trace this tree house and I'm going to mask it out. First thing I wanna do is make sure that my drawing mode is set to path so I can create a mask when I'm done, make sure that I have the proper layer selected, in this case Layer 7. And then I'm going to start drawing the house. Now, before I start drawing, I'm going to come up here to these controls on the Options bar. And I'm going to turn on the magnetics. So I'm going to check this magnetic. Now what this is gonna do is it's going to allow this free-form tool, which I would normally use to just click and drag to draw. It'll make it like the Magnetic Lasso where I can click. And it will start drawing and following the contours around the high areas of contrast. So you can see all I'm doing is dragging. I'm not holding the mouse down, I'm not doing anything else. I'm just dragging and it's following the contours of the shape based on the high contrast of colors. Now it might get to a point where you get like these red leaves in the brick and it can't figure it out and that's okay. We can fix that after the fact. But I'm just dragging my mouse along the edge of these shapes and it seems to be figuring it out very, very good. So Magnetic Lasso is very similar to this. And there we go and go back to the beginning. Once I'm at the beginning of the first anchor point, I click when I see a circle and it creates the path. Now didn't capture it exactly. So I can grab my white arrow tool here. And I can see right here that the little red roof didn't get captured correctly. You have to click once to select. There. There's one anchor point. Now I can manipulate that means that over there and capture the red roof. Okay, at this point, I can now with my free-form tool, if I click on Mask up here on the options bar, it will mask it out. And you can see there's a nice shape that I've gotten for the Treehouse, a little bird house that's been created by some craftsman here I'm in South Carolina. But the idea is that the free-form tool allows you to draw free form paths, just like you're drawing with a pencil or your drawing with paintbrush. And the curvature tool allows you to create curvatures are curves that you can then manipulate. So two different sets of tools that make drawing paths much easier than necessarily the pen tool. You still might want to master the pen tool eventually in your career. But certainly this, I'll make it a lot easier so you can get up and running and doing what you need to do without having to fuss over the pen tool. Enjoy the free form and the coverage or Pentel and see what you can come up with. 11. Work Paths Explained: So let's talk about why it is that we're creating paths and Photoshop. Sometimes you need to send your artwork out to somebody else who's going to be working in another program like InDesign to publish it out to some kind of publication. And we want to be able to create what's known as a clipping path or a way to have them remove the background without them having the access to those tools in that program. So the past that we've been creating can be used in that sense within those applications to demarc where we're going to remove the content. So when I was working on the red bird house here and I'm gonna zoom into that alt, click on that layer, that art board. I will see that I don't have any path around that bird house at this time. But when I drew the path, it went to the paths panel and called it a working path. It's a matter of fact, if I want to see what that working path looks like, I can click to outline it and you can instantly see the marching ants going around the path that I created earlier in a previous lesson. Now, if I want to, I can double-click this and give it a new name. When you double-click the working path and asks you for a name and I'll call it red bird house. This way, when the person who is at the other end receives this file, this PSD, this Photoshop document file. And they inserted inside of there in InDesign or desktop publishing program. They will use their tools to go find this path that I created. And it'll be called the red bird house. So they'll know exactly which one. Maybe I'll create a path for the blue or the greenish one. And there'll be able to see that one as well. You can see I've added the marching ants around it. I can also add the anchor points. So there's the individual anchor points by clicking the little icon there. And I can also go in and fill it in with the color. So I'm going to select Layer 7 here. If I wanted to, I could fill it in whatever the foreground color is. Where does that brown that I had selected? Or I can add a stroke around it. So a couple of these icons do these different things. Okay, so I can add the marching ants. I can have the anchor points. I can make it have a fill color, a stroke, or I could use it as a mask. So this one I did in a previous lesson where I've added the vector mask to my path and it removed all of the background earlier. So the idea is that you can use this path for many different reasons. But specifically, when you send this out for others to be able to work on in other applications, there'll be you be able to use this path in whatever way they need to within those tools that are available to them in those applications. So paths are very powerful because not only do they allow me to do things in Photoshop, but they allow others to do certain things within those applications that they're using as well. 12. Understanding Vector Masks: A vector mask is a little bit different than a layer mask. And that a layer mask is based on pixels, whereas vector masks are based on vectors. Vector mask as you precise control over the edges of whatever you're trying to mask out. Keep in mind, a mask is where you are hiding certain portions of an image and you're showing other portions within that image. Kinda like a kid wearing a mask at Halloween. All you see, their eyes and everything else is covered. So with that said, I'd like to bring out some custom shapes and I'd like to create a vector shape that I'm going to place around an image and create the vector mask. Let's dive in. To do this, I'm working in the vectors underscore vector mask PSD file. And I'm going to focus on the masks are bored by Option or Alt clicking on that. And then I'm going to unhide the layer for the happy Mother's Day cake. And this is a cake we bought for my mother-in-law, for her mother, for Mother's Day. And I'm going to bring out the vector mask shape. Using custom shapes. You can bring any shape that you want, rectangles, ellipses, anything. But I'm going to choose a custom shape because specifically there's one for the heart. And I want to make sure that my drawing mode is set to path. This way I can create the vector mask using the path. And then I'm going to go into my shapes and I'm gonna look for my custom shapes. Now if you don't have the legacy shapes and more, I've discussed this in a previous lesson. You can use the window shapes panel and then the hamburger icon to bring out the legacy shapes and more. Once you do that, inside there, you'll have the previous shapes that were used by default, legacy default shapes. And in there there's a heart shape. I'm going to click on that Hartree. Selecting the heart-shaped will allow me to draw this heart shape. So literally I'm just drawing it out. And I'm going to try to make sure it stays within the boundaries. But you can see right away the left and right-hand sides are not within the boundary. So I'm going to grab my Path Selection Tool and I'm going to Shift Alt or Option click to drag from the center and make it so the boundaries of that heart shape are contained within the image and then reposition it. And you get more of that right here. Just a little bit more. Here we go. So now I've got this heart shape and I'm ready to mask out the cake, for example. Now I need to be on my shapes tool. So I have to click away from my selection tool. Now that I'm on the Shapes tool on my Options bar here at the top. I'm going to click to mask out that selection. And it will create a cookie cutter literally and cut out the cookie shape that we've got here. It was, it was a cookie, wasn't a Mother's Day cake, it was a cookie. But there we are. So you can see in the layers panel, let's create a mask for this layer. And it's covering up only the areas that I wanted and showing up where it says Happy Mother's Day and it's in the heart shape. So I can do other things like add a refined edge or a feathered edge around this and, and other types of effects. But I now have a heart shape around this cookie that we created or had made for Mother's Day. And because it's a vector, you have a perfect shape around or perfect cutout around that shape. If this had been a Layer Mask, you would have some pixelation around the edges and it wouldn't be a perfect shape. So using vectors over layer masks gives you perfect control over the edges in your vector shapes. And you can use them with any custom shapes that you can create. 13. Spot Colors and Vector Shapes: So now we're going to talk about working with spot colors and vector graphics. Specifically, a spot color is spot on, It's an exact color. It's not processed by using RGB, red, green, blue filters or CMYK paints on paper. It's actually exactly the color that you want it to be. And this could be good for companies that have branding that they want to maintain or making sure that the color is exactly the way you want it. Because with process colors, you can't always guarantee that, however, they're more expensive, meaning that the printing company is going to have to keep that ink on hand in the warehouse. And every time that they do, they're printing press and they pass through. They're going to have to bring out and remove one of the color inks and replace it with your coloring. So it has a lot or labor-intensive and that kind of thing. So when we look at adding spot colors to our documents, we need to understand that there could be a cost associated. So I'm gonna show you two examples. One where we're going to use for CMYK colors and add a fifth color channel. Next we're going to look at, is going to be a grayscale. And we're going to add a second color channel to that. And we're going to see how to add the color books to our swatches panel. So a couple of things we're going to talk about with regards to spot color. So let's dive in. Now I currently have the gerber daisies spot PSD and the gerber daisies spot Gray PSD file open. The spot PSD is in CMYK color mode, so I can see all my color values here, cyan, magenta, yellow, and black. The gray image just has the gray channel. Now I'd like to show you first how to bring up the swatches panel and how to add these spot colors to the swatch panel. The modern versions, adobe Photoshop do not have the spot colors in the swatches panel. If you go to the upper right into the hamburger icon or panel options menu, you can click on Legacy Swatches down here, and that will add a folder or a color group with those colors in it. So now I can see all my pen tone colors, my DIC, Aptana photo filter colors. So they're all here. However, adding a Pantone color to an object within your design is not going to make it so it prints out with that spot color. To add a spot color, you need to add a spot color in the Channels panel. Now, I saved a selection earlier. So I'm going to command click on this petals channel. And that will show you the selection that I've saved. And I'm going to fill this in with a spot color. To do that, I'm going to go to Panel Options menu in the upper right and choose new spot channel. When I do that, you're going to see the new spot channel appear with a specific color. So the last color I worked with, apparently, I'm going to choose a different color here and make it a little more vibrant. So there's the pen tone, P7 dash six C. And I'm going to click Okay. Now in this boot new spot channel name dialog box, I clicked on the color swatch here, just pick the color. But I could have also changed the solidity. Think of solidity like transparency. Basically is the density of the color that you're gonna be working with. And the lower I set this, for example, 5%, the more you're going to see the original colors shine through. So right now this is a combination of the original yellow that was there plus the new yellow that I've added. If I did about 50 percent, you wouldn't see the detail. It's very overwhelming when it comes to this color channels. So you're still not seeing any of the details. So I had to go down to about 10 or 5 percent. Here we go. Nine, we're going to set that back to a 100 just for this example. And so now I have this new spot channel for the spot color. And I can turn off all the other channels and you'll see that's what's going to get printed on that plate. Turn those back on. Similarly, I can do the same thing on the grayscale. Currently in the Channels panel, this image only has a grayscale channel, plus the fact that I've got my selection that I've saved. I'm going to click on the selection with Control or Command click. And then I'm going to go to the hamburger icon and click on new spot channel here. And this one, I'm going to lighten it up a little bit. So I'm going to choose a different color just to lighten it up. And I'm going to click Okay. Again, I can change this validity, but I'm going to leave it like that. Now when I save this and I export this out to a desktop publishing program, I'll be able to see those plates that have all those different color panels. So let me show you that in InDesign. So here I've loaded the color photo and the grayscale photo into InDesign on their own separate documents. I'm gonna go to the Window menu and bring out the output separations preview. So here I am on the gray-scale and I can see I've got cyan, magenta, yellow, and black. However, there's nothing on the cyan plate. Nothing on magenta plate, nothing on the yellow plate. But if I turn the black plate off, this is what it's going to get printed on the pen don't plate. And if I turn the pantone plate off, That's what's going to get printed on black. So the idea is this only has two plates, so that's going to save money. This image has full color and it does have all the same by plates. But this one does have information on cyan, magenta, yellow, black, and the pantone plate. And if I turn them all off except for the pan tone, I'll see that's what's going to get printed on the Pantone play here. This is what's going to print, print on black. Here's what's going to get printed on yellow. Here's a printed on magenta. And then here's a sprint, John Diane. So working with spot colors means that you're going to bring in exact colors that you are looking to work with. And it's going to cost a little money. But we've seen two examples where that can happen. Now, another thing I could do is I can work with my vector shapes. So I can draw a vector shapes and add a color to that color layer. So for example, here I'm on my grayscale and I can go grab custom shapes. Here's my pod shape. So I'm just going to draw on that channel and you can see it automatically took on that color. Now this only exists on that channel. You can see right there little symbol of the post-print on that pan tone layer. It doesn't exist on the layers panel. There's no pop rent on that and it doesn't exist as a path. So when working with vectors, you'll want to first create a spot color channel. And then you'll want to draw your vectors if you need spot colors in those vector shapes. And I really didn't want the pop print on this image, but I wanted to show you that it was possible to do so I'm going to remove that shape. So where it can we spot colors. You can add spot colors to your vector shapes. And you can also add spot colors to any of your documents and then export it out to a desktop publishing program and have those BAC colors get printed, just like you expected them to be. 14. What are Libraries?: For the longest time, I W has been trying to help us take the content that we've been creating and share that content out. Adobe Bridge was a way to make sure that you can bridge the gap between applications. And there was a way to save local copies of things like swatch libraries and such that you could then import into other applications. Nowadays, with the advent of the Cloud services, Adobe has, you has leveraged its cloud service in order to make it so we can share things across the Internet. So what is a library? It's basically a way to manage our digital assets. And what can we save in that library? Essentially, images, text, and color themes. There are many benefits to working with libraries because it lets us save and sync across multiple devices. So in this world of mobility, we have the ability not only to save across computers, but across our devices as well, tablets, smartphones, that kind of thing. We also can save, of course, across our apps. So Photoshop, InDesign, illustrator can now have our assets being shared across those devices, even when you do things like Adobe Capture on your mobile device. And it allows us to collaborate with other people. Collaboration in a way that we didn't have before, because I can share my library directly with them by getting a link on the Internet and providing that link to somebody so they can get access to all my assets and my library directly from the Internet. No email, no worrying about whether or not the email limit has been reached. So working with libraries is a powerful way to manage the assets that you have in whatever way you want. And we're going to dive into these next few lessons and learn a lot more about libraries. 15. Adding and Deleting Assets in the Library: Working with libraries in the Adobe programs is fairly simple. It's amazing how simple it is. So we're going to learn how to create a library. We're going to learn how to work with the assets in our library and to manage those assets. We're also going to learn the type of assets that you can move into your library. So let's dive in. First, we want to make sure that we understand that the library is a panel just like any other panel. And like any other panel, we can go to the Window menu and then the alphabet L for libraries, we can find the library's panel. Now in Photoshop and Illustrator, it's called libraries and InDesign is still called CC libraries. So you might have to look into the seas there. Once you bring up the library's panel, you can see here I've got a floating panel just like any other, and I've got several different libraries that I've created. So these are projects that I've worked on in the past and I've named one thing or another. If I want to create a new library for this discussion and then hit this plus sign in the upper left here where it's got the Create new library. Or I can go to the bottom right and do that as well. I'm going to type in Photoshop library. I can spell here. And I'm going to click Create. Now you can see there's nothing in here. All I have to do is drag and drop. So for example, if I click on my layer 0 here and I drag and drop, I'll get the Gerber image inside of my Libraries panel. It creates a whole new group called graphics. And as I drag any other graphics and the future into this area, it'll automatically add it to the graphics group. But I can also, for example, grab and drag in one of these colors. Let's say I like this purplish blue color. I can drag and drop that swatch into the library's panel and it'll create a color group. Now another kind of asset that I can drag and drop is a brush asset. So for example, if I click on my brushes panel here, and I've saved this as a brush preset in the past. I've done the clowns brushes. I'd like to make sure I have that accessible to all my programs. I can drag and drop that here, and there we are. So now I have a new category called brushes. Anytime that I drag and drop content in here, if it's going to, if it can categorize it, it will automatically. But I could come down here, great, my own groups by clicking on the folder here. I could call this my group. And I can add content to that if I'd like. So some of these items are not group, they were automatically categorized by Adobe. And so this says You're not grouped. Now, everything that I'm doing is synchronizing directly to the web, to the Creative Cloud service. So if I go into Assets dot, I can see all the content I've been working on and it gets synchronized. For example, the libraries that have been doing so far this morning, I'm going to refresh my page. And there's my Photoshop library with all the assets so I can use them wherever I might want to go and whatever I might wanna do. So there's the groupings that were categorized for graphics, colors and my clouds, my brushes. Now just like I've done with in the Photoshop application, I can manage the assets here. So if I go in and I hover over this asset and I didn't want that there. I can remove the brushes by clicking the three dots on the bottom right by saying delete. Maybe I don't want that color anymore. It removes it. And it's automatically going to synchronize with my program. So I go back to Photoshop. Now I look at my library. That color is now gone. It's no longer in that list. So you can use both the desktop version, which is in the application, or you can use the browser version to manage your assets. Now there is a cloud icon in the bottom left of the library panel. It will let you know if your items are synchronized or not. Right now you can see it says all libraries are up to date. Hovering over it for 1 second gives you that status. So we can add content to our library. We can remove content, we create a new library. We can group assets within that library, and we can start sharing that content across multiple applications. In next lessons, we'll take a look at some of those features and see how that works. 16. Sharing Assets Across Applications: Now that I've added assets to my libraries, I'd like to share those assets across applications. For example, I created a Photoshop library that I want to open up and add to InDesign or vice versa. I might want to bring in assets from InDesign into Photoshop. Well, libraries allows me to do that. Let me show you how. In my Photoshop application, I'm going to click the icon to open the library's panel here. There's a little icon here, or I can go to Window Libraries. When I look through the libraries that I have available, I have one called awesome travel. Now this is based on a newsletter that I created in InDesign. You can see there's a color story. There's a couple of grouped items that are pictures and text together. And then there's a text box, but I could drag and drop. If I drag and drop an item, it's going to ask me if I want to save that and say Yes here, check that box and there is that asset has been brought into my design from InDesign. Vice versa. If I go into the InDesign application, I have a blank document here. I'd like to bring in some assets from Photoshop. I can go to the Window menu, CC libraries here because that's what it's called. Click on that. And here's my library list. Here's the Photoshop library. I can click on it and I can drag and drop the element from here that I want. And in this case, draw to place it. Now libraries is sinking across all of the Creative Cloud service and that includes mobile devices. Their applications like Adobe capture, that will also bring in assets that you can use. So any Adobe product that allows you to save to a library can allow you to bring in and share assets across those applications without too much fuss. Give it a try and see how it works in your designs. 17. Organizing Library Assets: Over time, you could end up with a lot of assets in your libraries. And you might want to start thinking about organizing those assets. So now we're gonna take a look at some organizational things that we can do inside the library's panel. Let's dive in. Again. I'm in Photoshop and I'm going to bring up the library's panel by going to either window, window libraries, or I'm going to go to the library's icon here and clicking on it to bring that up. In the library's panel. I do have a library called My Library. Now this is one I've been using for a long time. So when I click on it, you're going to see there's a bunch of types already set. Colors, Color Themes, layers, dials, graphics. And I'm seeing that list of types of assets because it says view by type. If I expand this list of colors, look at all the colors I've used in the past. And I can also see color themes that I might have added or layer styles that I worked with. Or for example, graphics that I've put together. Now if I look at colors, for example, I can't really tell what these colors are because on the right-hand side, I can see there are two icons. One is to sort the list and the other is to change the view. Right now the view is distro it ListView. But if I click on Grid view, now I can see basically turning that off, what allow me to see the list of items that are available with their names. So here's the list of every item. So you can change it between list and GridView at anytime. However, the view by type, right now everything is categorized by type when you drag and drop an IT asset and your library's panel, it I'll medically groups if I type, if I want to, I can create my own groups. So by clicking on view by group, I can now come in here and group them together. So I can name it to whatever group I want. Maybe I'm working on a particular color project. I can say color project. And then I can drag and drop those elements for that color project into there. So maybe I'm using the screen, I'm using this red because it's Christmas and maybe this baby blue. So I can now work on grouping the elements. It separates them by which had been grouped and which have not been grouped. So again, another way to organize your content. However, let's say I'm in a library. And I've decided that one of these assets in my Photoshop library, I'd like to move it or copy it to a different library. So for example, this asset of this Gerber flower I'm going to reuse over and over again. And I'd like to have it accessible and other libraries. So I'm going to right-click on this. And I have different options that are available. Now, right-clicking on the graphic is different than right-clicking. In this case, on my brush. Right-clicking on the brush. The brush is not usable by a lot of programs. It's usable by Photoshop, for example, but it's not usable by a lot of programs. And also at the same time, it's not an asset that I created using layers or it doesn't come with a, a linked object. So you can see those options are not available here. Whereas when I right-click on this guy, it gives me placed linked object, place layers edit because you can go in and edit a graphic and work on that. So based on the type, you're gonna get different options in your menu where you right-click. However, I can copy this to a different library, or I can move it completely to a different library and I'd like to copy it to a library. Maybe I'm thinking of sharing out a particular library, but I don't want to share this library. Wanna share on another one. I can right-click, choose copy to this library and I'm going to put it into my library, not grouped items. Now when I go back to Photoshop and I look at my library, and I see them by typed. My graphic section should now have that item there. So we can move items or we can copy them. We did have about sharing a little bit later. So maybe you want to copy an item into a shared library as opposed to moving it. Now, I'm going to bring up my desktop version and we have similar functionality in the desktop version of our libraries assets, So for example, if I go to a particular library and I'm going to start loading for whatever reason. There we go. I can hover over the object and then go to these three dots at the bottom. And I have the same options to move, delete, or download, copy or rename that object. So working with libraries will allow you to organize your content because it can get unruly over time. And it'll let you start grouping them together and viewing them in whichever way you want. In the next lesson, we'll talk about sharing our libraries with other people. So we can invite them to our library and they can have those assets available to them as well. 18. Sharing Libraries with Others: Now that we've added assets to our library, and we've learned that we can move content, organize it, and shared across applications. We now want to talk about sharing it to other people, like our colleagues, using an e-mail address or capturing a link to that asset. We can send the invitation to our coworkers and get them to work and modify the images or the content as they need to. Let's dive in and take a look. Again. I'm going to go into the Assets panel or the library panel. And I'm going to go into, for example, my Photoshop library here. So I have to be in to a library before I can do any kind of sharing. If you're not in a library or Panel Options menu, it does not have any kind of share library. Once you are in a library, however, you can't go to the panel options menu and you can choose to invite people, get a link that's going to give you a hyperlink that you can share, maybe be a messenger, that kind of thing. And you can go from there. Or in my case, I can click on this little profile icon with a little plus sign. And I can choose to invite to library. Whichever option you choose to invite to library. It's going to bring up the web-based version of the libraries for the Assets dot When you do come to this point, you can type in whatever email address you think you might need in order to share this out. And from here you can put in a message. Our Awesome work. Now, I can choose the level of permissions at the person has. They can either edit or they can have read-only access, can view as read-only access. So if I want them to edit, they're gonna have full control to be able to go in and modify and do whatever they need to on that asset. We're gonna choose invite, and that email will get sent to that person or the group of people. Now in the list here you can see who the owner is, but you can also see, for example, who has been shared with. So in this case, this one person and whether or not they've accepted my request for share. But at this point in time, that's it. Once you choose to share by either capturing a link or by inviting somebody to your library. There'll be able to go in and do whatever permissions you allow them to work with those assets and whatever way you choose. So keep in mind, do you want them to be able to edit or do you want them to have read only access? It depends on the project and it depends on which co-workers or people you're sending these assets to. However, the library panel makes it nice and easy to be able to invite people into your libraries and then make sure that they have access to whatever content they need. Just like you have axis across all your applications. 19. Using Filter Effects Gaussian Blur: Now we're going to take a look at adding filter effects to our images. Doing so is going to add a lot of fun and pop to our images. But at the same time we can apply some very special kinds of effects to these conditions that we might have. Let's dive in. I'm currently looking at a file called reservoir ducks text bullets, PSD. And I've got some text on an image that I've taken as a picture for a reservoir in main. But the white text as it approaches the shoreline is a little washed out by the highlights and the water and the grass that's along the water's edge. So I'd like to add what's known as a back screen to this. So what I'm gonna do is I'm going to start by first adding a new layer to my document and I click on the layer below the layer, I want to add this too, because I want it to be below the text. Now I'm going to select the marquee, rectangular marquee tool. And I'm going to draw one mark key over here on the right. I'm going to go to Edit Fill. I'm going to fill it in with the color black, because black is going to be an offset for that background. And I'm going to draw a second marquee very similar to the first. And same thing. I'm going to go to Edit, Fill, and I'm going to fill it in with the color black, a good offset to the white. However, a couple of things that I'm noticing, obviously, it's a little too obvious that that's black there. So I'm going to tone that down, to tone it down. I'm going to go over here to the Layers panel and I'm going to reduce the opacity. So I'm reducing the opacity of that particular element. Now I'd like to soften the edges. So I'm going to use what's known as a Gaussian blur. If I go to the blur menu and then I look five items down from the top here, Gaussian blur. Now there's a lot of blur options that are available and you're like motion blur and radial blur and some other types of blurs. But for this one, I'd like to have a little more control. So I'm going to click Gaussian blur. And it's going to give me this dialog box. Now it's currently set to a setting that's a really, really high so you can see it made the boxes completely disappear. I'm going to bring it back to about 50 percent or lower. And that'll bring that back so you can start to see the definition around the edges coming back. We'll raise that up. And there we go. It's a little more soft around 35 percent or 35 pixels, sorry, once I click OK, I now have a soft edge around that. And might want to bring up the opacity a little higher. Now, there we go. Okay, so looks good. So I've got a soft edge around the rectangles. I'm actually going to come over here and move the text down a little bit just to center it in that space. So it gets a little more balanced. There we go. So now using this back screen, I'm able to create texts that's easier to read on this graphic. Now I'd like to show you a second use case for the Gaussian blur. So here's an image. I've taken it myself, sitting out in front of a waterfall here and it's got some rocks and that kind of thing. But I'm going to isolate myself. Want to use this as a sort of a mark key to identify me in a profile on a social media, for example. First thing I'm gonna do is I'm going to lock the background and I'm going to get a trace of my image using the object selection tool. Going to start here in the bottom right. And I'm gonna pull up so I can get my shoulder and then up around my head. And I'm going to let the system try to figure out the boundaries of where I am. And it does a pretty good job. Pretty good job actually, it's got a little bit of the rocks here on my gray hair. So I can go in and grab the Quick Selection Tool and I can subtract those edges by holding the Alt. And I can click and drag. And I'm just subtracting some of the rocks, adding the hair back that's gotten removed. And just looking around that looks good. Nice defined edge over there on the flesh tones. Okay, looks good. So at this point, I'm going to invert the selection by going to Select menu inverse. And then I'm gonna hit the Delete key, delete the background. Now, I'm going to add a new layer. And on this layer I'm going to put it below the original layer. I'm going to remove the marching ants here. And I'm going to fill it in with a fill color. And in this case I'm just gonna start with white just to see what that looks like. Now the first thing I notice is that it looks good up until you see my hair analysts very harsh edge. I can fix that edge by control or command clicking on the image to get the marching ants. And then I'm going to go up to the Select menu. And I'm going to make sure that I'm on this layer. First thing, make sure I'm on the background layer with the head. I'm going to go to the Select menu, go to modify. And I'm gonna do what's known as a feather. Know, the way the feather works is I wanted to feather around the edges of where the image is at by deleting that space. So I'm gonna invert. Now you can see the marching ants around the canvas. I'm going to go to Modify Feather and undo about 25 pixels with a feather. I'm going to hit the Delete or Backspace. Now you can see the edges are softened and I have this nice look. However, I'm going to copy that image of my head by doing Command J for jump. And then I'm going to use Gaussian blur on this image that you see here. So I'm gonna go to Filter Blur, Gaussian Blur. Now for this one, I'm going to increase it a lot, a very large value here. So you can see it's blurred out my image completely. And it's giving me this weird glow. I'm going to Command or Control T. And I'm going to increase the size of this image from the center outward. And so essentially what you're going to see is I'm creating a glow of myself. Now I'm going to put this below the other image. And I'm gonna reduce the opacity. So it's got this glow like a halo effect going on. Okay, great. Now, in a previous lesson, I talked about libraries and I did save a file in one of my libraries that I want to use. In this case, it's this sort of background that I'm going to bring in. And I'm gonna put that behind all of my layers except for the white one. I'm going to re-size this object if I can. And I'm going to resize it from the center, Shift Alt. And I'm dragging it up as I make it fit in this area. She can't see, you might have to zoom out. And you can see it's sort of a space scene with these little bokeh effect of bubbles. There we go. Looks good. At least I think so. One thing I wanna do is I'm going to add a hue saturation layer, where I'm going to add some blue into the image. And I'm going to really saturate it a little bit. Looks good. Now I can grab my type tool and I can type in some text. I'm gonna move this here. We're going to resize the text. And I think I'll write a line once I get the text again. And I'm not sure about this font. So I'm selecting all of the text. I'm going to change the font away from calibrate is something I like. And I'm going to left align it. Here we go. This way. It's going to kind of follow my shirt here, my, my shoulder. Jimbo 2021. And it probably resize it down Control T. And there we are. So this could be something I would use as a splash on social media or something. But anyhow, using the Gaussian blur, I was able to create this glow effect around my head using the same image but just creating a copy and then blurring it and then enlarging it. And then another example was to use the back screen here, where it made the text much easier to read. So you can find a lot of uses for this blur filter effects that are going to be really applicable to things that you might do. And you can find creative ways to make it. So it really makes your images pop and feels a lot of fun. So give it a try. 20. Applying Distort Filter Effects Displace: Now I'm going to show you a technique that I learned a few years ago and I've been using over and over again when I need to. We're gonna take a two-dimensional object and we're going to make it look three-dimensional. And by using the Distort and Displace filter that's available inside of Photoshop. Let me show you. I currently have a file open called the US flag dodge JPEG, and it's just basically a clip art of a US flag. And then I also have this blue curtain JPEG file open as well. This is where we're gonna get the texture from that we're going to apply to that flag. Now starting with the blue curtain texture, I'm going to go into my Image menu and choose Adjustments, and I'm going to desaturate it. This is going to remove all of the color. The color is not. What's important is the highlights and the shadows are important because that's going to displace that flag using the highlights and shadows you see here. Now, I'm going to save this file, File, Save As, and I need to save it as a Photoshop document file. So I'm gonna change it to Photoshop. And instead of blue curtain now it's called the gray curtain, so I'll call it gray. When that's done, I'm going to switch back to my US flag JPEG clip art. Now, on this US flag JPEG, the one thing you would need to keep in mind is that both your curtain and your flag should have the same size. So if I go to Image menu and choose Image Size, I can see this is 1920 by 1080. And at the same time, oops, I should have just click Cancel. The same time. If I look at the great curtain, it is also 1920 by 1080. But if it wasn't, I could change it to make it so it's the same size. Now, when I bring this end, the reason why it has to be the same size is because once I'm done distorting it, it's going to change the pixels inside this clip art to match those bumps and those highlights and those shadows. But I'm also an apt to overlay the exact image on top to make it really shy. Let me show you. So let's start by going to Filter, Distort and Displace. It's the first option in this list. Now there are other options in this list like ripple and sphere, eyes and twirl and sphere. Okay, but we're gonna choose the displace option when I choose display. So you can see us a default setting of horizontal scale of 10 and a vertical scale of 10. The scaling doesn't matter. The stretching to fit and the repeat to the edge pixels because of the same size, that doesn't matter. If they didn't match, then it would try to stretch the image to fit the new one. And I'm going to click Okay. Once I do, I need to find the file that I saved, the great curtain PSD and bring that in. And notice it automatically went in and change the pixels. You can see there are ripples in that spot where they need to be, but it doesn't seem to be three-dimensional at this point. It doesn't seem anything butter sort of a rippled two-dimensional flag. Now what we're gonna do is we're going to bring in a copy of this curtain and place it on top of the flag. So I'm going to use my move tool to move this on top of the tab with the US flag name and hold it for a second, not let go the mouse. And I'm just going to drag down. Once I do that, the curtains going to come in and I'm going to line it up so it matches exactly the same dimensions as before. The next step is we're going to go to the Layers panel and on the layer for the gray curtain when I change the blend mode. So that dropped down in the layers panel that you always wonder what it is. Here's a good use for it. So as I start to hover over these different blend modes, you can start to see the colors start shining through, and it is starting to look three-dimensional. Now there's one called Hard Light, and that's the one we want. When you choose hard light, the light's going to come through the flag. And now you can see there's a three-dimensions. So those little ripples in the way that the flag was being distorted are now showing because of the highlights and shadows. So little too dark for my taste. So I'm gonna go up here and then the adjustments panel. And I'm gonna click on brightness and contrast. And I'm going to increase the brightness and contrast value. Second, bring up some of the light here, make it look like a real flag. And maybe if I need a little bit of contrast, bring that up. But I'm about a hundred and ten hundred and fifteen here. And it's good. So there we have the US flag that used to be a two-dimensional clip art that looks like it's now waving in the wind because of the highlights and shadows from the curtain that I've distorted and displaced behind this clip art. Try using this technique on some of the ideas you have and see what you can come up with. 21. Creating a Pixelated Look: In this next filter example, I'd like to show you how to take a photograph and make it look like something you might do in a sketchbook or make it look more like an illustration. So we're gonna use some pixel and options to do that. Let me show you how. So here I have a picture I took when I went to visit charleston and it's basically of this cobblestone street. And the first thing I'd like to do is make the colors pop a little bit. So I'm gonna come over here to the adjustments panel. It's called Charleston cobblestone JPEG file. By the way, I'm gonna go to the adjustments panel and I'm going to add a hue saturation layer. And I'm going to increase the saturation. So I just want to make that pop a little bit more with the color. Now I'm gonna make sure I have the background layer selected. And then I'm going to go to Filter, and I'm going to choose pixelate. Now there's a couple of different options in here. I could crystallize it. I can admit mosaic. I could use a mezzotint fragment, use a facet. If I did crystallize, for example, it'll create this little pixelation effect. And when I apply it by clicking, Okay, you're going to see it's going to look very, very crystallize, I guess, little, little pixels to make up the image. I'm not sure that's the effect I'm looking for. So I'm gonna undo. Another option is to choose Pixelate and then mosaic. And this makes it look very pixelated. So you might see this sometimes when they try to blur out an image and something, Haida license plate or that kind of thing. I'm not interested in that right now. But I am interested in is the mezzotint here. And with regards to the mezzotint, we can change how we're going to make this look. So we can use dots, for example. I could use grainy dots or course dots. I can use lines to make it look like it's kind of being drawn. Or in this case, I think I want strokes and I'll do medium strokes, long strokes or short strokes. And I think long strokes. There we go. Once I click, Okay. You can now see that this looks a lot like an illustration, like something that was hand-drawn by somebody. And then I could put in my newsletter and go from there. But there are several different options under pixelate. And you just need to play around to find one that you think you like for your examples and to bring that into your documents. And then to finish that up in your finished product. A lot of different options to choose from, a lot of different settings to play around with. But have fun experimenting and see what works for you. 22. Using the Filter Gallery: We've been applying filters individually through the filter menu and then specifying the type of filter we want. But there is a way to see a group of filters together in what's known as the Filter Gallery. The filter gallery provides a quick and easy method of going in and altering filters on one image. And also allows us to apply multiple filters at the same time to one image within this filter dialog box. Let's dive in and take a look at the filter gallery. So I currently have my Charleston cobblestone JPEG file open. And if I go up to the filter menu on the menu bar, and then I go down to filter gallery. You'll see that I can start to instantly apply filters to whatever the image is. Now I'm going to zoom out here a little bit in the bottom left-hand corner. And there's a list of filters here instead of folders on the right-hand side, you can see of artistic filters, brushstroke filters. We have Distort filters, sketch filters, stylize, and texture filters. And the texture that I currently have being applied looks like It's called patchwork. And what patchwork does as you saw when it was zoomed in at a 100 percent. It makes it look like little squares like I might have done a cross stitch of some kind. Now, every time you choose a particular filter on this right-hand side, you do have some ability to change it a little bit and to add more or less of those items. So as I alter these sliders for square size, I can make the square size is smaller, or I can make them larger. And which case it alters that texture that's being applied. So as I go through and I select different filters and I manipulate the sliders. I can say, you know, I like a particular effect or I don't like a particular effect, and I'd like to add to that effect. So for example, if I go into artistic here and I choose fresco, now let's say I like the fresco. I'll zoom out again. Like the fresco. And it gives me a certain effect that I think is going to be good. I can on the right-hand side down here at the bottom, either turn that on or off to see what the original looked like. Or if I want to, I can go click the plus sign down here at the bottom, which means that I can add another filter. So I want the fresco, and now I'm going to add another item like stained glass. As I apply the stained glass to this fresco and to this image, I can change the cell size or the border thickness. Now because the border is white, you can see starting to get lighter and lighter. And my image is the thickness of the border is getting larger and larger or I could decrease them. It also changed the light intensity. And I would like to sell size to be a little bit larger. Maybe a little smaller. Or I don't want that effect at all. And maybe I want something else. Maybe I want a sketch effect and a specific sketch effect that is going to look like charcoal, for example. So now I have a charcoal effect and the fresco effect being applied. And I can turn that one off and see how the original image would look with just the charcoal. Or I could try any other off and see what it would look like with just the fresco again. So the filter gallery allows you to tweak a lot of different filters with a lot of different settings. And you're going to apply and stack those filters on top of each other. So you'd have multiple filters at the same time being applied to the same image. Once you find something you like and you're ready to accept it and click Okay. And it will apply those settings to that image and you can move forward. So try experimenting with Filter Gallery. Apply whatever filters you think might work best. Change the settings on those filters using the slider options to the right, or add multiple filters to get together to get a really cool effect on your images. 23. Using Liquify: It used to be that you had used individual tools to do all this work. But now with the Liquify plugin, you can go in and alter this very quick and easy and intuitively right on the face. So let's dive in and take a look at the filter liquefy. I currently have the gym selfie file up and open. And if I go to Filter, and I did go down to liquefy here, you're going to see a new window will appear. Now in this window, it looks like it could be very complicated, but it's not. On the left-hand side. I have the tools that I would normally use to go in and alter this. So these tools have been around forever. What's new is these Face Aware items here on the right-hand side. Also the face tool here on the left is also kind of Nin. So if I click the face tool, now you can see instantly it says, okay, I recognize where the face is. If the two little brackets here. If you hover, you can see each individual area of the face. Here's the entire phase. Here's the nose area, the mouth and lips area. Here's an eye and a right eye. Okay. It's kind of knows where all these things are. And I can intuitively hover over this line here and start pulling it inward. Now as I pull it inward, it's going to allow me to work on narrowing this down and pulling it in. So I'm not so so chubby as I used to be. So I'm bringing it back. And maybe I want to smile here so I can come over here and rotate this. Bring up my smile a little bit. Now. I'm going to widen that a little bit as well because it looks like I'm puckering and making us mile. You could also come in here and change your eyes and can make my eyes very large. Or I can rotate my eyes, tilt them one way or the other. Maybe for some reason it's crooked. I can change the bridge of my nose a little bit up or down, but make it wider and arrow. And I can change my forehead as well. Maybe I got too much for him there. I don't like any of those settings. I am over here to the right and I can choose reset. So as long as I have the face tool selected, I can reset it any time. Of course, I could tweak each of these settings here on the right. So if I wanted to work on my eyes, I have psi, i size, eye height, a width, tilt, and because I've got two eyes, I can do them individually. So for example, if I want to make the left eye very large there, or I can make it very small. Or going to the right, I make it very large and very small. Again, I can reset it anytime. So I can work on the nose, the mouth, the face shape, and I can even bring in or load a mesh, meshes where you go in and you alter something by using a grid that you can go manipulate. So these tools have become very powerful because now you can actually just work on the face and make those changes happen. But as I stated, there are some tools here on the left-hand side that will make alterations to this base that we used to have to use manually to do all those little things that you can see tweak on the RAN side. So the foreign tool, for example, here at the top, literally makes it so I can move content and just move all those pixels. Now here's the thing I just white parade across and that's really exaggerated. So I can use what's known as a Reconstruct tool right below it to fix that. So I can just come in here and start painting. Now maybe I like a certain point of that. Like here, I like that but I didn't like the other stuff. So I can reconstruct certain areas in the face and I'm going to reconstruct the whole thing. Because unlike the face tool, I don't have a reset button. So the reconstruct a sort of my reset button. I can read it back all the way. And now there's no issue there. Usually what you do is to forward tool for is I can trace along the edge here and I can start to bring that in there, manipulate that and one way or another. My brushes really large, so it's getting a lot. There's a lot of exaggeration there. I can change my brush size just like I can change the brush size in Photoshop by using the hard brackets. Or in this case, I can come up here on the right-hand side and change the brush size to make it smaller or larger using these settings that are there. Now, the Smooth Tool smoothens out any imperfections that we might have had while we were drawing. So again, if I come in here and I distort in one way or another and I alluded to smoothing that out. I can now come in here and I can smoothen out. Works a little bit like construct, but it's actually not reconstructing back to the beginning. It's helping me smoothen out any issues that I had when I when I made the changes that I did reconstruct, takes it back all the way at the beginning and makes it so those pixels are returned to their original position and fixes any problems. There's a twirl tool. So if I come over here, I can twirl my crows feet. And it's silly. You can see the longer I hold, the more toward Elliott's gets. And again, I can use the reconstructor, bring that back. Maybe I think I've gone too far, but I want to bring it back to a certain point. I can do that or I can paint it all the way back until the pixels are in the right spot. So it's kinda history tool. But play with those tools, See what you can come up with for your photos. It works really well with portraits when it can detect the face and doesn't work so well with, for example, with a tree or that kind of thing. But certainly if you can put something in there with a face, it'll give you a lot of control over how you can manipulate that base and work with it. 24. Working with Smart Objects: Up to this point, the effects and the filters that we've been applying to our images have been what is known as destructive. It's been altering the pixels in a way that you can't revert back. Meaning that if I were to close out of the document and reload it, I couldn't go back in history or back in time. There's no undo. But converting your images to a smart object means that you can apply these filters in these settings. And you can make changes to your document, but you can always revert back to the original, remember the original settings. So we're gonna take a look at converting our image to a smart object. Now keep in mind, sometimes when you bring in elements from other applications, it automatically brings them in as a smart object so they can retain the editing capabilities within the original application. So similarly, we can do the same thing by forcing our documents become smart objects. And then bringing that together. Let's dive in and take a look at the benefits of Smart Objects. I currently have the reservoir ducks text bullets final PSD file. And I'm gonna bring up the layers to show you that I have a whole bunch of layers here. So several different layers. And I'd like to create a smart object out of this entire image that I worked on in Photoshop. What are the things that the smart object is gonna do is gonna combine all these layers into one. So I can then start applying filters or other effects to all of the elements at one time. Now, I'm going to select all of these layers by clicking on the first one and then shift clicking on the last layer in the layers panel. Once I've done that, I can go to the panel options or the hamburger icon, and I can choose to Convert to Smart Object. Doing so will bring all the layers down into one layer. But unlike normal layers, that thumbnail has changed a little bit. It's got this little icon in the bottom right that tells me that this is a smart object. When I double-click this smart object, I can go back in and change all of these layers one at a time. So I can go back in and manipulate one layer individually. I double-clicking. And matter of fact, it gives me an entirely new document to work with. It's called a PSB file as a Photoshop binary file. I'm going to close it out because I didn't make any changes. It didn't complain, didn't say, Hey, you need to save them. So I'm gonna look at making a change. I'm going to double-click on the smart object. I'm going to go in and find some text. I'm just going to move this text up a little bit. Now I've moved the text up into the trees here. I'm going to close out of the tab that has been generated with the smart object. And you're gonna get a notification that says, hey, you made some changes. Would you like to save them? Once I tell it to save, it'll reflect those changes in my Smart Objects. So now you can see the text is floating on the trees within the smart object itself. Now I'm going to move that back. So I'm gonna double-click, move the text back down. And then I'm going to go back into my regular document. So I could still edit. I retain the editing capabilities within the smart object, but I can now apply effects and other things to this smart object, which will allow me to apply it to the entire group. And then I can turn them on or off. And we're going to see that in the next lesson when we talked about smart filters. So smart objects allow you to retain the original settings of the original layers. It also, anytime you bring in an element from another application, it converts it to a smart object so it can still be editable in the original application. Converting it to regular objects means that it's no longer editable in those ways and it becomes the ability to destroy the pixels. Smart Objects are a way to retain the original and to make sure you don't destroy those pixels. 25. Using Smart Filters : So I've just converted my image, the reservoir ducks text bullets final, as a smart object. And now I want to show you what smart filters are. Smart filters are essentially, filter is being applied to a smart object and how that behaves and works that's different than before. So if you've seen the in the videos on adding filters to your images, then you're going to see how this works a little bit differently. Let's dive in. So I'm currently working in the same file and I've just converted it to a Smart Object. And I learned that if I double-click on the smart object, I can get in and edit the individual layers. I also learned that a smart object is non-destructive when you come to editing. So one of the nondestructive things that you can do and when you edit, in this case, is by applying a filter. Now we have applied filters before. So if I come in here and I choose, for example, that I want to twirl the image and I'm going to distort it one way or another. I can really exaggerate the tutorial and spin it around. I'm going to click Okay. And you can see now I've applied that twirl effect to the image. Of course it's a really distorted the image in a way that is horrible. But here's the thing. Look at my Layers panel. The smart filter has been applied instantly. And the smart filter IS, can be turned on or off at anytime. And so this is what we mean by non-destructive. The pixels that are in the original image can be reverted back to their original state. They don't have to be maintained this way. So even if I were to save this and close out of it when I come back in, it'll still be able to turn it on or off at anytime. Now I can drag and drop this into the trash. I didn't like it anymore. There it is. And I've deleted the whole thing. If the image was not a smart object, I could go in and convert it at anytime to a smart object or are just smart filters. So you have here under the filter menu convert to smart filters. The Convert to Smart Filters is essentially going to automatically turn your image into a Smart Object. And then it will apply filters to it in a way that's non-destructive. So smart object, smart filters, they go hand in hand. You can't have a smart filter without having a smart object, but you can't do a smart object without using smart filters. But no matter what it means that you're going to be doing nondestructive edits to your images. And it'll make it so you can turn them on or off at anytime. 26. 039 Photoshop 2 C4L8 Creating a Text Clipping Mask v3: Now we're going to look at a technique where we're going to apply what's known as a clipping mask to text. Essentially, we're going to use the text as a cookie cutter for an image. It's very easy to do inside of Photoshop. It's a very single one-click kind of thing. But essentially what we're gonna do is put a image on top of the word main. And since the text main is very fat, It's a fat font. I can then put an image inside of that text. I can use the text main as a cookie cutter. Let me show you how. So I currently have the reservoir ducks clipping mask, PSD file open, and I also have the main county map GIF file open as well. And I'm gonna move the GIF file into the main PSD file. So I'm gonna grab my move tool and I'm going to click on it and drag it up to the tab with the name. And when it switches and then pull it down and release. Now I'm gonna get warned that the color profile is different from one image to the other. And it's going to do a conversion in order to make it the same. And that's okay, I'm just going to click Okay. Might even check your Don't show again and just click OK. Now I've got the image of the map of main and I'm going to resize it. So I'm gonna start by zooming out Control or Command T on a Mac. I'm going to Shift Option or Alt click because I want to enlarge it from the center here. I'm going to pull it out until it fits. And I wanted to fit the text so the main map area fits inside the text. I can hit Enter or confirm that and kind of move it over. Now, the layer for the map is on top of everything, so I'm going to move it down until I can see the word main and actually has to be over the word main. Now since the main text is in the background here in the sky, this image is also in the background, mine the sky, or above the sky. Now, with my cursor, I'm going to move the image to where I think I want it to be anything. You want it to be down here in Phnom Scott County and stuck in Bangor, Maine. I can even go further to Waldo county or whatever. And I'm going to bring up my layers panel. And if I hover over each layer, I get appointing finger. However, if I press the ALT key and I move between the layers, I will see it down pointing arrow. Then we'll take the images on top and merge it with the image that's on bottom and create a clipping mask. So if I click between layer 1 and main, hear, it now creates a cookie cutter shape around the word main. As long as I have that map layer selected, I can change the position. Maybe I don't like it exactly where it is. Maybe I want to move it around. Now keep in mind if you move it around too much, you might start to see the white of the text. So you'll have to keep that in mind. But I'm going to move it around until the Bangor is here on the letter n. And that's good. The next thing I might want to do is apply the effect of the texts that has like a drop shadow or something that makes it a little more defined. The blue background and the map are not working out for me. So I'm gonna click on the word main. And I'm a click on the Effects menu here and choose drop shadow. And the default drop shadow that it's applied at this time is okay. So I'm just going to click, Okay. And now I can see a well-defined shape around those alphabet characters. And the map of main is now inside the text called main. And you can do this with any image, with any text. It's usually a good idea to make sure that the text is a fact font of some kind of fat font like impact or Gill Sans, ultra bold, something really fat. And then to put whatever image you want it to be. Flowers could be trees, could be whatever the images has to be on top of a layer on top. And then you use the Alt or Option click on a Mac in order to modify it and to create the clipping mask. Try combining text with images in ways that you are thinking about and see how they work out for you. 27. What is a RAW Image?: Let's talk about working with raw images. A raw image is basically an image that you've taken that has not yet been processed. Typical smartphones, once they take a photo, they automatically process the file using computational photography. You want to shoot in RAW when you want to have complete control over the editing process and complete control over the colors. You also want to shoot in RAW when you have bad lighting conditions or conditions you can't control. This will give you more control and post after the fact. You can use tools like the sister app in Photoshop called Camera Raw in order to be able to go in and tweak those settings. Also, you want to shoot in camera roll and you have plenty of time because you're going to have to go in and work diligently on each photo in order to make it look the best possible way it can. However, the rewards are worth it. You can do what's known as non-destructive editing within your raw photos. Basically, you don't destroy the pixels. Typically when a file is saved as a JPEG instead of a smartphone, it automatically destroys pixels when it compresses the file by discarding them. However, JPEG files does do a pretty good job of processing your images when the lighting conditions are optimal. If you want complete control, you'll want to do Camera Raw or some kinda rough format. Now as to whether or not your camera does do Camera Raw or does do. The rough format is available on most high-end Android phones. And you can do it from the native camera app. You can just go in and set the settings in the native camera app settings to make it so it takes raw images. The reason why it's not turned on by default, it's because they're much larger than the JPEG images. On an iPhone. You can't use the native camera app. You've gotta use something like the free app for Lightroom. Where if you take the pictures from Lightroom, you can tell it to save it as a rough image. There are other apps that you can purchase on the App Store in order to be able to do Kim, to do raw photos. But typically, the smartphone itself does not do raw photos. High-end DSLR, if you pay a couple $100 just for your camera, are more than likely going to do RAW file formats. Shooting in RAW is helpful when you are going to be shooting with portraits. Or you're going to risk blowing out your highlights because of the lighting conditions that exist. Or maybe somehow the white balance is off in your photo. Or you need to enlarge your photo for printing purposes. Because of the fact that it doesn't not discard any pixels and it contains a lot of detailed information inside the photo. It can be tweaked and manipulated in whatever ways necessary to make it achieve one of these four conditions. So let's talk about working with raw and working in the sister app and Photoshop for Camera Raw. And let's see how we can manipulate the individual pixels at their most optimum inside of these applications. Hopefully you'll find working with raw as rewarding as I do. 28. Processing RAW Images: So now we're gonna take a look at the process of loading a raw image into Photoshop and see what it does. So I'm here at the welcome screen and I'm going to click on open, just like go to open any normal file. When I do, I can point to the file that I want to open, which in this case is the raw Nikon D3 to 100. Nef. Nef is the Nikon extension for rock camera files. Sometimes it'll be different like DNG or maybe it'll be a cannon, so it'll start with a C. So there'll be different extensions for different files depending on the camera you're using. So when I click on this and I click Open, you might think it'll just open inside a Photoshop. But in actuality what it does is it opens inside of the SR application called Camera Raw. And you can see here Camera Raw 13 to the environment for Camera Raw acts a lot like if you've used Lightroom or some other programs because they do have down here what's known as a camera roll. And you can see the film strip view of all the images you might have opened. Now I don't particularly care for filmstrip view because it takes up room for my photo here. So if I go down in the bottom left where I have the zoom level, I can see this icon right here that'll get rid of the film strip view and it hides it. So no longer do I see that thumbnail. What was working with multiple photos, I could switch between them down there on that film script view down here at the bottom. Now we're going to talk about this environment. So we're going to learn about these settings. The first thing I want to discuss is that right now the file is opened in the Camera Raw application in Photoshop. So I have a lot of different controls. Now, some are similar to what we've seen in the Photoshop application. For example, here on the left-hand side I have a toolbar and I have a crop tool, looks like the crop tool of a Band-aid tool. So you can do some fixes, spot, spot brush. You'll get a paintbrush or you can go in and adjust things. We have, for example, then here we have the Zoom, we have the hand, and we have the eye dropper, which lets you sample color. So some of these things are you've seen in Photoshop, even this red eye removal tool, it's very similar. But then you have this entire list of tools that are in the skeletal categories with all these bunch of sliders that are very powerful. So we're going to learn about these sliders and this information. In the upper right, I can change the settings in the preferences of Camera Raw. And I have some ways of handling different files and such. And down here at the bottom, I can also go back in time. So if I make a change, let's say I change the exposure here. I can come over here and I can see what the original looked like. So the originals on the left and the new image that I'm using with the settings that I've changed down here. You can see that dark area. You can also change the view. Maybe I want it side-by-side within the same picture. These are the changes I'm making on the fly. Or I can see a top and bottom. So I can change that. I do want to revert back. So here I can click on this one, the toggle, to the default settings, and there we are. So I've reverted back. So a couple of different settings you can work with. Another setting is all the way down here at the bottom where you can see open. It also lets you open it in what's known as as an object. So we talked about smart objects in previous lessons. And I could open this file directly into Photoshop as a smart object, meaning that this image will allow me to do edits without actually altering the original. If you always want your photos in Camera Raw to open in Photoshop as a smart object, you can either click on this link here to go back to the workflow preferences, or it can go to the upper right click on the cog or the gear icon, get to workflow preferences and then check this box that says open in Photoshop as a smart object. Okay, so let's talk about editing here on the right-hand side with these sliders. The first thing I can see is that I'm looking at the Adobe color profile and that's listed here, Adobe RGB 1998. But at the same time, I have this basic category. And the basic category is going to let me work on things like white balance. And I can change the temperature by moving this to the left or to the right. You see him warming it up. Or I could cool it down by moving it to blue. Lot of control. And you have a lot of manual control. That's the thing this is all about manual control. I can change the tint, make it more green or limit to the magenta side. So when it comes to temperature, it's blue and yellow. When it comes to tent, it's green and magenta. Now reset. I can change the exposure settings, I can increase them. In this case, it's already too bright, so I might want to lower them a little bit. Now that I've lowered that and might want to change the contrast up or down. Now, if you go too far, you can see the histogram here, what's going on, and you can change content within the histogram by moving that around on the histogram itself. And that will automatically move the appropriate sliders. So you can see as I clicked on this area on the right, it's moving the highlights, whereas this area on the left is working on the shadows. So as I move it up and down, you can see I'm changing that that way. So they tried to do a lot of things that are intuitive. And I'm going to reset this back. So again, I'm going to lower the exposure. And I'm gonna increase the contrast just a little bit. Now we do have highlights and shadows. Now, when it comes to highlights and shadows, if you press and hold the Alt key as you drag on these sliders, you can start to see some little red marks there in the bottom left. That means that those are blown out. That the further I go here to the left, that means those are the shadows that are going to blow out. So you want to avoid as much of that red area as possible. So here I'm reducing that amount of rent. And I let go of my alt key like a my mouse. And you can see now the shadows are much better in that area. Everything is looking good. So you can move the sliders while holding the Alt or Option key on the Mac. And you'll see where things are exposed or overexposed or underexposed. So I can bring in some whites is a lot of weight in this photo. I'm going to reduce that. And I can increase the blacks are changed it up. A little too dark in the bottom corner there. And what kind of a texture makes it a little blurrier or sharp? I can sharpen by increasing that up. Clarity. Same thing. Pulling left, pulling right at each photo is going to be different. It's going to require different settings each time. But going in here, this is just the basic. I have curves, detail, color mixer, color grading, optics, geometry, effects and calibration. So for example, under effects, I can add a vignette. Now, to add a vignette around this, I might go left to add a dark vignette around it, or I could go right and the analyte vignette around it. So a couple of different settings there that are available. And I'll set this to 0. You'll get geometry. Objects. Remove Chromatic Aberration, which I don't have any color grading. So we get some little color scales here with some color wheels and circles. I get some blending and some balance. I want to make the rainbow pop here. And then color mixer, for example, again. And make the different colors pop one direction or another, change the reds, the oranges. Now I'm dealing with hue saturation and luminance here. I can change it to color instead. And it will change which sliders I can manipulate and which color I can focus on. Little circles that'll do that. Again. It's all a matter of finding the values you want to work with and playing around with them. Getting a feel for what it is that you're trying to accomplish within your photo. And then bringing that out and working on it. It's a very powerful way to go in and manage the detail of information that is in your raw image. Remember there's no processing being applied to a raw image. You have to do everything manually. Unlike a JPEG file or some other file that was saved from your phone, you're going to end up with no processing and no computational photography techniques being applied. But here we get complete control over our image. When I'm ready, I can click Done. And the image has been altered. It still didn't open up inside of Photoshop, but you can see it created an XMP file that allows it to remember those settings. Remember these are non-destructive. And I can open it again here, but I'm going to choose this one opened as a smart object. And when I do, it should bring it into Photoshop at this point. And there we are. Now I'm in Photoshop and RGB and all the processing that I've done has been applied to that photo. So try playing with Camera Raw, with your raw images and see what you can come up with. And in the next lesson, we're gonna learn how to open a JPEG file in Camera Raw. 29. Opening a JPG File in Camera RAW: Now I'd like to talk about opening a file and JPEG file in Camera Raw. The purpose of opening a JPEG file in Camera Raw is that you might want to use some of the Camera Raw tools that are available. You might want the flexibility of having complete control over some of these settings. Typically a JPEG file opens directly into Photoshop, whereas a camera, a rock image file opens up in Camera Raw. So I'm going to show you how to take a JPEG file and to get access to those tools that you need. Let's dive in. I currently have the Charleston cobblestone JPEG file open, and it is open in Photoshop. To open it in Camera Raw. I go to the Filter menu and then go down to Camera Raw Filter. Choosing the camera raw filter is going to open it into the Camera Raw application. In here. You'll have similar controls that you're used to seeing when you're dealing with your raw images. However, there are some differences. For example, it doesn't show down here all the information about what color profile I'm using or what size the file is, or some other information for the dots per inch and such. Which means that if I need to change any settings or preferences, I need to go to the COG and the upper right. And when you do go to the COG and the upper right, you can see that some of the items are missing like workflow and file handling. All you have is general and performance. So that means not all of the features and functionality are available, but that makes sense. The JPEG file is already been processed. So some of the details in the image have also been processed. Therefore, some of the information that you're going to work with our knock, it's not going to be available. But some of the functionality is still there, such as under basic, you can still work with white balance. You can still drag and the sliders and move them up or down to change the image. And when you're dragging these sliders, you can still hold the altered Alt or Option key to see if anything's gonna get blown out. Like here, I can see the shadows are gonna get blown out at this point, so I'm not going to go that far, and so on, so on, so forth. And I can reset back to the defaults and anytime. But at least now I have access to all of the tools in each of the categories. And I can go in and start tweaking them with whatever is available based on what I'm trying to do. So opening a JPEG file using Camera Raw will still apply those settings, just like we've seen before. I can apply some settings here. Reduce the exposure. There we go. I'll click Okay. And now you can see inside of Photoshop, those exact settings have been applied to this image. Now there might not be desirable at this time. I didn't take a lot of time to play with it. But certainly whatever I did in Camera Raw was translated into the Photoshop application. So opening a JPEG file and Camera Raw gives you access to the tools that you're familiar with. If you're used to working with raw images, it takes the processed image of the JPEG and apply some of those filters to it. 30. Strategies for Retouching Photos: Now we've come to a topic that brings most of us to Photoshop to begin with, and that's photo retouching. All of us have photographs that we've taken in the past that are physical and we might want to bring them into the computer and make them digital. Well, sometimes you have aberrations in those photos that you need to resolve or in the scans that you've done or it's picked up, for example, scratches and dust and other things. So having a strategy to photo retouched your images is a good idea. Generally, there are eight steps that you can look at and follow in order to make sure that you have the best retouching strategy. The first one being that you should be duplicating the original image or scan. Now you see this a lot. Photoshop professionals, the first thing they always do is they go into that layer and they make a copy of the layer, and then they make all their edits on top of that. They didn't go back in and work on the original layer. They work on copies of those layers. Same thing here. We can do that with either the physical copies or we can do that with the digital copy that we have in Photoshop. Now, when scanning images into your computer, you want to make sure that the resolution that you're using and the scanner matches what you're expected. And project ideas are going to be. Ensuring that the resolution is going to be similar to what your expectation is means that when you bring the photos into Photoshop, that they're going to look as the highest quality as possible. Cropping the image to its final size means going in and removing parts of the photo that you don't want. Now, I know what you're thinking. A lot of us try to remove our x's are espouses from our photographs. But in this case we're talking about, for example, the edges. Maybe the edges of the photo, we're friends. Or maybe you need to rotate it or straighten it out. You can use the crop tools to do that. Then we have the fact that we need to repair flaws, rips, dust, or stains. There are powerful tools in Photoshop that will quickly let you remove, for example, Dustin scratches. You can also use the Band-aid tool or the spot healing brush tools, or even the patch tool to go in and remove some of these elements. And we're gonna take a look at some of those techniques. Adjusting the overall contrast or tonal range of the image. So there are some automatic tools that you can use in Photoshop that will help you with some of these. So auto color, Auto Tone, that kind of thing, or auto adjustments. But you can go in and tweak them on your own using histograms. You can use curves, you can use levels. And specifically when you do, you'll be targeting any color casts. Now recently, my mother-in-law wanted some of our older photographs of her pappa to be able to be scanned in and I scan them in. And there was a green cast on the photos themselves and a yellow cast on some of them. I had to remove that using the Photoshop tools. Once we did, we were able to print them out on Canvas for her. We can also adjust the color and the total parts of the image. So specifically, you can target the midtones, highlights or shadows. Again, using histogram levels or curves in the adjustments panel will give you the finite control over those aspects of the photo. And then lastly, we have the topic of sharpening. Now I've always wondered why it is that my photos never look as good as a professional. And what I've discovered is it has to do with sharpening. I never considered that sharpening was used for anything other than o I took this blurry full photo awhile. It had Motion Blur and I'm trying to sharpen it up and it never works out. What sharpening is really used for to bring out details in the finite or very small areas of your photo, like in hair or skin tone or texture, that kind of thing. So bringing out texture. So we've talked about sharpening. We're not talking about removing motion blur from our photos. Were talking about going in and making sure that it looks as clean and as clear as possible. And that's usually the final step. There are a lot of sharpening tools that we can use inside of Photoshop. And we're going to take a look at a few of those. So that's our strategy that we're going to use for retouching photos. And let's dive in and see how we can apply them. 31. Using Retouching Tools: So now it's time to put the strategies for retouching into practice. I'm going to work on an image that I mentioned earlier in the previous lesson about my mother-in-law wanting some photos that we had scanned in to be printed on Canvas. Well, I had to do a lot of touching up to fix those and I think they're great examples. So let's dive in and take a look at the retouching tools. I'm currently looking at the Popol and mammal PSD file. And you can see that a lot of scratches, a lot of frayed edges are some torn plastic and stuff. And the first step says that we want to make sure we make a duplicate of our layer. To make a duplicate of the layer, we do control or command J, and that will create a duplicate of the layer so we can go back and review the original. Then it says to make sure the scan is the resolution we want. And right now at 50 percent. So if I zoom in here, you can see, and I'll see any pixelization so it is a good resolution scan. Now the next thing we need to work on is cropping the image. So I'm going to click on the left here on the crop tool. When I click the crop tool, I'll see this grid. If I don't, I can click once in the grid will appear. The grid that I'm currently showing is called the rule of thirds. With the crop tool selected on the Options bar at the top, I can see this grid in the center. And when I click the drop-down, it says rule of thirds grid, diagonal triangle, golden ratio and golden spiral. For example, I'm using the rule of thirds. And the rule of thirds says that as long as my subject is similar on one of these lines, that means that they're going to be perfectly balanced. Now, I'm going to crop it down without consideration for the rule of thirds first. So I'm just getting rid of these corners that are white here. And then I'm gonna get rid of this blog here at the bottom center. Pull that up a little bit right above that block, and then there's a blockage appear in the top center. I'm going to pull that down. Now if I want to concern myself with the rule of thirds, I'm thinking that I want to make sure that the two subject matter are on this line, this horizontal line, that'll be the first rule of third. So I'm gonna move that down until their faces are on that line. There we are. So there's the dad and the mom here. Now I can accept this and you can see it feels a little bit better, a little bit balanced, and it feels like it's now cleaned up. However, we have a lot of scratches and things to fix. So the crop tool was the first thing. Now, the next thing we're going to work on is actually fixing the problems. I'm going to find the Band-aid tool here on the left-hand side called the spot healing healing patch tool. Those are three we're going to talk about. And we're also going to talk about the clone stamp tool. The Spot Healing Brush allows me to go in and remove spots. So there's a spot right here on his hip. If I zoom in, I scroll down. There's a spot right there. I can make my brush the size of the spot a little bit larger. And what it'll do is it'll randomly select the pixels around it and bring them into that spot and then blend them. So you can see it was never there. Same thing with the one right here. We have the spot here. You gotta call spots here in the bushes, okay? A spot right here in the center. Looks like I got this spot right here. Okay. So spots? Yeah. But you can also use the spot healing brush tool to paint. So this is scratch right here that I'd like to remove. Now remember it's going to sample from random pixels. And since this area is got random grass and bushes, it's a perfect spot to do a paint job. If it was anywhere on her leg or something, I'd have to use a different tool because I don't want to capture flesh tones and with the grass. Now I'm going to zoom into this area here. And I'm going to remove this spotted area. And then there's one up here at the top, just painting them away. No fuss, no muscle, just painting. And you can see when it blends it in, if it captures too many highlights and not enough darks, you can fix it. And then I've got a couple of spots down here. And I'm gonna fix. So Scratch here and another scratchy or probably a water stain. There's a spot here I'm gonna remove. There we are. Okay. Now there's this long scratch, so I can still go in and paint away because it's on a random background. I'm just going to paint away the scratch we see here. And then there's a scratch here. So as I grab and drag, it is randomly selecting the pixels around that scratch. And it is removing that and painting it in that area. So I'm just clicking and dragging at this point to get rid of the scratch that's in this photo. And it randomly replaces the pixels to fix the problem. Looks great. Couple spots there. And there we are. Now my brush might not be too big or not big enough, I should say. And I always change the size. But I am getting to the point where I'm going to need a different brush or a different tool because I'm getting to the point where I'm going to be pulling from pixels that are flesh tones and the blue skirt. And I don't want to accidentally grab those colors. So I have to be careful at this point, right? So I'm gonna stop right there. Another tool under the spot healing brush tool is the Healing Brush tool itself. No spot. Now what this one does is lets me target the pixels that I want to sample from. So instead of choosing a random sample, it's automatically going to target. So at this point to target, I press the Alt key and I click to set the target. Now if I move this over here on the blue, you can see it's got green for the grass. If I start painting, I will be painting that grassy area or that bush area there. Now I'm going to sample here in between the legs. And I'm going to paint away this scratch here in between the legs. And I'm going to resample. You can resample as many times as you need to. And there we go. Now, I have this leg area, zoom into that area. For this, I'm going to use a different tool. I don't want to blend, see the Spot Healing and the healing brush blend in the pixels and it causes a little bit of a blur. And it's going to have these defined leg edges that I want to keep defined. Somebody who is what's known as a clone stamp, clone stamp tool sample exact pixels and it will paint exact pixels without blurring or are blending. So I'm gonna go right here to halfway on her thigh and halfway on the grass. And I'm the target by pressing Alt. And I'm going to click. When I bring it down, I can now paint inward in downturns her knee. And I can paint away these lines. Very, very good. Now I'm not gonna go too far because at some point the skin, the flesh tone changes color here. So I'm going to resample and this area here. And I'm gonna come here and paint down to get rid of that line and it's gone. You can't tell the difference. Same thing with the leg on this side. I'm going to sample on this side of the thigh. And the option clicked target. And then I'm going to paint down and in and across. And there we go. So I've removed that marker. Now she's got a scratch there. So I'm going to option click and remove that scratch. There we are. There's a couple of blemishes here that I can remove area. Now there is that spot in the blue dress, but I'll use the spot healing for that error. Okay. So I do have this area out here in the upper right. Again, we're going to use the Spot Healing For this. I make my brush a little larger. Paint over that again because it's a random area with colors, makes it much easier to kinda come in and work with this. And I want it to look like a straight line. And we are now I have the bottom right-hand corner. So this one again, I'm going to zoom into that bottom right-hand corner. The plastic is kinda gone on the coding. So I'm gonna remove that by just painting over it with the spot healing. And then there's a blockage right here. And again, if it didn't get it exact, you can kinda just blend it like that. All right, one more tool I want to talk about, and that is going to be on this photo in the upper left here. I have this Blache that I want to get rid of. So I'm gonna go click and hold the spot healing and I'll get the Patch Tool. The Patch Tool does it allows me to draw around the area I want to remove. So I'm going to draw a marquee around that area. And then I'm going to pull it into an area I want to replace it with. So I want to replace it with this area here, or even over here to the right. They're sick at that wood grain. When I click and let go, it blends in that area. And now you can see it was like it was never there. So I do have some things I need to fix in this image, but I'm gonna do that and save it for another lesson. The idea is that you can use the spot healing to randomly select pixels. Healing to target the pixels you want and blend the pixels in. The Clone Stamp will target the pixels but not blend. And then the patch tool will let you move the area that you've selected to another area within the photo that matches the pattern. And then it'll blend the pixels in that way. Using these retouching tools, you'll find that you can correct a lot of errors within your photos. Have fun playing with the retouching tools. 32. Using the Dust and Scratches Filters: So now we're going to look at a technique called dust and scratch removal. We have the filter under the noise category called Dustin scratches. And I'd like to show you that in combination with the History Brush Tool noted as show you how that can work. So let's dive in and see how we can use this new technique. Now, I'm currently working on the paper and cake underscore Dustin scratches PSD file. And I've already cropped out the image and done some fixing that I wanted to have fixed within this image. But I still have some spots that I can see. If I look at my history panel, I can see the only thing I've got in my history panel is the fact that I've opened the file. So I'd like to apply the Dustin scratch filter to this image. Now you have to be careful with the Dustin scratch filter by going to Filter Noise Dustin scratches, because if you increase the value too much, it's going to start to look odd. It gets very blurry, very fast. So if I increase the radius here, you're going to see it starts to look really odd very quickly. So you have to find a sweet spot between the Dustin scratches being gone and the actual image being good. So for example here, I've got no more spots there. If I turn the preview off, there's all those spots that are showing up on the screen and there's even a scratch here. But if I turn the preview back on there, it's pretty much gone at this point, which is really good. So with a radius of five pixels, very, very small change in value here. I now have the Dustin scratches gone. Now you might be thinking that the image looks worse than it did before because it's really blurry. So here's where we can use the History Brush Tool and the history panel to make this work. So the only two things that I have done that I've seen so far in this image is I've opened it and I've got dust and scratches that I've applied. Now, I'm going to revert back in time to the original. So here's where I was when I first started. But it does remember that I used the dust and scratches filter. So I'm going to set that as my target for the History Brush. Now, as I grabbed the history brush and I start to paint in these areas, it gets rid of that information. So technically, what's happening is I'm painting the areas and it's remembering where the dust and scratches values were from that timeframe and it's painting it down. You can see it's keeping the Dustin scratches in place. And I'm able to paint this information away. Is that line again, reducing the value, little spot there and the hair spot on the cheek. And it does a pretty good job of removing those little spots that I saw everywhere in the image. And there we are. So the combination of the Dustin scratch filter with the History Brush Panel and the History Brush tool allow me to go back in time and paint that information forward in time. I'm painting the dust and scratches onto the image only in those spots where I think it needs it. Give this a try and those combinations and see if you can get this to work as well. But it is a powerful way to bring that in. And I don't have blurriness on my faces of the people. And I just have the blurry areas where I wanted to paint and get rid of those dust and scratch marks. 33. Applying Sharpening Techniques: Now that we're done with some of these fixes, cropping and removing the dust and scratches, for example, we want to talk about sharpening the image to make it retain some of the nice sharpness that we had. But before we do that, we should do some color correction. Now luckily, Photoshop has a couple of automatic color correction tools that we can use. And I'm going to show you that on both of the photos that I've been using. So let's dive in. We're using the pap on mammal, PSD and the patho and cake dust and scratches PSD file. I'm currently on that one, cake. And I'm going to go into the Image menu. And I'm going to down to Auto Tone, Auto Contrast, and auto color. Now for the most part, that's going to catch as much of it as it can and really fix a lot of the problems in the image. You can see now the colors are rich, get chocolate in the chocolates, color cast is gone. So dearly really good job. Now of course, there's some things I can do to fix it. For example, I might need to add some level here to fix the highlights and the darkness that you can see. Bring some of that back and really work on bringing in some of those details that I lost. But it did a pretty good job. Now I'm gonna do the same thing and I'm just going to go through image tone. And I'm going to image Auto Contrast, and then image auto color. And instantly the color seems to be repaired and fixed and it looks really good. Okay, So very easy. Now going to switch back to the Popol and cake and Dustin scratches PSD file. Now, I'm going to use two different ways of sharpening this image. One is going to be kinda counter-intuitive. It's called the unsharp mask. And the other is going to be a smart sharpen. Now, smart sharpen you might think about is like a smart object. It does some, some good work and 10 to figure things out on its own. Now the point of sharpening is because every photograph, no matter what camera it's taken with, especially the modern iPhone or smartphone cameras. It comes with a CCD. And on that CCD you end up with some anti-aliasing filters on the lens itself. And those anti-aliasing filters blur the images to get rid of them. Worry effect. And it's because of that Maria fact that all cameras nowadays or most of them have this anti-aliasing that goes on. However, if you're paying for an expensive DSLR, Canon nikon, that kind of thing, that does RAW photos. It doesn't usually apply an anti-aliasing to the lens right away. So that way you can go in and manipulate. But a lot of the modern consumer cameras do. So keep that in mind. So to sharpen, we go to Filter and I'm going to sharpen. And in this case we're going to choose Unsharp Mask. Now the unsharp mask does have some proponents that like to think about. And of course you need to have the correct layer selected. It does have proponents who like to discuss what the best settings are. And so you can use some standard settings at some might suggest. But typically you're going to try to find a balance between what's your photo looks like and where you're trying to get to. Now for me, the most important part of this image, of course, is the people that are in the center here. And my mother-in-law on her father here, and our grandfather. And I'm going to increase the amount. Now what you're going to see is in the preview here that it's going to change the image. You're going to see both of these change the same way. But I'm going to turn it off eventually to show you what it looked like it before. I'm going to start by trying 75 percent on the sharpness or some value there abouts. And to change the radius now nothing seemed to change until I increase the radius here. Here we go, starting to get much sharper. You can see the detail in the face starting to command and that kinda thing. And I'll see above the threshold as well. Yeah, that's going to blur it a little bit more. Certainly the threshold down. So let me show you what I'm talking about. I can actually see the details change as I'm moving those sliders. And if I change the preview, this is how blurry at least to be. So this is what the blurry image used to look like. And when I turn this back on, this is how sharp. But as you can see the texture in the face and you can see the texture and the smiles as they come in. So really even the text down here, Here's what the original looked like. And now here's what we've got with the text. You can actually see that the shape of the chocolate pattern here on the cake itself looks really good. Now some people will swear by even higher color, blend them out here, a 120. And I'm not necessarily proponent of that. You can start to see there's a little bit of issues there that I think we're starting to get little too much something am I that was 75 there. That's a pretty good value. Might increase the radius. Yeah, I like the radius that I had, it was about three. So you can play around with the settings and find a setting new. Like once you find something you like it, click Okay, and now your image looks sharp and clear. And all those fixes that we stood good, still remain. Now gonna take a look at the pap on the mammal. Again, same thing. We've already fixed the color here, but we want to see if we can sharpen it up. So for this example, I'm going to try filter and I'm going to try sharpen, and I try smart sharpen. So I'm going to focus on their faces, him as zoom out a little bit so I can see that. And again, I'm going to go in and start moving the sliders. Now there are presets for this one. So if I've done this before and I saved a preset, I could load that preset in. Maybe there's certain settings that I always wanna do. But I can go in and move the slider value, changed that. Now the radius itself, you can see as you increase the radius, it does start to show and make it a little more of an effect here and get to 100 percent. But I'm starting to see speckling a little bit so I can either decrease the noise are increasing. Now, noise is a product of the way light is trying to shine through. So noise comes in because of light settings. So there's some dark areas. You're gonna see a lot of speckling occur with noise. Now this has to do with the ISO setting the film for example, ISO stands for International Standards Organization, and there's always a number associated with that for a hundred, eight hundred and twelve hundred. And that determines how much light you can let in when you're taking a photograph. So I'm starting to see a bunch of noise here in speckles on the face. Again, if I uncheck preview here, this was the original look like it's kinda blurry and that's sharp. But I'm going to reduce the noise a little bit. So we're down to about 0% and reduce the radius, starts to make a little blurry. I met 300%. That could be why let me increase the radius. And you can also tell it to remove Gaussian blur, lens blur, motion blur. So if the image was taken and people are moving, you can remove that there. I'm going to choose Gaussian Blur. And now it's gives it a little sharper edge at the 200%. And maybe the radius is too high. So we can also expand the shadows and highlights so I can fade the amount within the shadows and I can also do the highlights. So again, in case I get some noise here and these dark areas are on his pants, I can really determine how that's going to get rid of some of that noise and such. So a lot of different settings that you work on in the smart sharpen. Now you would think with smart sharpen it be a little smarter and it would do it on its own. But we have a lot of control. And I think that's why they call it smart because there's so much control over every aspect of these settings. So after a while of playing around with these settings, I think I found what I like. I can see what the original looked like. It's really blurry. And I can see that I've sharpened it up. And I'm going to click Okay. And now we've got two different sharpening methods. One using smart sharpen on the path on the memo, and then one using the regular unsharp mask. And you can determine which one you prefer and use them in your photo retouching sessions. But that's the final stage of the photo retouching with regards to these images. And so hopefully we're using these techniques. You can get some really good retouching going on with old photographs that you might have found in your attic. Or you can go in and fix problems that you have in your normal photos that you're working with. Enjoy with photo retouching services inside of Photoshop. 34. Final Results : So after all that hard work and effort of using the Healing Brush, Spot Healing clone stamp, using the patch tool and using the sharpening Unsharp Mask and working with the crop tool and other things. I wanted to show you the end result. So as you remember, we created a copy of our original. So I'm going to turn off where we ended up, and that's what we started with. So when we started this image for the pap on cake, this is where we ended up. Similarly when we had the pappa and memo, this is where we started all these scratches and blemishes and everything that was really, really bad. And this is what we've finished with. So you can see a market improvement from where we were. So if you can work with these tools and manage them, you can take your images from scanned documents to really, really finished and complete professional level looking photos. 35. Actions Explained : So let's talk about grading actions in Photoshop. An action is essentially a way to save steps that you might take or make frequently within a photo or an image. Specifically, if you think about it. If you've ever used Excel or a program in Microsoft Office where you're able to record your steps for things that you frequently do. And when you save those recordings, you can use a shortcut key to execute them. Similarly, you can do the same thing with actions inside of Photoshop. You're creating recorded steps that you can redo over and over again with the shortcut key. Now there are some things that you can record in Photoshop, but some things you can't. So not every command is recordable. There are a lot of things that you can be recorded. And so we're gonna take a look at some of those examples in this lesson. However, let's take a look at some of the sample actions that are available in Photoshop at this time. By default. I currently have the papa and mama sharpened and corrected photo that I went through in a previous lesson and fixed. And I'm thinking that I want to make it look like an old timey photo. So there's an action called CPM which converts the entire thing to sepia tone. Now might not be too difficult to do and in reality. But if I run the action, then I'm saving some time. So the way we work with actions is we go into our Window menu and make sure that we can see the actions panel. When I look at the actions panel, there is a default set of actions that I can expand down and I can see a list of vignettes, frame channels would frames cache shadow? And some of these are kind of fun. For example, a quadrant colors. If I click on Cloud and colors and I run it, you'll see it automatically makes this quadrant color List and then go to File, Revert it back. But there is one right above it called CPM. Now if I expand that out by clicking the greater than sign here, you'll see that it's gonna make a snapshot, it's gonna make a layer. It's going to merge visible, it's going to desaturate, and then it's gonna do something here. Each one of these when you expand that makes snapshot, for example, it's going to tell you the steps that it took. So when I run the sepia, it converts it to a sepia tone. And I can do that on many different photos. I just need to run this particular action and it'll take effect. So the action panel allows me to run default actions or any actions that were previously recorded. This is called the default actions set. And I can add more sense by going here into the panel options menu in the upper right. And going down here you've got some frames, some image effects. You could do text effects. I could do star trails here, for example, or some textures. I brought up the textures folder and there's a bunch of different textures for sand, paper and ink blots and stuff like that. And I could run those as well. So actions are a way to automate processes for things that you might do frequently and you can use a shortcut key then to execute those actions. You could also take the actions and run that against a batch of files that you might have in a folder. And you can also create droplets out of them. So in this lesson, we're gonna learn how to create an action. And then we're going to learn how to work with those droplets and go from there. So let's dive into working with actions. 36. Creating Actions: Now we're going to work on recording an action. Specifically. We're going to look at the process that it takes to go through and set up an action within Photoshop. Let's dive in. I currently have the cobblestones JPEG file open. And this file image was taken in Charleston, South Carolina. And you can see it looks like a fairly nice and sunny day and it was actually happy time. So what I'd like to do is create a rainbow overlay onto this image that I'd like to record. So I can use it over and over again and in other projects I'm working on. So the first thing we're gonna do is make sure that I can see the actions panel. Again, Window menu actions will bring that out. And currently in the Actions panel, when I click on the greater than sign here, I can expand out the list and see that there's the default actions that are available. But I'm going to create a new action set so that way my actions don't get mixed in with those default actions. To do that at the bottom, I'm going to click on this folder icon and create a new action set. I'm going to call it fun items. And then I'm gonna click Okay. So now any new actions I start recording are going to be placed inside of here. And hit the plus sign at the bottom of the panel in order to be able to add a new action. And I'm going to assign it a name, and we'll call this one rainbow. And we've got this fun items and I'm going to place it in that set. But you can also assign a shortcut key. Now, a lot of these shortcut keys are already taken. These are the function keys across the top of your keyboard. So if I do select one, I might want to choose shift or Command or Control on a PC in order to make that accessible. Because sometimes these function keys have other functionality. And adding a modifier, we'll make it work specifically. I really don't want to add a shortcut key, but I can color code my actions. There's another way to view actions and that says buttons. And I'll color coded here in purple or violet. So that way we didn't see that. And then I can click Record. Now, technically, I am setup and ready to go with my rainbow action. And it is recording. It's going to record any steps that I take. But before I begin, what I really wanna do is I want to bring out the ability to work with gradients. And one of the gradients that I want to work with as a rainbow gradient that is from a legacy set. Currently in the newest version of Photoshop, we have grouped gradients that are available to us, but one of them is not the rainbow colors. So I'm gonna go to the gradients panel here and go to the panel options menu until it to bring in the legacy gradients. That'll bring in a folder called Legacy gradients. And when I expanded, the first folder in that list is legacy default gradients. And when I expand that, you can see all of the beautiful rainbow shapes that we've got here. And I'm going to be using one of these. So I have to have that available in order to work with. Now, notice all these things that I've done so far. I've not gone into the recording. So really I haven't done anything to my image. Therefore, there was nothing that record. And I'm going to start working on the image itself. Down on the layers panel. I'm going to go in and add a new layer. And in this new layer I'm going to go in and add a fill color to this layer. Now I could use the paint bucket, but I wanna make sure that this goes directly to the layer and it works the way I wanted to. So I'm gonna go to Fill, edit, fill. And I'm going to set it to whatever color it doesn't matter. I'm going to remove the color and a moment. Now you can see it went black. Now on the layer itself in the layers panel, I'm going to right-click. I'm going to go to blending options. In the Blending Options, you can see the styles here on the left-hand side. The first one at the top is blending options. And let's set that Philip prosity to the 0. Because what I'm gonna do is I'm going to add a gradient overlay. In the Gradient Overlay, I'm going to first start by finding that rainbow color that I want. So right here in the gradient drop-down, I'm going to scroll down to the bottom and find those legacy gradients. Expand that out and go to the Legacy default, expand that out. And in here we've got the rainbow food flavors right here. Awesome. Now, I want to make sure that the angle of the rainbow is, is what I'd like. So I can rotate this angle to something that I like. I do like that it is diagonal. I'm going to choose that. And then the next thing I want is I want the blend mode to change to something that's going to look good. In this case, I think I just want the color. And when I do that, I have now applied the rainbow color to that image. So when I click Okay, and I stop the recording, it now has MAC layer film and current layer. I can expand each of these to see if there's anything extra within these steps. And you can see all the steps that were taken or could have been taken. And I can go in and modify it in time. But I'd like to see this applied to another image. So I have the second image open called the gym, the selfie social media splash, PSD. And this is the one I created in a previous lesson as a splash for social media. What I'd like to do is apply this same rainbow effect. So I'm going to click on rainbow and then come down here and click Play. When I do. Now that background has that same rainbow effect. And because of the layer I had selected, which was the text layer, it automatically is below my image, and therefore I don't have the rainbow and myself. And it's not on the text, but it is on the background. So make sure you have the correct layer selected when you run this. Now, I mentioned that I can view these actions as buttons. If I go to the Actions panel and I go to the panel options menu, the first one is called Button Mode. If I choose that, you can see all of these different buttons and there's my rainbow in the violet color that I've chosen. So the whole purpose of working with that color is so you can see it as a button. Now I can just come here and click on this. Now you have to understand that if you're in button mode, you can't actually record any new actions. So everything's grayed out here. So you have to be out of Button Mode to get those recording options and tools come back again. So if you want to record any new actions, you cannot be in Button Mode. But there we are. We now have an action that we can apply to batch files. We can apply to droplets, and we can take a look at that in future lessons. 37. Creating a Droplet: Now that we've created our action, we can create what's called a droplet. Droplet allows us to create a self-contained program that when you drag and drop images onto it, it automatically runs the actions that you've assigned it. And in this case, we're going to add the action for our rainbow effect to our images. But before we do that, we're going to add to our actions, we're going to add a save command to our actions. So let's dive in and take a look at adding a droplet and then also adding an action to our drop, our step 2, our actions we already created. So I'm currently in the Charleston cobblestone JPEG file, and I'm going to bring up the actions that I've already got. And here's the rainbow, and it ends at the set current layers status. That's the blend mode. I'm missing the save. So I'm gonna come down here and click the record button. This will let me record a new step. After this step I'm going to do is File Save As in the file Save As dialog box, I am going to save it as cobblestones JPEG file. And I'm gonna do number one here just so it's different than the other file that's already there. When I click Save, it's going to come up with the JPEG options, whatever the options are here, I'm just going to click Okay. And there, now I have the new Save and it's got all the options settings listed there. I can stop the recording. And now when I run this action, it will not only apply the rainbow effect, but it will save the file. Okay? And this time, I don't need to save my, my image. But my actions have been saved with the new Save. And I'm going to create the droplet. You don't have to have any kind of image open to create the droplet. You just need to go to the File menu and go to automate and choose Create droplet. Inside the crate droplet dialog box. I'm going to start by choosing the name of the droplet I want to create. In this case, the name is going to be Rainbow. I'm on a Mac, so it's calling it rainbow dot app. If you're on a PC, is going to be Rainbow dot EXE or whatever the name is you give it dxi. Dxi is executable on a PC side. If I was going to be sending this to a co-worker that was on a PC. I'd want to make sure that I have the dot EXE extension. So I'd have to convert this by just changing the extension to Dadi Z. If you're on the PC and you're creating this droplet, you're going to want to send that droplet to that person with the dot EXE extension and that person on the Mac, all they need to do is drag and drop it onto the Photoshop icon. It will automatically convert it to a dot out file. So I'm gonna save it here in the lesson 7 folder dot app. And there we are. Now in these settings. I'm going to point to my set and I'm going to point to the action within that set. So fun items, rainbow. You can see HIT, There's a couple of checkboxes for items here on the left-hand side, override action, opens commands, or include all folders. Those are not checked by default. In this instance, it doesn't matter. But I do want to suppress any file open option dialog boxes are suppressed color warnings. Whenever you work with different file types, sometimes it gives you a warning telling you that it's doing a color conversion. I don't want to see that information. Over here on the right. I can specify where I'm going to save this. So I'm gonna choose a folder. And specifically I'm going to choose a folder that I'm going to create called process images. So I chose that and create a new folder and call it processed. And click Create. Now there's nothing currently in there, so I should see things appear once it's been processed. Now there is a checkbox here. This is override action save as commands. Remember, I have a Save action inside the action I've created or saved step inside the action upgraded. And I want that to handle all of the Saves. And I wanted to name it based on the naming scheme we see here. But I'm going to change this. I wanted to be whatever name I want, so I get to choose whatever document name I wanted. In this case. I'll just choose this and I'll call it rainbow underscore. The second action or the second part of the name will actually be the name that it had before that real name. And then the third will be the extension itself. And I'll do it lowercase. So it'll be rainbow underscore, whatever the filename is, dot and whatever the extension of the file is. At this point, I can click Okay. Now I'm ready to run or to drag and drop images to that droplet. To do that, I'm going to go into my folders and I'm going to look for that information. And there's the droplet. And you can actually see it's sort of a little Photoshop icon with a down arrow, so I drag and drop it. That's what that's indicating. I'm going to click on this image file here, and I drag and drop it onto the rainbow droplet. It's going to process it. And then it comes up and wants to save it. And in the process folder, and there we are. So now I have that one image, but I could have also selected the other image that was in there. So I'm gonna run that again. Go back to my folder. And I'm going to drag and drop this splash onto the droplet. It's going to process it. I'm just going to click save. And there we are. So again, if I look at this folder at this point in time, what I'm going to see in the process folder or two images. And if I open these images like this rainbow slash here, you can now see it's placed the rainbow behind the scenes. So creating a droplet is a self-contained program that you can share with others. If you're sharing across platforms, you need to be aware that dot app is for Mac, dot-dot-dot EXE is for PC. And when you drag and drop images onto that, it will automatically save it to that location. And it'll save it with the file name and the extension that you provided it. And it's a quick and easy way to have actions be shared across coworkers and to run those actions without having to open up the Photoshop application every time. 38. Using the Image Processor: Another nifty tool that Photoshop has is called an image processor. The image processor allows you to take a folder with a certain type of file and save it as either a JPEG tiff or a PSD file or all three at the same time. So we can process them with certain settings and get them taken care of. So if you have one photo to a 100 photos, whatever it is, they can be processed all at once. Let me show you what I mean. So I currently don't have any files open and that's fine. But I do have a folder that has some files in it. In my lesson 2 folder. When we were talking about our lessons, we've been creating a whole bunch of PSD files and you can see a whole bunch of them here. And they're fairly large. They 25, 27 megs, 10 megabytes. And that's taking up a lot of space. So I want to convert those files into JPEG files that are much smaller and have a smaller footprint. So I'm going to use the image processor in Photoshop to do that, excuse me. To do this, I'm going to go to File scripts rate below automate, and I'm gonna choose image processor. In the image processor dialog box. I'm going to see that I have four steps that I can take. The first step is to select the images that I want to process. In this case, I'm going to select the folder. And I'm already pointing to listen to, so that's great, but I could point it to any other folder that I want by selecting the folders here. And it is going to process only the PSD files. It won't care about those InDesign files that are there. So then choose Open. Now, I don't want to process them into the same folder location. I would like to process them into a new location. So for this one, I'm going to go into Chapter seven into the process folder here. And I'm gonna save that here. Now it will create a JPEG folder, or the folder based on the name of the file you choose by default, right here, JPEG is selected. So you can have all of the file types in their own separate folders. Step 3 says, save it to what kind of file type. Now in this case, the quality by default is usually set to five. I'd like to have the JPEG quality at maximum setting, because even as JPEG file at maximum setting is going to be much smaller than 10 megabytes. You can choose, for example, to resize, to fit. So I could resize the width and height values for pixels. And I can convert to the profile sRGB. I can uncheck that and leave it to whatever it's currently set at. Now, these are checkboxes, so I could save as PSD and I could save as tiff as well. I'm only going to save as JPEG, so I'm going to uncheck those two boxes. Step 4 says that I can run an action. So just like we've learned in previous lessons, we can create actions and I can apply those actions directly here to this process. I don't wanna do that, but it can be done. And that can certainly give me some results that I might want. Now once I make changes to the settings, I can save these settings so I can load them in the future if I have to run this again. That way I wanted to go through this process of choosing these options all over again. I'm not going to save it for today. I'm just going to run. And when I do, you're going to see the images are getting processed one at a time. There we are, and it's done. So now when I go back to my folders and I go to Chapter 7, in Chapter 7 folder here I can see a JPEG folder. And in the JPEG folder, I can see a list of all of those PSD files have been converted to JPEG. And they are much smaller footprint than what we were seeing before. So very, very good footprint there and makes it much smaller and much easier to manage and much more workable. So using the image processor, it allows you to take whatever file type you have in a specific folder could be GIF's, PNG's, could be EPS wherever they are. And it will process them and give you a result based on what your settings are. You can set them to either be jpegs, PSD, or a tiff files, or you could do all three. It's up to you. So try using the Emma's processor when you have to batch process images that you have to convert from one file type to one of those three file types I mentioned. And see what happens when you, when you do that and see how much efficiency it brings to your 39. Using Merge to HDR Pro: So let's talk about HDR. High dynamic range. Basically, high dynamic range talks about the range difference between lights and darks within your photographs. Now the human eye can typically adjust for the brightness and darkness within what we see are our visual spectrum. But the camera cannot. It has to pick and choose between what it's going to look at and when it's going to focus on. And so what we can do is as photographers is we can take photographs at different exposures and tell it what to focus on. And then we can combine them together to then go in and make it so we can a fully formed view of what we were trying to take a shot of. What this means is, for example, and I do this a lot. I'll sit there and I'll see something that's beautiful at sunset or sunrise. And I'll take a beautiful photograph of that scene. I'll make the camera focus on the sky in one shot. And that'll make it so the scale of good and everything else is shadowed. And then I'll click on the bottom part where the horizon is. And that'll make the sky look overblown and then the foreground look really, really good. I'll combine the two using the HDR merge Pro that's inside of Photoshop. And that will allow me to pick and choose how I can make this look. So let me show you an example of using this feature within Photoshop that will let us work with high dynamic range. And we'll let us bring in these photos and merge them together into one photo that combines them and looks really good. Let's dive in. So currently I have the SC reservoir one JPEG, which you can see here. I focused on the beautiful, gorgeous sunset of the sky here It's got some nice rays going on. But notice here on the horizon the trees are all kind of in dark mode. There are shadowed out. And that's because I focused on this bright area and everything else got washed out and shadow. Okay. Here is the opposite. I told it to focus on the foreground areas so you can see the details and the grass and the trees. And you can see the details in the foreground, but you can't see the details out here because this is now completely blown out in a way that's it's not even legible. It's the same same spot, the same time of day, same everything but just two different photographs. And because of where I chose to focus, it, it brings in this view. Now I can merge these two photos together using some Photoshop tools that will fix this problem and create one image that combines both. To do this, I go to File menu, and then I go down to automate. Inside the Automate menu, I get down to merge to HDR Pro. When I choose this option, I'm going to get a dialogue box and asks me which files I'd like to merge together now I do have them open and that's okay. So I can say Add open files or I can browse to find files in a folder. We'll click Add open files and then the r, SC, reservoir one and reservoir two. There's also a checkbox down here. This is attempt to automatically align the source images. I noticed as I was flipping between them at the end of this conversation that there were little line the alignment was a little bit off. So leaving that checked is going to fix those problems. Now I'm going to click Okay. And a new dialog box comes up with a new window. And you can see what the combined image might look like. So here's the render that the computer has put together. The sky is gorgeous and we do see details here in the foreground. And we see the details and in the trees here. So we're not getting that dark area like we've seen before. You can see down here the two photos that I've combined together. If I want to, I can add more photos or I can zoom in or zoom out. And because I only have two, I cannot uncheck them if I had more than two because you can create your cameras, your DSLRs can actually take photos in batches. It's called brackets. And basically what that means, it's going to take a bunch of photos in one shot. So you press once and it goes like like six or seven or eight or nine times depending on what your settings are. And it'll take them with different exposures in different lightings and whole bunch of different things that you then combine later on and post kinda like what I'm doing. Now I did this manually, so I only have the two photos, but I could uncheck and check which ones I might want to combine or recombined. Over here on the right-hand side, I do have some controls that I can tweak. Currently you can see the preset that it's using is the custom. So this is the custom preset that it chose to say, okay, I think this is going to be the best view possible with this photo. A little dark. So I might want to change some highlights or shadows and, and see if I can brighten this up or lightened it up, go one direction or the other. So I can grab this lighters and start moving it around. But there are some presets here at the top. And you can see there's surrealistic, photorealistic. I can just click on some of these presets to see if there's anything here I like. Now this is kind of interesting, surrealistic, high contrast. It looks like everything is glowing in one way or the other. I'm not sure I like that at all. And you have things like city twilight, you have flat. Okay. I can go to default here. But the idea is that there were some settings that it had chosen and I can work with those settings or I can change the sliders. Now the local adaptation here, or yeah, adaption, adaptation and I can even speak. This is allowing me to change all these sliders. But if I grab the drop-down, I can equalize the histogram. And actually kinda thing I like this one, exposure and gamma. Actually this is not too bad either. High-contrast, not caring for that at all. So either the equalized histogram, which brings up the brightness in this area which I really like and still gives me some, some nice colors up here at the top, which I can probably fix and post myself, but and this is a little too dark. So I think I'll go with this one equalized histogram. Now once I click Okay, it'll create one file out of this entire image. Once it's done processing after, okay? I guess there we go. Now it's processing. Okay. So there's the one image. Here's the two separate images. There's the one with the sky. Here's the sky was blown out. And here's the two of them combined together. And you can see right away the drastic improvement by combining those two images together. So using this merge option for HDR Pro, very powerful way to make it so that way you can pull from multiple source images and try to combine them into one image that looks really good and brings out everything that you saw when you saw that, that moment, that wow, do you, and you wanted to take pictures of it. So using this merge to HDR Pro gives you that combination. And it's another tool in your arsenal using Photoshop to fix photos and to make it so you can then do whatever you want to with them. Have fun exploring and give it a try. 40. Using PSD Files in InDesign: The good thing about working with these Adobe products is they're all compatible with each other. So for example, the Creative Cloud includes InDesign, Illustrator, dreamweaver, Photoshop, and many other applications. Now I'd like to talk about how we can use PSD or Photoshop document files in these other applications. And we're gonna start with InDesign. When you work with Photoshop, you create files that have layers. These layers can be brought into InDesign or turned on or turned off. It's completely up to the user what's going to happen? Indesign as a desktop publishing application and a lot of assets for that desktop publishing application are created in the Photoshop app and then lead out inside of the publication. So here I have, for example, my social media splash. And it's got the rainbow effect going on that I like. But I'm going to switch over to InDesign and I'm going to insert it into the InDesign document. Now, I'm in the InDesign document. This is called the My awesome travel newsletter. And essentially I've got a spot here on this page where I'm going to go in and add that social media splash item. So I'm gonna go to file and place. And I'm going to look for that file. Of course, go up one folder here, and the file is called a rainbow right here. Okay? Now, when I drag this in, it will bring in every single layer that I had in that Photoshop document file. But my boss looked at over and said that they really didn't like the, the rainbow effect. So I could go into Photoshop and edit it out and take it out and come back in and update the file. Or I can select the file, go up here to object menu, and then down to Object layer options. In here I can see all the options that are available that I saved for the layers inside of Photoshop. And you can see one called selfie, and that's basically the picture or the image of me. So if I turn that off, it's gone. The halo, the kinda what's going on in the background. Apparently the little bit of lag here. Then there's that rainbow effect. So if I didn't like the rainbow effect, I could turn off the visibility of the rainbow effect. And there we are. And so now the rainbow effect is gone and maybe that's what my boss would prefer. And click Okay. And it will remember those settings. However, my boss doesn't want the 2021 there. Maybe we want to be ready for next year. Maybe we want it to say something else. So for that, in that case, because that's on its own layer, I could turn my name and the year off, but I can't really changed the information unless I go back into Photoshop. If I go into Photoshop and I grab my text tool, and I click on the text and I can change it to something else. Maybe we've gotten Jimbo productions that we can make this font a lot smaller. Almost there. There we go. Okay, so I'm going to accept that. Save the file. Now that I've made the change and I've saved it, switch back to InDesign. I now see that the image itself has this little triangle with an exclamation point on it. And if I look in my Links panel, I can see that here as well. What that tells me is that the item has been modified in the original program and I need to update what I have. So if I double-click on that triangle, it will update the information and bring in the newest information. So when it comes to working with layers in a Photoshop document file inside of InDesign, I can turn layers on or off and I can show the visibility. But when it comes to modifying the content that was there to make it say something else or to show something else other than what was either on a layer or to show or high. I need to go back and edit the original. But the beauty is they're all compatible with each other. So InDesign Photoshop and Illustrator, dreamweaver all allow this opera ability. And it allows me to bring in files from one to the other. Now that you understand that you can bring in anything you want from Photoshop into InDesign and work with it in a way that's going to make sense and be meaningful to your projects. 41. Using PSD Files in Illustrator: Another application you might consider using PSD files and would be Illustrator. Similarly, we can open PSD files into Illustrator. We just need to remember to link to them. So if any changes are made in the original, then we'll be able to reflect those changes. Let me show you how. So again, I'm going to bring up the Illustrator application and I've created a new blank, new document, and I'm just going to place the file inside of here. So I'm gonna go to File Place. But when I go to File place down here at the bottom, you can see I have an options button. If I turn the options on, I can see many different options available to import this file with. If I turn it off, I don't get those options at all. Once it's turned on and I find the file I'm looking for. It's in this list somewhere. And there we go. And I've selected it. Now I can either check or uncheck this link box. Checking the links box will mean that if it's changed inside of Photoshop, I'll be able to see those changes get reflected. If it's not linked, I won't be able to make any of those changes or see them get changed inside of Illustrator. So I'm just going to draw my image here. And you can see instantly this x represents the fact that it is a linked object and that it is editable somewhere else. Well, how can I edit somewhere else? If I go to the Edit menu, and then I go down to Edit original, if I hadn't linked at its original would be grayed out. But since I did link it, edit originals available. Edit original means open up in the native application. Now, that would have normally loaded Photoshop and then loaded the image into it. So it might've taken a little longer, but since I had it up already, there it is. So let's say I needed to make a change and the changes to a 180 points and a message just to the word productions instead. Here we go. Once I make the change, I can switch back to Illustrator. It says some files are missing or modified. The links in the Links panel, would you like to update them now I'm going to say yes. And instantly it changed. So just like we had an InDesign, you can bring in a file place objects or images from Photoshop. And based on the fact that we're linking to those back to the Photoshop application. We can make it so it updates when the document updates in that native application. So you can see using Photoshop document files, we don't have to convert them to something different or something new. We can use them as their raw file format within the Photoshop application. And they translate very well into Illustrator, as well as InDesign and dreamy blue. 42. Setting Up Color Management: Now that we've talked about why we should do color management, Let's talk about how. But before we do, let's talk about the word gamut. The word gamut means range of colors. In the PowerPoint deck that I'm using. I can, I'm showing you what the visual spectrum looks like. But when it comes to working with photos inside of our devices, we have these different gametes that are available. The wide color gamut has the widest spectrum available. Adobe RGB is used by a lot, by printing companies and then has the next widest. Srgb is used by our digital devices and our digital software. And that has the next white is. And then we have CMYK, which is little bit different in regards to the spectrum that's available and that's used by commercial printers. And again, buyer software devices are software and devices. So with that said, here's a graphic courtesy of Adobe that shows, for example, figure a has LAB color. Lab is luminance. And to chromatic a and b values, we use LAB color because it's the device independent. And LAB color allows us to go in and calibrator devices. Figure B shows us the tube working spaces for RGB and CMYK and how they fit together in the visual spectrum. But then figure C shows us where all of our devices fit in. So for example, we have cameras, scanners, monitors, printers, and other devices. And so each of those has a different gamut. So with regards to cameras, scanners, and monitors, you can see the dashed line represents RGB colors. Whereas these last two here for the printing are the CMYK there, solid lines. So once we understand that each device its own gamut or range of colors, then we need to look at how we can go into our software and make those changes for our color values. So here I have the photo called Lake Mary sunset JPEG. And this is a picture that I took one day when it was nice sunset at Lake Murray here in South Carolina. And it's really, really beautiful and stunning. And you can see it's got some really beautiful oranges here at the sun sets on the horizon. But this document is currently in RGB mode. So we can see on the title here at the top says RGB slash eight. Well, how can this image, it's RGB, work with CMYK? If I go to the Image menu, I can change it from one mode to another. So if I go to CMYK, I can manually change it between the modes. And sometimes when you go into a photograph like this and you make this change, It's very dramatic. In this case, it's really subtle, but it can be very dramatic and just switch it back. Now it says seem like a switch it back. Instead of switching the modes, what I can do is go to Edit Color Settings. Now, InDesign and Illustrator also have these color settings that are available. When I open this color settings, I get this dialogue box. Now this dialog boxes on steroids and adobe understands that it can be confusing so that they provide you with a lot of screen tips. If you hover over these values, it actually shows you a description down here at the bottom of what each of these values does. Currently the settings for the North American general purpose number two, and that has configured all of these settings you see here RGB, as I mentioned, we're using the sRGB value. And then for C in my cam using the US web coded swapped version two. If I didn't want this RGB version, I could switch it to the Adobe RGB 1998. Or I could switch it to something like Bud Light room might use, or photographers might use in Lightroom, which is the pro photo RGB. So a lot of flavors of RGB, they're available. At the same time. There are a lot of flavors of CMYK that are available. But currently because I'm using the Working the setting here for North American general-purpose to, it's providing me with these settings here. Now what I'd like to talk about it, the settings on the right, conversion options. There are two engines that you can use currently. We or Apple CMM. Now the Acis, the Adobe Color engine, and the CMM is color management. Let's see, color matching management match. There we go. So color of managing man match, color management match. Anyway, CMM, changing, that will change basically how it interprets the color. So think of it like languages. One person, one interpreter might have a different interpretation of a specific word when converting from one to another. And another person might have a different word or perspective on that. So it's sort of like interpreting languages. The relative color meant calorimetric intent, is the one that we use most often to replicate what we need within our system. But you have four other options here we've got perceptual, saturation and absolute, absolute calorimetric. Each of these have a different intent. So if I were to choose perceptual, you can see that perceptual intent requests of visually pleasing rendering, preserving the visual relationships between the source colors often used to render wide gamut source images. So if you choose a different intent, it'll change some of the settings. And the idea is that setting this up, We'll make it so what you see on the screen will hopefully match with the printing company gets, and so on, so on, so forth. So choosing these colors settings is a good idea. Now, in the next lesson, I'll show you how you can prove your color photos and see what it looks like in CMYK. And to make sure that your systems are working with the color management, we'll talk about synchronizing across all applications in the Creative Cloud using Bridge. 43. Proofing your Document Settings : So when it comes to proofing our images, I'm going to switch over to an image called color spectrum. Now this color spectrum, It's very extreme. You can see right away it's got the colors of what we perceive as the rainbow. So if I look at again, the tab name here, it says RGB 8. And what I'm gonna do is I'm going to show you that if I switch this to Image Mode, CMYK color, you can see it completely changes how this is going to be rendered. Now this is the most extreme example. When I was looking at my photo for Lake Murray in the previous lesson, barely saw a change. But here because we're looking at the CMYK version of this RGB image. Necessity my K is really changed. Now if you ever want to do this without actually changing the mode. So I'm gonna come up here and RGB it again or not. Let me. There we go. So we're going to bring it back. You can go into the View menu instead and go to Proof Colors. Now the proof colors, we'll switch it over, but it's not doing it as a permanent situation, whereas the image mode does. So here I can see RGB is what the image actually is, but here's what we're perceiving it as right now. Assume like Hey, so you can see the tab now represents both RGB and CMYK. So just to give you an example of that, that pretty extreme change, if I go to View, I can also choose to proof setup. And you can see there's the working CMYK is what it's doing. It's what it's showing me. I can change it to these other options and see what that looks like. But the idea is that it is doing the CMYK. And I can turn Proofing Colors off by unchecking this box and the document reverts back to its original. Now as I mentioned, color management and color settings are spread across all of the applications. So InDesign Illustrator, Photoshop. So I'm going to bring up bridge, and I want to show you where in Bridge. I can go to look at the settings here. So here I have Adobe Bridge. If I go to the Edit menu, I can go down to Color Settings here. If I want, I can synchronize the color settings throughout all of the Creative Cloud. So your Creative Cloud applications are sync using the same color settings for consistent color management. So the North American general purpose too, is the setting I had when I looked in Photoshop in the previous lesson. But when I change it to something else, I could change it here and then click Apply. I don't wanna do that. I really want to use the North American general-purpose too. But that means that InDesign, Illustrator, Photoshop, and even Acrobat, for example, are all using the same color management system. So using the same color management system has a couple, there's a couple of things we're going to talk about there. So there's advantages. It's non-destructive, which means that I can work in my photos is an RGB and everything should be okay. At the same time, it's a smaller file size, mainly because I'm working in RGB and I'm not changing from one type to another. Also, depending on your workflow, it could mean that it's easier editing in RGB. So if you're used to getting photos and RGB and we want to work with them in RGB. You can do that. At the same time, all filters and adjustment layers are still available. And you saw that as we work through our Photoshop all this time. And then lastly, it saves time because you're not doing any color conversions are converting. We're just working in the flow that you want and working with what you need. So working with a good color management system and working through all these colors settings instead, it will help manage everything you do with regards to your photos. And it'll ensure that there's consistency between what you're working on and what you've sent out for output, and what you get back. 44. Course Recap: Now that we're done with the Photoshop intermediate, I hope you enjoyed learning how to create your own custom brushes and maybe even adding clouds to your own images. I hope you saw that you could go in and use custom tools to create Vector Graphics and how to find those legacy shapes that we had in the past and Photoshop. Or that you now know how to get a link to your files using the Creative Cloud Libraries or that you can create the D aging of your family members with regards to the facial effects that we can apply using the liquefy tools or how you can go in and take those raw images and use the Camera Raw program to go in and manage the individual settings within those photographs. Or how to retouch the images to make your family feel good about the photos that they have in storage in the attic or in their closets. At the same time, automating tasks always helps the efficiency of your workflow and working with others. Adobe applications within the Creative Cloud is important as well. Lastly, color management puts it all together to make sure that any input that you put into the system, you get an expected output. It was my pleasure working with all of you. And I hope to see you again in another lesson.