Colorize History: Edit Black & White Photos to Color with Photoshop | Tyler Brown | Skillshare

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Colorize History: Edit Black & White Photos to Color with Photoshop

teacher avatar Tyler Brown

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

24 Lessons (1h 14m)
    • 1. Class Trailer

    • 2. What we'll cover

    • 3. What you'll need + programs

    • 4. "Scanning" a photo with your camera

    • 5. Image Rights

    • 6. Finding an image

    • 7. Historical accuracy

    • 8. Layers explained

    • 9. Layers management

    • 10. Selection tools overview

    • 11. Magic wand

    • 12. Lasso tools

    • 13. Magnetic lasso tool

    • 14. Quick selection tool

    • 15. Multiple selections

    • 16. Refining selections

    • 17. Making layers from selections

    • 18. Layer masks and refining with brushes

    • 19. Inverse selections

    • 20. Colorizing your first layer

    • 21. Dealing with overlapping content + colorizing with blank fill layer

    • 22. Modifying an existing fill layer

    • 23. Colorizing timelapse

    • 24. Final adjustments + Wrapup

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About This Class


"Colorizing" is a fun and unique way for beginner/intermediate photo editors to learn foundational pro tools in Photoshop.

Not only will you learn how to colorize a photo, but you'll learn the fundamentals of layers and selection tools - keystone tools for Photoshop dominance. Already a pro? You'll certainly still learn a few tricks in here.

Prior to the 1970's, color film was hard to come by. But now, with the magic of Photoshop (or similar programs), we can colorize old black and white photos to imagine historical images in more than just shades of grey.

Meet Your Teacher

Teacher Profile Image

Tyler Brown


I'm an Albuquerque, NM based, globetrottin' photographer/videographer/designer with a background in education. My love for photography started on my first 6-month stint in Africa and, since then, has turned into a profession I never dreamt of having. From documentary projects to billboard placements to exotic landscape shoots, I've been blessed with the opportunity to do what I love for a living.

You can find more of my work on my site - Tyler Brown Visuals.

You can also find me on Facebook, Instagram, Flickr, and 500px.

My Skillshare Classes:

Colorize History: Turn Black and White Photos to Color

Photo Editing Basics: Make Good Images Great Without Expensive Software

See full profile

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1. Class Trailer: If you've been anywhere near the Internets in 2014 and 2015 then you've certainly seen incredibly popular trend of colorizing black and white photos. To me, colorizing is so special because it allows us to envision and imagine a time and color that many of us on Lino in shades of Gray. What's so great about color rising is that it's unique and fun way to learn, advance photo editing, fundamentals, layers and selection tools. So since we'll be covering these fundamentals on top of colorizing a photo, that means if you're a beginner born advanced user, there's a place for you in this class. So I'm really excited to teach this class. I know there's something in it for everyone to learn to come on in and let's colorized mystery. 2. What we'll cover: welcome everyone to colorize history. Thank you so much for joining. I'm really excited about this class. It's one that I've wanted to teach for quite some time and big shout out to skill share for getting in touch with me and encouraging me to put up another class so big thanks to them for making this happen, the first thing I want to go over is what we're gonna learn in this class. Or at least what I hope you'll learn. If you're returning student in mind, coming from my photo editing basics class, then this is gonna be a great jumping off point to elevate your photo editing skills to the next level from what you've already learned. If you do have some basic photo editing skills already, then you may be able to jump into this class. But if you feel like we're getting a little too far, how do you jump into my other class and then come back here later, after kind of brushed up on the basics? And for those of you that are more advanced image editors, not a problem. Go ahead and jump through the first couple videos and jump right into where you think you're ready to start. So the first thing we're gonna learn art image rights and prepping your photo image rights are critically important when we're talking about black and whites, usually because we may be getting that from an archive or, you know, some copyrighted source. So we really want to make sure we know what we can and cannot modify. And the other one is prepping your photo if you don't have a scanner and you have a black and white photo that you want to colorize not a problem. I'm sure you're really cool. Easy technique that you can get your photo on your computer super simply with just a smartphone or a camera. And the next we're gonna cover is advanced use of selection tools. Now, this is gonna be the bread and butter tool set of the entire class. So it's really important that you get a great grasp on how these work and you really get comfortable with them and again when you do. My goal is that you could take these two other platforms and other projects and use these tools to really elevate your game. Next one is a deeper understanding of layers and so many of my students and so many people have taught. We struggle to understand the concept of layering and layers and photo shop. So I'm gonna do my absolute best with some new techniques to try and give you the best grass possible on layers. And they are intimidating at first for sure. I'll definitely agree with you there. You're not comfortable with them. But my goal the end of this, is to make you completely fluent in layers and definitely something that you're gonna be using in the future. Well, beyond this class wants to get a hold of it. And lastly, if you didn't guess already multiple ways to colorize black and white image. That's the whole reason you're here. So again, just wanted to cover these things to let you know that it's gonna be more than just cull arising a photo. You're gonna get some real foundational stuff to take your photo editing game to the next level. If you don't already have those skills 3. What you'll need + programs: So what do you gonna need while you're gonna need a black and white David which will go over here in a bit where you can find one if you don't have it already and you're gonna need an advanced image editor. So if you don't have photo shop or you don't have Gamper one of these other advanced image editing programs, this is the time to get it. Now, it may be silly for me to go over what some of those image editors are, but I'm gonna do it anyway. Now I have affinity photo open every single day. I have pixel later open, probably once a week, and they really do every single thing I need. I'm so impressed of these programs. And you know what? The absolute best part of these are is that it's not subscription base. For less than 50 bucks, you can buy either one of these. I can't really recommend one over the other if I really have to all see affinity photo. For the most part, they're about equal, and I say less than 50 because sometimes these air on sale and you can get him for around 30 or $40 Photo shop is great. I still love photo shop but still haven't installed. In fact, most of the tutorials in this class we're going to do them in photo shop to kind of bridge the gap between Mac and Quincy. And I know there's obviously a lot of Photoshopped users out there. But for the hobbyists, 10 bucks a month is a bit expensive. So that's why I wanted to talk about these other options above. Now, if you're on a PC, one thing I want to say before I talk about these three programmes. I used to recommend Gin, which is a free image editing software. But I really can't recommend it anymore, not because it doesn't have all the tools you need, but because there's a massive learning curve and it functions just enough just a bit differently from your regular old image editor. Just different enough from most other image editing programs that makes it really hard to get used to. So in place of it, I'm gonna recommend paint dot Net at the bottom there, which is 100% free, doesn't quite have the power that give does but just different enough from most other image editing programs that makes it really hard to get used to. So in place of it, I'm gonna recommend paint dot Net at the bottom there, which is 100% free, doesn't quite have the power that give does. But, uh, if you're patient enough, you can do pretty much whatever we want in this class in pain dot net. So my top choices for PC, of course, is gonna be Photoshopped. And following that up is gonna be curl paint Shop Pro, which is pretty similar. The nice thing about Carol Paint Shop Pro is it's not subscription based, like Photo Shop. But really, these, in my opinion, are your top three. Options for PC, unfortunately, are a bit more limited when it comes to PC image editing versus back. So my choices for each definitely Photoshopped or paint dot net if you're gonna go free. But you know, if you're on a PC, photo shop is really so much better than paying dot net. If you're willing to spend the money, go ahead and get yourself for the shop. If you're on a Mac affinity photo, it just rocks. It's such an amazing program. If you are a photographer, would you most likely are. It has complete raw image editing capability now, which is to super cool, something that pixel mater is still like behind a bit. But again, affinity photos Great. If you want to look at pixel later to, that's my second choice. And if you need to bridge the gap between PC and Mac, definitely go with photo shop, although I will say Affinity Photo and pixel later really actually do export pretty clean PSD files or Photoshopped files as well. So don't let that completely deter you if you do need Teoh kind of share files along the way with the PC and Photoshopped as well. But ultimately, I'm going to teach you how to use image editing tools, not how to use a specific program. This is a mantra I use over and over again. Those that took my first class are probably sick of hearing it, but really, I want to give you guys the fundamentals to photo editing and not lock you into a particular program. How you could go onto whatever program you want and be extremely versatile and whatever you need to work with and just an example of that. Here's the tool palette from Photoshopped pixel mater gimp, which again, like I said, I don't recommend. But for comparison sake, I didn't keep it up an affinity photo, and you can tell just by looking. Most of these tools look the same, and that's because they are. And I show this to those that really haven't worked outside of anything other than Photoshopped or are somewhat new to the image editing game that don't be intimidated by different programs. Really, a lot of these tools are exactly the same program. That program I'm going to show you that in this class is well, you can see this election tools look just the same. The clone stamp tools look just a little bit different. And the eraser tools, while they all look like erasers, so they probably do the same thing, and it's no surprise that they do so throughout. The class will jump back through a couple programs dish, just show you how these things work for program program, and you'll see the similarities between them and know that any time you jump into a different program, it's not gonna be a problem for you. So let's get this out of the way. Mac users turn on your right click if you have not. Already. There is a ton of functionality in all of these image editors that makes right clicking pretty much a necessity. So go ahead and enable it. Super easy. Go to your system preferences. Click track pad or mouse clicks, secondary click and you're good to go. 4. "Scanning" a photo with your camera: because you might be wondering why I'm sitting outside number one. It's a gorgeous day out here and in New Mexico, but the main reason is because some of the best light is found in the shade. So if you could get outside, you can find a nice little shady corner to photograph your black and white. You're gonna get the best results. You want to shoot direct light, mainly because you're gonna get a bunch of layers. You gonna get much other issues as well. So find yourself a shave, A little corner. I'm just right here in front of our front door. It's an excellent spot. For really good light. Take a picture of a black and white photo. I haven't owned a scanner for years. If you don't have one, this is the best way to do this again. If you don't have outside space, get near window, get close to a window. But the key is to not be in direct light. Don't let direct life fall on your photo while you're photographing. So what I'm gonna do is basically took my black and white photo. And you know, if you haven't old photos is a really awesome photo of my mom in the seventies. We'll talk about that a little bit later, but sometimes they're wrinkled. Sometimes that rolled up. And so what I did is I got a book and I just clip it to the book. Super simply we can photo shop out that quarter up there just to get flattened. Straight photograph of The second thing you want to do is you want to make sure that you don't use a winding Owens. So if you're not using your cell phone to do this using something else, go ahead and zoom in a little bit if you have a point and shoot. If you have DSLR, you can zoom in a bit with whatever lens you're using or put on longer telephoto prime lens . Whatever works best for you. But you can actually do this with yourself on Tuesday. Don't feel that you have to have a nice camera. So now I'm just gonna go ahead and set this in the shade, and I'm trying to get a crop this as much as I can so I can get as much of this photograph on my image rights. Let's get this strike right. It's that simple. A suit we got. So here we are with our image in photo shop. First things first. I want to talk about white balance. So when you shoot your image outside, sometimes the color is gonna be a little funky. It might be a little blue just from the daytime color balance or daytime white balance or maybe a little bit yellow, depending on where you shoot it. So if that is the case, which it probably will be, go ahead. An ad, a black and white filter or turn your black and white photo black and white. I know it sounds crazy, but it completely works. It's gonna take out any additional color. Are color balance that was added While you're taking your photo? The 2nd 1 is, if you're taking a photo of a photo in this technique, we showed you're gonna have kind of an issue with glossy paper sometimes, and that's what's going on here. So it's kind of some funky mismatch contrast areas. That's because this is a glossy photo, and these spots are virtually unavoidable from reflections. You can have someone stand next to you. You can put up some cardboard or something to try and block these questions to do the best you can, but use basic contrast, dodge and burn to fix these areas. If you have them, show up. Otherwise, a scanner is the best way to go. But the whole point of this technique is for those that don't have scanners and lastly, on your phone in your camera, avoid using any kind of creative style or HDR mode or anything like that, because you want to get the most detail. You can have your image, so try to pick a really neutral color style. Or if there's a creative color style or, um, you know, a contrast adjustment. Turn it down. Make sure that it's more of a neutral settings to get more detail in places like you know, these trees and face. So I'm gonna go ahead and just prep this so we could get to mean potatoes of this class. Just colorizing. It's gonna quickly crap this two giants of these details here don't need them all. And boom, ready to go that simple. It's now you can go ahead and add and kind of sharpening or extra contrast, but I'm I recommend you wait until your images actually polarized before you come back in here and added additional started. If you do have some image errors or problems rather on your black and white photo, maybe you have, you know, some old spots or maybe the paper was damaged. Use your clone stamp tool in your healing brush tool that you learned in my photo editing basics class to fix some of that and clean up your photo before you get into the colorizing process, it's gonna help it on, and I have to go back and do that. This is a majority. Looks great. That's one of the reasons I picked it. It's pretty much ready to go, Doesn't need a lot of work, and we can start putting some color on this. 5. Image Rights: So the last video you saw how to put together a makeshift scanner out of your phone, your camera, get a super good result. If you do have a scanner, we're gonna find an image online. Just make sure that it's at least 1000 pixels by 1000 pixels. You want as much resolution of work with year just because you're gonna be doing a lot of detail. Where so the bigger the better when it comes to colorizing a photo. And secondly, if you're finding something online, please use properly licensed photos and it to get them but necessary. I don't expect you to know what licenses now, which is why we're gonna go over it, but always respect Copyright Don't want to be that guy. You see how much stolen content there is online across Facebook across most social media platforms, its way just don't want to go down that road. It's just basically cover what image rights here about it's a really long winded discussion . We could talk about this for two or three hours if we wanted to get lawyers involved really clear things up. I mean, it really is a confusing topic, so we're gonna keep it simple. And I'm gonna tell you, if you're finding an image online, not using stick to public domain and Creative Commons licenses is the easiest to follow. They're easy to find and you know you're safe using them in most all cases again, there are a lot of factors involved. If you're gonna use the photo publicly, commercially or anything like that, just to keep in mind, well covered here a little bit more. But for the most part, you're safe using these two licenses. The best part about these is that both free. So any time you see these licenses, that means you don't have to pay a royalty. Firstly, public domain. This is my definition keeping simple here. But it means no restrictions, no copyright claim it all. Sometimes there's no copyright claim because it expired. Maybe the image is really old. That could be a bunch of different reasons. And I did say not possible in certain countries because this is US law I'm talking about. So certainly check the laws of your country. If you're not based in the U. S. Year. The next one is Creative Commons, which is work that may be used but in compliance with the state of prescriptions. So if I post a picture online and I'm market is a creative Commons image for others to use , I can ask what they may do to be able to use that image. For instance, they must use my name. They can't modify it or they must use my name, but that can modify it. There's a bunch of details on this and I'll post amore detailed link about what Creative Commons restrictions there are what Creative Commons licences are available? Something to keep in mind. You're looking again. This might not matter to a lot of you. You're just doing this is a hobby. You just doing this for fun. But comments typically always requires an attribution of the original offer or photographer in this case. So one thing to keep in mind public domain is absolutely the safest way to go. If you really don't want any restrictions, no risks, nothing else. That's the way to go. But created comments has a ton available. I'll show you in a second to find this stuff. Lastly, we'll read his royalty. Free me. This is another question that comes up when we're talking about no images that you can freely use and modify well, Realty free is a big difference. Also known as stock photography, it basically means that you buy a license once and use the work, according toa. Whatever that licenses, maybe it says you can only close that other times. Maybe it says that you can't use it in certain public ad space is different restrictions. But for the most part I don't think any of you using royalty for the images here. That's why I said, Stick to Creative Commons, Public domain. Keep it really simple for yourself. So where can we find public domain and Creative Commons images? Let's take a look. 6. Finding an image: before I continue. I want to say these are my two favorites photo grammar and flicker butts. There are so many other places to find public domain images. These aren't the only ones. I would overwhelm you, sharing all of them. So I'm just going to stick to these two. But if this doesn't do it for you, look around there. A lot of other places to find a good stuff. What a grammar is a collection of images from 1935 1945 from the Farm Security Administration and the Office of War Information. What's so cool about this tool is it's actually sorted by region. So if I look at the map here but see all the little counties blowing, which means that their images associated with those counties just just super awesome. I'm from Benaglio County, Albuquerque, New Mexico. Go ahead and click here 161. Images just from my county alone is incredible. Some really beautiful images here, some old churches, your some farmers against least us very, very, very good resource Here, look around, find something cool and flicker is another excellent resource to find photos, mainly because there's a lot of government agencies that upload to this sites is a lot of archives on here as well as personal collections. There's just a ton of great content on flicker, and just because it's on flicker doesn't mean you can use it. But let's go ahead and check out to see which images we actually can. The surgeon in Mexico in 1945 Let's do that. Okay, so we have a pretty cool collection of images here with the guy in the corner a bunch of random stuff. We have no idea what licences are available here. If I click any license, it's the all of these right here. So these are all gonna be creative Commons licenses. Commercial use allowed modifications allowed. In our case, you're gonna want to disco with modifications loud, unless you're gonna use it for commercial use as well. You probably want to do commercial use and modifications allowed. Or if you really don't want any restrictive, all you could do no copyright restrictions and U. S government works are gonna be a lot of archives. A lot of good stuff in here, So I'm gonna go with modifications allowed, and I want to show you this particularly. So if I click this image here, let's say that this is the image that I want to colorize, like downloaded by clicking here. This size isn't very big, but the point is, I want to show you what the license means for this. So we saw there that it does allow modification. You can see right here some rights. Is there by Click Homes Page telling us what this particular license, which is noncommercial share like allows us to do that, allows us to share it and allowed us us to adapt it or modify it. But this is under the following terms again. Public domain does not require anything of you, whereas creative comments does. This is what it expects of us. You must give appropriate credit. You must provide a link to license, indicate where changes were made. That's what they request. That's what you gotta do. You may do so in any reasonable manner, not in a way that suggests the licensor endorses you use, and you can't use it for commercial purposes again if we went back in search for a particular commercial license than we could. But this one has restriction and share like means that you must distribute this under the same license is the original. So just because you modified it, made it your own. Doesn't make it copyrighted just because you colorized it. You still have to share this under the same creative Commons license. But that's it. That's all you gotta do. You gotta attributes who you got this photo from. Don't share commercially and keep the same license in the future. Very, very, very simple to follow. And again, an absolute abundance of resource is here on flicker. There's so much stuff you can find really great finds on here to dig around, Pick something out. Let's see what you dig up. 7. Historical accuracy: so to be historically accurate or not, that really is completely your decision here. I mean, it really depends on how focused how much of a pierce you are per se in the colorizing community, some of these guys really bio means are historians to figure out every little color of every little badge of a soldier. Or in this picture here, maybe the Cincinnati mill is a particular painter. Color code. They really go that hard core to get this stuff exactly right myself. I'm not gonna follow that restriction as much in this class, but you can make that decision on your own. If you do decide you want to go that way, Wikipedia is definitely your friend to start digging deep for information. Uh, you know, maybe car color uniforms building color. These things can be tough to find, especially if it's a really old photo. But if you're dedicated enough, you want to find historical accuracy in your image? By all means. Be my guest. Okay, so maybe I let a bit we are gonna do a little bit of historical accuracy on my photo that I'm editing for the demonstration of this class. And that's because I can very simply the photo that you saw that I was shooting outside. And then I prepped for this class of my mom from the 19 seventies photo shoot, where she was working for a department store, modeling some clothes really, really cool. And she had the newspaper clipping to go with it, which is awesome because it actually describes the exact colors that she's wearing. It says the white crepe shirt flashes beneath the maybe vests at the waistline flare like pants, continuing the hop psyching we've are blocked and maybe and yellow on white. Perfect. Now we know that is probably a Pino nor Ponderosa pine behind her. That's easy color to match with a little bit of sky. And I know my mom's hair and eye color because she's my mom, so this should be really easy to get pretty accurate. But again, this is just for fun. This is really cool that I found this photo with her. This is gonna be a real treat for her to see when we're done, but really up to you on how you want to colorize. You're finally, if you aren't already sick of seeing slides, let's actually jumping into some photo editing programs 8. Layers explained: The concept of layers for a lot of people is really confusing, and I think it's just intimidating at first because it looks like something you haven't seen before. But it really is. So I actually want to do a visual representation of this to give you a better idea of what the heck is going on here. You'll see photo shop, and I'm going to re create the same things I'm doing on the paper front of me. And hopefully that will give you a better understanding of exactly what's going on in these layers editing programs with layers. So I haven't image here, and what we're gonna do is replace the sky on this image. We're not doing anything with colorizing on this is really again just to get a better understanding of layers because we're gonna be using them so much in this class. So we want to replace the sky. We can do this a bunch of different ways, but I just really want to use This is the best example to show you how layers work. So I have this image here import that image, and so you see, we have a layer that sits above this other layer. Now, if I drag the other one, all I'm doing is moving that image on top of this. So think of these pieces of paper really just like that. I'm gonna go ahead and switch these back. So what can I do if I want to show this sky on this image switching back one more time? Well, I can cut this sky out, right? I could use my scissors. We're gonna pretend that this is our selection tool. We're gonna pretend that this is our paintbrush, and I can trim this away and show that sky underneath. But here's the thing. I don't want to cut this image away. What's gonna happen? Well, once I cut it apart, then I don't have another copy of it. I'm gonna duplicate that layer. Incomes that layer right there. Okay, so I'm gonna make the other layer invisible. Unfortunately, you can't do that in real life, But let's just pretend that this invisible we're gonna take it out of the picture, and here we go. So we have a copy of this so we can cut this up as much as we need. And don't worry about what I'm doing with the selection tool. I will go over those here soon in some other videos. So let's get started. I'm just gonna take my scissors and I'm gonna trim off this whole sky ride along this edge so hopefully you won't judge my terrible trim job too badly there. But on the left side, I'm just gonna trim away the same thing, and we're gonna expose that bottom layer beneath it. So now all we have left on that top layer is just this section here, right? Everything else is not showing making the best we can hear, but gonna have to do for now. But what happens if we add another layer? This is where people really get confused by click add layer. You see, nothing happens, right? This is exactly what we're doing. We're taking a clear piece of plastic here. Represent that layer you just added. So on the screen, it looks like you added nothing, right? Real life looks like you added something a little bit more and see that here. So if we turn it off and on, you see, nothing really changes. Well, that's because it's basically a clear layer. Where does this come in handy. Let's delete this layer. Take it out. And what happens if I take my paintbrush and I start drawing on this image? Well, I could do that, but I'm gonna make a total mess. I mean, I don't have undue in real life. I do have on photo shop. But what happens after, You know, I make another 500 moves and I want to come back and undo that scribble that I put on top of my sky. I can't really undo that without going and using, You know, um, healing brush tool or a clone stamp tool are doing something ridiculous to fix that. So the way around that because I add that clear layer, and now I can go right on top of this. Okay? So any time I want to take away my hey there across the sky, all I gotta do is either high that layer, delete that layer, and I preserve this bottom layer here these bottom two layers. I don't do any damage to those which is really cool. So one thing we're gonna be using a lot of in this class is that feel layer. Okay, Now you see a big block of color. It's like, what the heck is going on? Well, this is what you're doing. You're taking colored piece of paper and dropping it on top. What can I do for us? It could do a whole lot of things. It's going to be the basis of colorizing our photos. And again, since the layer is just a stacking order, That's really all it is. You know, I can put it in here. We can make a ridiculously looking yellow sky, or I can just put it at the back so you can't see it at all. So what happens if I want to add a fake son in the corner up here? Let's say I want to add a fake son. Well, I can do two things. I can cut this layer here and take this corner out. So we have something. Looks more like that. I'm not gonna actually cut it away, But you get the idea again. The problem is, we just destroyed this layer. We just hurt this layer and we didn't make a duplicate of it. I have a better method for you. What you're actually gonna do is they're gonna put this on top. And we want to edit this feel layer because this is a lot easier to manipulate using the masks and we'll talk about mats later. But the beauty of a mask is that you can come back and re adjust it. We can do that in real life. I can't completely represent a mask in real life, but basically you can come back and re adjust your masking layer at any time, which is really cool. So it's a non destructive you want to do is much editing that's nondestructive as possible . So I'm just gonna make a fake sun here. I use my selection tool once again a really rough idea here, But you get get what I'm going after. Little funny son there in the corner. Um and all we did was trim away that Bill lair. Now, you see this layer here, this yellow layer is still on top. But what happens if I put it under the other layer? Well, you notice nothing changes, and that's because this layer right here on the backside is what showing through. And then that's why I can see this and this at the same time. Even though this layer is now above this layer, it doesn't matter because this layer is essentially transparent or nothing is there. So to wrap this up, this is the best way to think about layers. We have pieces of paper or different images stacked on top of each other, one by one by one, and you can do some things in photo shop, which will do in this class that we can't replicate in real life. Like, you know, making these translucent or changing the opacity of these layers how much they are see through. We can't do that in real life so easily. But this really, really will be the best way to think about your image that you have layers on top of each other. They're basically just little pieces of paper with sitting on top of your image. 9. Layers management: with a project like colorizing, you're gonna end up with a ton of layers upon it on the layers upon a top players. It's really usually upwards of 22 75 possibly mawr layers. The organization is key. I want to quickly go over some easy ways to do that. The first thing you want to do is label your layers. I'm gonna turn this background into a layer this base layer. Any other additional layer I create. I want to make sure I label that you could do that by double clicking the text and typing whatever you want the remaining layers, so make sure you name your layers appropriately. Secondly, if you click this folder icon, you'll get a folder and you can put certain layers into folders. We're gonna rename this base layers now, as I additionally add layers. Let's say maybe I do the sky part of the building. I can have a folder. It's called Building another one that's called Sky. Maybe another one. So now we have things on the building that may require their own folders, for instance, the text on building so I can create a folder that says something like text on building, and I can actually drag this into my building folder. It's not Open up my building folder. You can see I have that. And again, remember, it's just a stacking order, so keep these in the order that you want. But this is a very, very good way to keep things organized to know what the heck is going on and to make sure you don't start editing the wrong thing. Another nice thing is, any time you have a layer that you don't want to edit, you can turn on this lock icon, so keep the lock icon in mind and you can unlock entire groups as well. Very simple to manage your layers, but make sure you start doing it from the beginning. Otherwise you have a complete mess, and it's really hard to find. 10. Selection tools overview: So I want to give a quick overview on selection tools before actually jump into the individual selection tools themselves. And you saw in the layers demo. They were kind of slicing and dicing layers, obviously all done with selection tools and selection tools are basically just a tool that allows you to select a certain area of a layer. That's really all they do. But there are a ton of adjustments and fine tuning with ease, and that's why they do take a bit of practice. So don't feel like you're going to get this right the first time. But I want to show you what tools are available, how to use them, one by one to figure out what's best for each type of job you're trying to dio. Usually your selection tools in most all your programs air sitting somewhere at the top. So any time you don't know what you're looking at, just a quick tip. You hover over any of your tools and sit there long enough, you'll get that little that little tool tip that'll tell you exactly what the tool does. He have the magic wall in the magnetic lasso, and if you see that bottom right, little arrow. If you click and hold, then you'll get more tools in here and I'll go through all these with you in a second. But I just want to show you where some of these selection tools exist. And again because we're teaching fundamentals here, you can see in affinity photo they look nearly the same, right? We have our marquees tool here we have our little magic wand tool here. This tool is a bit unique to this program. Will go over that here in a second. If we jump over to pixel mater, we see the exact same thing. So just a reminder. Once again, it's not the program, it's the tools. And these all function pretty much in the same fashion across all programmes to take out the falling videos, explaining each tool individually to get a better understanding of how each of these work 11. Magic wand: The first tool I want to go over that exists in most of these programs is called the Magic Wands Tool. You can see it right here. It looks like a little fairy's wand or a wizard want something like that, and they work generally the same. Across all programmes. It's probably called magical because it really is at times, and what this does is select the area for you. So I'm just gonna zoom in a bit here by hitting command or control Plus, and with a single click, you can see I can fill these areas. So what we're gonna do for the demonstration of the selection tools is clip out all of this throughout these windows, and it looks like a ton. That's because it is, but fortunately, have the right tools. We're gonna learn how to use them shouldn't be too difficult and shouldn't take too long. So the magic wand selects an area that's thinks that you want to clip, and what it does is looking for a contrast in edge. And this is a really prime example because there's a lot of contrast on these edges, so therefore, it's easy to detect, but it's not always the case. Sometimes if you're trying to get, maybe we're trying to select inside of this to with the magic wand you can see we start, you know, having a mess. It starts selecting other things that we don't want. So there is some adjustments that go along with this tool. There's tolerance, and the lower this tolerance number is, the more sensitive this is going to be. To contrast. You can see we start getting really small selections here. And if I crank this up to something like 90 we start getting really large and inaccurate selections. Now where the larger number is good is when you do have a lot of contrast on these edges, right? We have really black and a really light grey, so it's very simple for the tool to detect that edge. Now, if the color weren't is sharp on this, if you know we're more of a medium grade a light grade, then we would need something, you know, closer to 10 or 15. And there's no science on what this tolerance should be. So you're just gonna have to play with it until the edge gets looking like you wanted to you can see here, Tan. I want to give a quick example of what that low number gives you. And you can see it's even detecting a color difference right here at 10 between this gray and that gray, which is not what we want. So once again, I would start cranking this up until it starts getting about that. That looks pretty solid, right? There may be kind of a missing an edge there, but that's pretty close. Let me jump it up to 20. Were still kind of missing a corner in here. That's not bad. Here we go again. You can see the issue. It's getting a little sensitive. We can adjust that by making it less sensitive. And it's gone beautiful. So if we look at affinity photo, we have the exact same tool called the flood Select stool. Okay, so they change the name of it, but the picture looks the same, but it does the exact same thing and we have a tolerance adjustment. So it works just like a dozen photo shop. And you can set the sensitivity right here with your tolerance, just like it isn't Photoshopped. We look at pixel mater. Well, you see that? We have, ah, magic want right here. Now this works a bid different. So I click and hold. Now you can see that tolerance number. When I start dragging this out, we start getting our tolerance there. So maybe I want 20% dummies. So this is how I would get it. It's good to about 20% and let go. And it's not always the right tool for every job. So let's take a look at the next one. 12. Lasso tools: go back And Photoshopped? The next tool that I want to cover is the lasso tool. Now Photoshopped has to lasso tool. This is the magnetic lasso tool I'm started three lasted tools the polygonal lasso tool, the magnetic lasso tool and the regular lasso tool. My favorite is the polygonal lasso and the magnetic lasso. These two are really, really good tools. Let's start with the polygonal lasso and the freehand lasso. The magnetic lasso tool is completely its own beast. So let's wait on that polygonal lasso tool Doesn't really have a lot of adjustments. Don't concern yourself too much with this feather right now. We're gonna go over refining your selections here in a bit, but single click, single click, and this gives you straight line. So this is really good for angular cuts and angular shapes that you're trying to really hone in on. Very simple to fantastic tool for exactly something like this, with triangles come through and sliced outs polygonal shapes Very, very, very, very handy for And the other tool in here is the lasso tool, which is a freehand tool. If you have ah, sketch bad like a wakame tablet or something like that. You may have some success with this. If you're on a mouse, give it up. This thing is extremely difficult to get accurate, and I can tell you where it is useful. So let's say if we just wanted to quickly select this we didn't want to refine the bottom of this building. We could just quickly sketch over it like this and again. Don't worry what I'm doing here. We're gonna go over this. But then I could just quickly delete that top area and then come and, you know, do my details down here. So that's where this tool is. Handy is just to kind of clear out a big chunk of area first before you start moving along . Really? That's its most effective use. Now let's look at the same tools. An affinity photo freehand selection tool. Exactly. Like we were just saying Accept. This kind of keeps the circle going the whole time, but nonetheless functions generally the same and pixelated. You can see we have the exact same tool functioning the exact same way polygonal lasso. Just like in photo shop. There is no free hand lasso tool in this program, per se there is another way to do it. I won't get into that. But if you need to clear a big area, you can still use the polygonal lasso just like we did in the other program. We can just make some clicks here and clear out the areas that we want. Same concept, just a bid different. And there you go. Now I want to quickly show you how this works and affinity photo because there is no polygonal lasso tool in here. But there is another way to do this. We have our regular selection tools, but no polygon. A which is a great tool. So what, you actually have to get here and this is a bit different functionality wise is your gonna get the pen tool. And when you click the pen tool, you see this option right here, selection of top, and that's gonna do the same thing. So if I'm today draw of shape, then I can click selection and we get a selection so functioning the exact same way, doing the exact same job just in a slightly different fashion 13. Magnetic lasso tool: So the magnetic lasso tool is an amazing, incredible tool, probably one of the fastest slicing and dicing selection tools you can get. I really wish something like this existed in the other programs. So if you are in photo shop, be thankful. It's a really, really great tool, and it's quick. It's fast, it's fun. But it really does take some practice. There's a ton of adjustments. There's the feather, There's the wit. There's the contrast is the frequency. So this thing could get a bit overwhelming really quickly. So to do my best to explain how this functions. The first thing is the frequency is how many points it puts down. So if I single, click and start dragging, you can see that little dot that just appeared right there. That's the frequency of the higher I set this frequency, the mawr of these little dots I'm going to get, and that's really just an adjustment is what that is. So if I crank this up to 150 do the same thing lips, I'm sorry. Only 100 is size we dio and you can see how many more were getting so just like all of these selection tools, they do take some work. Now what? The contrast is you're telling photo shop, How much contracts do you think there is between the edges that you're detecting? So if we're going between this lie gray and dark, that's really high contrast that we can go up to something like 80% here because it's almost 100% contrast black and white if it's really low, you know, like, if we're doing something for Scroll down here and we're trying Teoh, trim out the two like we talked about earlier than we're gonna want really low contrast because there is not a lot of contrast between this great that gray. So that's what we're going to set this lower. But in the case of this right here, we're gonna want to set this pretty high to something like 80 or 90%. Let's try 80% but the frequency back down to 40 I can actually go lower. I don't have that many curves or anything, so I don't need a whole lot of nodes. Let's see how good photo shop does. And let's say I get to this corner and I start getting that rounded. See? See that mess that's happening there? It's not adding a point where I want. That's fine. What I can do. Is it backspace or delete? Get rid of that note and Aiken single click and it'll give me one right there. I can drag this guy along. Okay? See, it's not that accurate there, So I'm gonna backspace be a bit more careful. And I want to follow this edge as close as I can. Not a single click here just at another. Follow this edge as best as I can. A single click here and finalize my click there. Very cool. Very nice. This tool is amazing. The with here. What I'm gonna show you is if you hit caps lock, you get this little guy, which is just what this with does is detect. You're telling Photoshopped how much of an edge you wanted to detect, so I typically keep this lower. Some people like this higher If you have a lot of high contrast, you can't keep this higher, but I usually keep it to 10 to 15 pixels. Play with it if it's not doing it what you want, you can say, get a really large edge here, and this is with caps. Lock on to remember. If I click off caps lock, I'm gonna lose that. That with view and I go back to my regular tool, so just kind of a preference of what you want. Some people think it's a bit easier to use this, but it's accomplishing the same exact thing. And one thing to note here. I want to tell you when you're using this tool photo shop with a lot of their selection tools, I can't come up here in just so once I start doing this, you're gonna see it's just gonna start running up the page here, running on my image and making a mess so I can't adjust that What Photoshopped doesn't tell you. And unfortunately, what only experience in making mistakes tells you is that you have to use the keyboard shortcuts to make these adjustments for my with adjustments, I'm gonna press my curly braces buttons here you can see those adjusting and for my contrast adjustment, I'm going to press the comma and period buttons and for the frequency I'm going to press my quotation button and my semi colon button and that's gonna give that adjustment. So when you're in here and you decide, Hey, my frequency isn't high enough. Then use your buttons as mentions, and you're gonna be in lot better shape than trying to come up here or start a new selection every time you want to make an adjustment, but let's jump into the next tool. 14. Quick selection tool: So I want to talk about the paint selection tool, and this kind of has some different names. It's actually called a quick selecting tool in photo shop called something else in the other programs, and you can adjust the width of your brush. Here, you can adjust the size. Obviously, that's gonna be too big if we want to get just inside of that little Polyana triangle there and your hardness. How soft or hard is the edge? Let's see what this does for us. You can see that floods it kind of click and drag, and it's gonna keep filling areas quickly. So it's similar to the magic wand tool. But it has a little a little bit more precision on where you're going with it. No, I'm, you know, floating over this So this tool can be a little tricky to use with a lot adjustments. To come in here to set this sucker right you're spacing is gonna affect how sensitive this guy is. You can see, but it could be a really difficult tool to use. Keep that in mind. However, if you're in affinity photo or pixel mater, it's actually really good tool. They have one. Same way somewhat difficult to use. Does work pretty good? Really depends on what you're doing. This is probably not the best case for this. Ah, but play with it again. These tools were completely differently in different situations. So figure out what works best for what you're trying to do. And when we actually start colorizing you really see me jumping between a lot of these tools to accomplish different things. 15. Multiple selections: So now that we know how these tools work, I want to go over to things which is making multiple selections and refining your selection . So just because I come in here and make this selection, we don't always want exactly with what we get. We may want a softer edge. Or remember what a harder edge, depending on what it is we're trying to trim the first, I'm gonna show you how to make multiple selections. So when I click here and I select this area Great. We have an area that we want selected. But if I click here, I click off of that. Well, what if I want all of these selected? There's two ways to do this. I can hold shift. What? You see that little plus? Come on. You see that guy? And that's gonna let me select multiple areas, which is exactly what I want. So I don't have toe make a layer for every single cut here or that I'm gonna take command D or I'm gonna go to select the select. I'm going to look at this little guy in the tool palette right here. Now, this one right here, you can see add to selection means that every time I click, it's gonna keep adding it's not gonna create a new selection. So if I haven't set here, then it's gonna make a new selection every time. But if I said it here, then I get a new selection. Come then, I get a combined selection every time. What if you select something that you don't want? Well, you have this tool right here, which is subtract from selection and click that and we can do away with the ones that we don't want. So again, add to your selection and take away from your selection. And if you only want one selection, then you click this guy right here allowed to collect how that works. An affinity photo. You have this button right here. Add and subtract. Super Super Simple will go back to our magic wand for compared to stake, new add, subtract and intersect and pixel mater. Let's get our magic wand. Here we go. Just like photo shop. You see these little guys right here so we can get multiple selections going and this is just a new selection like this from multiple selections and we'll start adding to create those selections 16. Refining selections: what happens when this edge isn't exactly the way we want. Well, we're gonna want to refine edges throughout our project that something that you're going to do a lot and something that you really need to own in ous. Well, so just because you make a selection and it looks kind of good doesn't mean it's exactly perfect. So I want you to click this button here. Refined edge. You get this little adjustment. What it's gonna do is just show my selection. And with just seeing my selection, you could see that edge is kind of rough. It's not perfect. That's kind of some weird. You know, Jaggi edges here. We can come in here and fix that. We can adjust it by adding smoothness, which is going to kind of round our edges. Pull that back down, you can feather it, which is gonna soften your edges. And you can add contrast, which will give mawr of a contrast ID edge. That's not what we want in this case. And let's say your selection is too close or too far from an edge. Then you can use this shift edge and you can see it brings it in a bit. So if we feel like we're cutting too much into the black frame, then we can pull this down until we get where we want. So for this edge year, I'm gonna put it right there just out of feathering of about I don't know, half pixel. That's really good right there and click. OK, so my selection doesn't look any different. But once we start adding color to this or we started deleting from a layer, that's when that selection starts mattering. So if I zoom in, it looks a heck of a lot better trimmed out than it would if I just deleted it straight. If we look at Affinity Photo, let's go ahead and make a quick selection here. I'm gonna turn my tolerance up to 20%. It's we've been using for these, and it's not working. Why not? OK, because I have this sentence of Drax still. So before losing your mind, make sure you check the mode that you're on, and that's not very good. Let's my tolerance changed again. That's because it was only set to subtract Click again. Okay, Great. Now how do I refine this? So what? We need to do is actually click another selection tool. I know this is confusing, but depending on what selection tool, your using it won't show up in this program and same within Photoshopped as, well. Click another one. Our selection stays there. And then there's that refined button adjustment Works exactly like it doesn't photo shop. You have smooth feather in a border with which will either wide net or shrink it. Depending on what you need, you can apply and unlock this. I can delete that. And there we go. So that's really not a very good refining that I did there. But you get the idea in pixel mater, What does that look like? Okay, so here you're never gonna see the button in pixel mater. Click this little gear icon and you have refined selection once again, the same exact adjustments you can make. The smaller you make it slightly wider, actually, really like this masking tool that is in pixel later. It's really nice, the same an affinity photo, but better than photo shops, white background. In my opinion, you really get to see what's going on. Is that your fathering and smoothing? That's not the best, but just for examples sake, you can see how that works 17. Making layers from selections: So let's talk about making new layers from your selections so clearly we don't want to just delete and why don't we don't want to do that. Well, if we ever want this area back, it's gone for good. Once we start working on this, once we start tweaking things, we can never get this back if we just delete our layer. So we really don't want to do that. I know I did that in the layers demo for you. That's really just to get you understanding how layers work. But that's not the best approach. You want to use masks and we want to use extra layers, and that's what we're gonna do. So let's just pretend that we want to add some color to this area, or let's go ahead and select a few of these. I'm not gonna get too carried away here because we'll be waiting quite some time for meeting Go and select all these. But let's just pretend this is what I want and I want to make these blue. Well, there's a few ways to accomplish this. I can right click this. I could do layer via copy. Now if I turn off this layer, you can see I just have ah duplicate copy of what I selected sitting on top of my other layer, which is really great. Or we can come out to our layers dropped down new Phil layer, solid color. And this is the basis of what we're going to be doing. And I'm gonna click this on and check that out. So what this did was add a layer just like we did in our layers demo with that colored paper. This is adding a piece of white paper already trims to the area that we selected Super super cool. And what's cool is this is a copy. So we still have our original layer underneath and I can click this square and come in here and make adjustments to that color. Super cool again. We can duplicate the layer, or we can add a new Phil layer. Now, new Phil layer is not possible in all programs. They work a bit differently, so I'm gonna show you two techniques. The 1st 1 is simple and this is my preferred method. Here is to add a new Phil layer really, really cool. Really simple, really quick. But if we look at affinity photo now, this works a bit differently. The color adjustment isn't directly on the layer itself. You come up here, you just this guy here, but virtually the same thing. And lastly, if we jump into pixel mater when we do this, Come on. There we go. Okay. Get back to no selection here. Now you'll notice when I goto layer here. I don't have a feel layer. They don't do feel layers in this program, which, uh, it's a bit of a bummer, but there are other ways around that lets select the areas we want Now to add a layer. Master this. Come up here, duplicate this layer, click this little guy toe add layer mask, boom. Same exact thing that we have. I don't hide that layer. There we go. Just like we have any other program. Now, I can add color to this color 18. Layer masks and refining with brushes: a mask is a nondestructive way to cover up part of a layer. So if we go back to the method I showed you, which I didn't explain in depth and that's because I wanted to do it in a separate video solid color, I add my color fill. You see this little box right here. Now what this box is doing is it's masking the selections that we made only show red in the shape of that selection that we made, which is really cool because you can actually adjust this shape. And what's so nice about the mask is that I can adjust this any time I can. Right click this. I can go to refine mask. I can feather this again. I can contrast that. I can smooth that. I could do whatever I need to do to my mask because it's just masking this red area in the shape of my selections. So what if I do want this red bar and I don't have to come in here and kind of trace it out ? Well, I can't do that. I can crazy with my tool. And since I have this selected when I hit, delete it's gonna delete that part of the mask and add to my mask, which is really cool. But what if I want to take this away? Well, we have two options here. What I want you to do is make sure you have black and white sets on your look color swatches. Here, black is gonna wax off. Hopefully, some of you get that reference if you're old like me, but it's gonna remove part of your layer. If you have it set toe white, it's going to add part of your layer mask. So first we're going to start with the black. We can take off. And if we add some of the white, we can add back. That's what's so great about the layer mask is it makes it really fast to add and remove really find details. For soon. You're dealing with eyes or, you know, a floor, something like that, and you mess up. You want to come back and tweak something, you could do that or again, you can get. You know you can still use your selection tools and take away really the advantage. These layer mask is that you have much more control than creating a separate layer. It's not wrong to do it this way, but it is a bit better if you ask me to do it with a layer mask. 19. Inverse selections: and lastly, I want to cover what happens when you make a selection, and it's the opposite of what you want. So what if we were just trying to get these little bars here and everything else as opposed to these little sections? Well, let me go ahead and to lead this other junk cause we don't need it right now. What if we just want to select the framing? It's going to be really tough to try and trace out all this framing. And again if I make that go back to a magic wand and I make the selections like this Gooden do my addition. But we're still selecting the insides. So how do we get around that even if I select everything and delete it and do all kinds of other fancy stuff, it's gonna be a lot of work. So if you want the opposite of what you select, you're gonna want to go to invert, you go to select in verse, and that's gonna flip your selection, and I'll add a layer new Phil layer just so you can see what it's doing. Okay, so now we're getting a feel layer that's the opposite of what we selected so often times, you may want to select the opposite of what you have. And again, all you got to do is go to select in force in verse. Excuse me or command shift I and you can toggle between its same thing. The other programs that make a selection, command shift, eyes going to do the same thing. Or I could go to my layer select menu, excuse me and do the same thing in for pixel selection. Same thing in pixel later pace. Lemaitre likes to do things a bit different. If I make a selection and describe the circular marquee tool here, they have it under edit but exact same thing. So that's it. We're finally ready to jump into colorizing Our photos hopefully have stuck around this long. Hopefully you've learned something. Hopefully, you've worked on refining your selection skills. They do really take some practice, and especially when you get into colorizing, you're going to see how difficult thes selection tools could be for you. So it does take practice. Don't get discouraged, but let's go ahead and jump into our photo and have some fun 20. Colorizing your first layer: it's finally ready to cull. Arise something, if you can believe it. So hopefully everything you've learned so far or everything you already know. You ready to apply here so we can get through this really quickly, really easily with not a whole lot of explanation. First thing I'm gonna do is work on this best year, and I'm gonna grab the magnetic lasso tool. Right. So I have that whole entire vest selected. First thing I want to do is refined that edge. Like I showed you guys, so it's pretty good. Still want a feather? This a bit? Obviously this images in super sharp and it really depends on what part of the image you're doing on how much of this refining your out you'll actually be doing. I'm just gonna add a little bit of feathering, right? And like I said, a four layer new Phil layer solid color. Okay, so we know from this awesome newspaper clipping that we went over earlier. That is Vestas Navy. So I'm gonna go somewhere in here and just kind of start with the Navy. Okay, so this obviously looks nothing like what we're going for. No. What? I haven't showed you yet is you had a blending mode on these layers. Something that we can't do in real life in our layers. Demonstration either. But you have all these different ways to change the way that the layer displays on the one below it. So what I'm gonna do is go toe overlay. Boom. There we go. So this is probably a little light, so I can double click that color again a little darker. I want to start with this and again. Since this is nondestructive, I can come back and change these colors later. You can see that I spilled into her scarf here. Little tie here. So what I can do is make sure that I click my layer. And what did I say about the black and whites? Black takes away? I could just come in here, make my adjustments, soften my brush, forbidden, even make it a little larger. That looks good. Right there. Like most of these edges, they're all pretty good. I usually like to run for my edges real quick. Looks like I got everything pretty spot on and I'm gonna make a folder here. It's called Close. Drop that in there 21. Dealing with overlapping content + colorizing with blank fill layer: let's say that these buttons air here, right? We want to add some color to those. Well, we got a bit of a problem. The only downside about this overlay method is that any layer underneath it's isn't going to cover that because you're you have a translucent layer with this over let overlay setting. So that is one down side, which means any time you have overlapping content, you're gonna have to make sure that your edges air just perfect. So that is one down side. But again, the nondestructive approach far outweighs the downside of having to have perfect edges. So here's a quick example of something I'm gonna do a little bit differently. This is kind of a unique case, but I want to show you guys, let's say we want these buttons to be gold before even selecting these. I'm just gonna go ahead and add my fil layer. Okay. Make these buttons kind of gold. We again can adjust this color later. Not a big deal. Okay, so the problem is that the mask isn't covering anything at the moment. The black is when the mask is working and this is when there is basically no mask. The layer is here for it, but nothing's been cut away. When I have this selected and come up here, adjustments invert, and that makes it appear black layer perfect. So now all I have to do is brush away the areas I want. This is gonna be a lot faster than going through here with the selection tool. So did you notice what happened here? When I have this layer above or below, we get a different color. Now, that's because these air both set to overlay, so they're compounding. So this is really something that you need to keep in mind when stacking. And if you really want this color to look a bit different and go just against your original black and white that I'm gonna have to come back in here and brush away that part of the layer for this, come back in here, take away, you can see it's a bit different. I'm not gonna concern myself with it too much. But again, that is one of the downsides of this overlay technique. But well worth the flexibility that you have 22. Modifying an existing fill layer: I'm going to show you guys one more technique before you can really just take off on your photos. You should have everything in the toolbox ready to do the job. And that is modifying a feel layer that art exists, so I can take a lot of time to trim out her face. Now check this out. I'm gonna go ahead and make a new Phil layer get up skin color somewhere in here. Maybe not the most accurate. But once again, I can come and readjust this later. I can come in here. I can click this. So any time I make some selections, just this is just a demonstration. Since I have this selected, if I hit delete, it's going to cut away from that same layer, which is great, which is what we want. But check this out. I can also just use my brush. If I set this toe whites, I can take away part of that mask. And a lot of this year it's almost faster to get your brush settings right. If you really good, you can set your hardness in your size and do some of this work manually. So that's actually one of them to do for her face for a lot of these areas. And I can come in here and I can switch us back to black if I go in areas that I didn't want to dio will be your eyebrows later. But see, this hairline is really easy to do with this brush. He's which method works fastest for you. Sometimes you're going to need something besides just the selection tools, which is why I should be the brush. And that's a perfect example right there. I could actually do her face faster with the brush than I could going through my selection tools. It's not always gonna be that way. Mostly you're gonna be using your selection tools, but just a quick tip and then I can come in here. Looks like I spilled over a little bit into her. I switched these color back this color back. Take some of that out. I can work on that more when working on her eyes. Great 23. Colorizing timelapse: 24. Final adjustments + Wrapup: all right, and we are back with a finished product of her hours of work literally up. And after this thing for a while, I really should have picked a better image. But I'm really stoked to show my mom This picture is, Well, it's just It's just so cool. I couldn't have passed it up, so hopefully you got something a little bit easier than I did. But maybe some of you are up for a challenge. So just want to show you what I have going here, and, uh, cap this thing off. So first I broke everything down. That isn't clothing as body. So inside here I have hair, eyes, brightness I have, which is this color feel here is doing a little bit of the gums and a trim around the eyes . We have lips or lipstick. Khanna and our skin tone skin does can sometimes be tough, but got it writes. We have the clothing in here. The best, the buttons, the shoes and the scarf. The signs and buildings in the back went with the little pink purple cattle active for fun buildings back here and the trees and sky where absolute nightmare I think those actually took me about an hour and 1/2 alone. But we got him pretty dang close. Um, pretty pretty stoked with the trim work here is really not too bad for how much details. Actually in there the branches aren't perfect the brown versus the green. But you know what? Sometimes you got to cut your losses here. So the ground's pretty simple and straightforward. This is a pretty easy one with a lot of straight lines, used a lot of polygonal lasso tools on here and actually a lot of the magic wand. It worked really well in this concrete block. The pants were all done with the magnetic lasso that rocks were done with the magnetic lasso. The sky was done at the magnetic wand. The trees were done with inverted mask from the sky. The vest is done with magnetic lasso. The skin was hand brushed, the eyes were hand brushed, the lips or hand brushed and the gums were hand brushed along with a few other things. A hand brushed the nails and the buttons and some of the cars in the back. So sometimes brushing is the way to go, so as a final wrap What I love to do with my images put all of my colorized layers into one single group. And that way I have control over this whole group. I can toggle on and off a lot easier than having go through here and turn all of these often on and check this out. This is the last time we're gonna do anything else with these blend modes. But I could take the entire group and adjust the blood mode here. So if you're feeling like this is a little too contrast to your final result just as a bit too much contrast compared to the original, you may want it a bit more faded. Try overlay or soft light. I'm gonna set this too soft light and you can see it toned it out big time. And if I talk about on and off, the contrast is now a heck of a lot closer to the original image. So again, this is really just a personal preference thing. But just a little quick tip for you to play a round of those blend modes in one large group after you're done colorizing. And if you really want to get hard core, you can start adjusting your opacity. You can come down here and add some saturation filters for sharpening filters. Put the final touches on your image. I'm super happy with mine either on the soft, light setting or the past through setting both of those of great to me. And so that's a wrap. Thank you so much for taking my class. I really hope you learn something new, and I'm really looking forward to what you guys come up with. If you need any extra information, go ahead and check the class project description and I have some inspiration links in there , some additional information on selections and layers. And if you have any questions, always feel free to ask me and once again, thank you, and I'm looking for what you come up with.