Designer Tips for Awesome Photos! | David Fowler | Skillshare

Designer Tips for Awesome Photos!

David Fowler, Graphic Designer!

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11 Lessons (48m)
    • 1. Introduction

      2:55
    • 2. Opening an image & Layers Palette

      1:56
    • 3. Using the Levels Palette

      3:07
    • 4. Colour Balance

      4:57
    • 5. Sharpening Focus

      5:23
    • 6. Simple Retouching options

      5:54
    • 7. Image Sizing

      6:03
    • 8. RGB & CMYK

      5:16
    • 9. Using the History Palette

      3:36
    • 10. Saving your final image

      7:23
    • 11. Class Project

      1:11

About This Class

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Quick & Simple tricks to make your pictures look great using Photoshop

Wouldn’t you love some quick and simple tips to make your dull photos come to life?

Whether they’re too dark, too bright, slightly blurred or in need of some simple retouching I’ll show you tips I’ve learned over 25+ years working as a graphic designer. I’ll also show you the best formats to prepare images for use in social media or printing out at home or for use in artwork preparation ready to send out to print.

I’ve been a graphic designer since Macs first appeared and have worked for Penguin Books, Marks & Spencer and many other clients through my design partnership Flow Design.

By the end of the class you’ll have learnt about Lighting Levels & adjustments, Colour Levels & adjustments, Focus adjustments, Size and Scale for different outputs, RGB vs CMYK and what they mean, Simple retouching with the Spot Healing Brush and Clone Tools and using the History Palette to go back in steps if you don’t like how it’s looking. And you’ll see how quick and easy it is to get some great results.

Transcripts

1. Introduction: all right. My name's David, Graphic designer. Welcome to my first skill shop class Designer Tips to make your digital fatal. Awesome. I'll be sharing with these simple tips and tricks that I learned during my career, which will help you quickly tidy up and improve your fate and get ready for use online or in print for matters first. A bit me graphic designer by training and I've been working for around 35 years. It's small agencies and design groups in larger in house designs. Shoot, Gaze on. For the last 17 years, I've been running my own design consultancy Flowing Design. You can find out more about the work. We do see some examples at this online address. I've worked with many supplied images from clients and projects where the original was not off the standard that you would need for production in the magazine. Various tips and methods for kind of improving those pictures and getting the best out of them and getting them ready to look really great in the end magazine or whatever. Amputees. Those are some of the tips that I'll be teaching here in this class. We will be using a defector shop, so you will need to have that pregnant. But beyond that, all these simple steps can be learned and applied by any from an absolute beginner to more advanced user affection. You'll learn simple levels. Adjustments, color ballots, tweaking to warm up, a cold image or cooled and hot image had to sharpen up blurry images or sections of images and some simple retouching tapes. I will then quickly explain pixel resolutions that you need for working in screen or print with your image and has a resize your image to get them ready for either phase. I'll show you what allergy be. See him like a a role, which format you need from which use will also look at how to get back in stages. Using history palette in case of retouched that you had together didn't quite work out the way I thought you wanted to have another go at that. It's a very simple way to get back stage fun. We'll save our image in various formats, depending on whether we're gonna be using in social media instagram Facebook, for example, whether we're gonna be putting that image into a design out magazine or abrasion at the end of the house. Your challenge will be to take some of these tips alone and apply them to your own image. And show is a before and an after so you can see. Okay, that's about ready to get started. Let's go. 2. Opening an image & Layers Palette: Okay, so this is Ah, photo shop. Open window. We have a number of options ready to open a new project, and I'll take you through both of them. Really? First is to use the open button that you see there. You then navigate away. You saved the picture you want to work on. So I've got this image here which is straight from my digital camera click open. And there we have it. Not a great image, but that's what we're going to sort down the alternative. It sees the file. I pin many as you see here, you pull down from file open again, navigate to where your picture is, and I've been app. Say we get a nice window for our image on now. The first thing that I wanted to just show you here is in the layers tab, which you can see I already have on the right hand side. If you don't, you can pull down from window and see layers there, and you can open it there on the layers palette will appear at the moment we've been we've created image with just a single background that's locked, which is that little suitcase to the right. What we want to do is duplicate that layer. So up here in the corner, duplicate layer background copy. That's fine. Believe it is that we now have a duplicate of our layer. These air lies on the left. Here, we'll turn it on or off. So at the moment, we're looking at the copy. The backgrounds hidden behind. We turned that off. You see Nothing to turn it back on again. We see the copy. Now the great thing there is, we can work on this copy. We've still got the original hidden away here so we can refer back to it and see how we've done by comparison with our various retouching. That's our image. Open ready to work on. Let's move on from here. 3. Using the Levels Palette: Welcome back to designer tips for awesome photos. This is let Section two using the levels palette for lightening and darkening images. So his our image that we've just opened up and made a duplicate layer off am again to work on First thing I want to show you is that levels parents. So you go to the top and its image levels adjustments, and you will see there there's an option to pull down the levels near the top or command out that will open up this little window here, which it looks a bit confusing, but it's quite handy. You can also open that directly with a short cut Commander l as you can see here. So we opened up our window and we have some sliders on a hist, a gram graph and some mountain that output levels as well. You want to be on default and RGB you can isolate channels, but it's best to work on all three for this simple tip of lightening up and darkening. And you see, we have this little Hester Graham here. We've got, like a dark slider lights later in the mid tone slider, and if we pull those in, you will see that it will affect the overall level of the light in the image, so there's mid terms we can work on. There's the darker tones that we can make light or the light attains that we can make overall darker. We pull this slider in from the right. As you can see, it's starting to lighten up across the whole image. If you pull it from the left, it's starting to dark and up across the whole image. And if we work on the middle, it works on the Midtown, so a slightly more friendlier lightening up. Now what we tended to do is look at this chart and see where the graph begins. Toe, pull up and then just pull the slider towards the beginning of it, and that will bring back and natural lighting level balance to your image overall. So that's kind of too far, but roundabout There, where the curve on the pictograms starts to turn up, gives you a good indication of somewhere to start. It's a little bit trial and error, and obviously it's a visual thing in terms of visual preference, but it's a great little tip for getting the levels right on your image. So that looks pretty good for there will click OK, and I'm gonna open another image here, which is much cooler and a bit too dark. And as you can see on this pictograms, we've got this huge area here before it even begins. So we'll pull that slider along until it just touches there, and that gives us a pretty good lightning. From that end, we can nudge the one on the other side just like that, to where it starts to turn up. And that's given is already a nice looking talents for the image compared to where we started. There's a little bit experimenting in the midterms, so you just kind of I feel like it's looking right, and very quickly we've sorted out some of our levels for lightening and darkening to get nicer picture to be working on. So that's using the levels palette for lightening and darkening. Let's move on to the next stage 4. Colour Balance: Welcome back to designer tips for awesome Fate A's when air into Section three, where we're going to look at the color balance when day for warming up and cooling down images. Here's our image that we've already lightened up a little using the levels window. If we now look at image adjustments, color, balance or command, be as a short cut. Here's our window. Are all important Win day SE. What we've got here is a kind of Siris of three sliders on Basically go from kind of a sigh in two red, so that's cool toe warm, and we've got magenta, green and yellow to blue. What I tend to do generally to warm up a cold photo like this is to kind of move a little bit towards the red on a little bit. Woods towards the yellow, and that kind of mix will improve the color level of the photo and usually working on the midterms. If it's a particularly shadowy picture, you can work on shadows or highlights. We could do that as well, but let's have a little lick so initially we just going to drag that and it starts to get a little bit warmer and then that counteracts it and it starts to just look a little bit more natural. Just see that stunt to come three. And that's it, Really? I mean, basically, you can see that if we go too far the other way, it goes very scion E Very cool if you get that way, goes way too warm. But if you just nudge it a little and you can see on the counter they were going at plus three plus five and equally here, that's way too much. And it's turning it yellow or way too much, turning it blue. But that little combination of just a little bit of red and a little bit of yellow just warmed up nicely. So let's just have a little say Okay, there we use our little layers that we looked at. If we turn the background on, we can see that's where we were at the beginning and there we've warmed up a bit, so that's just showing the progress on that very simple adjustment. Nice little tip. Easy to do if we go back there and we haven't had a little look at that. Come on, be you can look at just doing that in the shadows as well. Just there. So that just warms up a little bit for us. Just a little bit there. Which is quite nice if we have a look at the highlights. Probably won't need much doing cause they're very bright already. Just kind of a little bit definition. Possibly too much, really. So I think they probably just want to leave those as they were. So it just take that back to the note. So that's the color balance. So let's have a look at that on our other image here. So this is our other image. We're working on our copy. If we bring up our image adjustments, color balance, we get the little window there. Now, you tell you what you do. You looking picture anything? Actually, that's looking very gray. Very cool. That one needs warming up. So I'm gonna just kind of nudge it a little bit there towards the red and a touch of the yellow. But actually looking at this picture in particular, we've got a lot of brighter highlighted type area. So, really, if we click on the highlights, its maybe gonna work better to just warm them up a little bit, so that's possibly a little too far. But you see that? Just that little diagonal nudge of towards the red end towards the L. A. It's just bringing it back, Teoh. A nicer balanced level. And if we look again at where we were, so that's that's before we change the color balance, and that's now it's start to look a bit more realistic. OK, so by contrast, or the opposite is obviously the case, if you want to cool down a picture that's too hot. So in this particular image that I've opened up, it's a food image on. Delighting in the restaurant has made it a little bit over warm. So instead of dragging it in a kind of slight try it diagonal to the red and to the yellow . What we want to do here is kind of slightly cool it down, so we'll take it away from the red and will take it away from the L A. And that just will start to make it a little bit more realistic. Now we've got some highlights here, so I'm actually going to do the same in the highlights and just cool down that little rattle billet call down the yellow. It needs to be still a bit warm because the nature of its kind of indoor fluorescent store lightings they don't want to make it too cold. And obviously we need to make the food look good. But that's just a quick explanation of how you would do the opposite. If you had an image that was too warm rather than to cool, you simply pull your sliders in the other direction. There's are a couple of examples using the levels window so simple. Quick tip, color balance. Let's move on to our next lesson. 5. Sharpening Focus: Welcome back to design the tips for awesome photos. This is Section four, where again to look at using the UN sharp mask to sharpen up slightly blurry image Will look at how to do that over the whole image and also ever a section of the image. So a good way to show that is I've homed into our fate a that we got to at the end of the last section, and I will Now here, we're gonna go filter, pull down to sharpen. And there are various options you can see here under sharpen. But we're gonna look at uncharted mask because it's kind of got I think it's got a lot more subtlety on its less destructive to the picture overall. Now what we've got here is we get this little preview window and the preview window. It's going to show us ah, highlighted section and you can drag around to find a section way. You cannot see that you obviously want to sharpen up. And by looking at this window and playing with these sliders, we will see what improvement we get on our picture. So this is a section obviously from this bit of the picture. It will apply this filter to the whole image at the moment. So whatever sharpening we do, we'll see it over everything. But it will also kind of give us a little highlight of what's gonna happen now with this. What I tend to like to do is to get around about two pixels and then start to pull upthe about sort of 50 60. And already, in theory, you can see how that's going a bit sharper. Now if if you click on the other hand is and hold on your mouth, you can see that before and when you let go see the after, so the before the after of where we're going with this. And if I have really, extremely pull that cross, you'll see how drastically it changes. Andi can sharpen up the danger with going too far on this is that you started to see more spec cling, and it's almost super sharp, so you just kind of want to figure out a way to take it so that it's starting to work and give you the bit of sharpness he need, but still looked like a nice natural picture without getting a bit too crazy. So if I apply that I've role, we've been shopping the whole of that image and I'll pull back so you can kind of see the whole image if I go back to layers. What I did here was, I created an extra layer. So if I turned that off, you can see this is where we were at the end of the last lesson. Stage three. And that's where we go by simply sharpening up. If you look at the road sign in the middle there, you'll just see it's gone from a little bit dull and a little bit out of focus into nice and sharp relief. So that's using the UN shark mask over the whole of an image. If we just go back here and we'll try that again on a close up section so I'll duplicate that layer just to show is how we work on. So we're going to go for Stage three complete copy. Turn everything else off. We're now just working on this layer, which is highlighted here, as you can see by that gray across it. Now, what we would do now if we blow up into a section of the picture. I did that with command. Plus, as a short cat say, we just want to sharpen this sign, for instance, or that raid sign and not the rest of the picture. Seems a bit odd on this particular image, but you might have a situation where you have a section you want to sharpen, so you choose the appropriate marquee tool in this case, I'm gonna go with this one here, the polygonal Would you say that? Not sure. Public political lesson till I think that's it. Now, just very quickly Make that selection. Obviously, there's lots of ways off selecting an area and creating a marquee. But once we draw that round and click to end, we'll get this dotted line that shows is that we have now selected only this area off the image on this lay that we're working on. So what we're going to do now get back to our filter shopping, gunshot mask. Then we get a little window and look at this Look at that section again so that its like for like on as you see, if we pull it right up there, this is looking kind of super sharp and you can actually see it's affecting the whole of the raid sign without affecting any of the area around eso. That's another way to just apply a filter very simply to one section of your image. Okay, if we de select that, we get back to our layer before and after, before and after, so none of the area around here has changed in any way. Only this area where we were selecting and filtering has changed before. After that's a simple, quick tip for how to sharpen up an image overall just to remind ourselves of where we were for 10. That one off we finish stage for Let's look at where we started. So that was ill be image, right At the very beginning of the process, we've been through levels. We've been through color balance, and now we've sharpened up a little bit, and this is how we're looking. Okay, ready to move on. Let's get to the next stage 6. Simple Retouching options: Okay, so we're now ready to move on to our next stage, which is simple retouching. There are two tools I was going to show you here, the first of which is this one here, and it's called the spot Healing brush tool. Again, there's various options here, but it's just this one that we're interested on that is fantastic for touching up little spots and tiny mistakes. So this is gonna be quite good example on the brick works if we just command plus to blow into the area of the picture that we wanted, and then we'll drag that around to find some bits that we can retouch. So again, we're back on the spot healing tool here. Now this works on the content, aware and again it's like most halls. It has a brush size so you can actually be make it really larger, really small. But since we're interested in just touching up some little spots on this particular picture , we're gonna go. Let's get around about 16 17. We want normal made on. We want to be content aware, so what that's going to do is it's basically going to look at the content around the area that we drag on. We're just looking at dragging where the circle is appearing and it's gonna do some magic healing. So, for instance, let's look at this here. If I click hold on drag along there, it just magically makes it look like the rest of the brick. Let's look at that one. So again, click hold. Thats one here, this little spot. We just basically click, and it's gone. So it's a fantastic tool for adjusting what I'm calling spot healing or spot touches. So if you need to retouch an image way, you've got a little bit of a hair or scratch type thing going on. You can just see how I'm doing, basically picking areas that are kind of looks slightly different. To demonstrate how that could be used to just heel spots, you can go for slightly bigger things here. It starts to get less effect effective, and you do sometimes have to kind of go over a couple of times just to kind of get it to work. And that's where we're going to look a slightly different tool next. But that's the magic of the spot. Healing tool works really well when you just take a small size brush and it's samples the area around and just re touches in and takes way. Your scratches dead simple, dead easy to pick up on a fantastic little retouching tip there. I think that's brilliant. Let's have lucky to see that sign There has got a little bit of a blurred section, so there's just touch their upper wonderful. I mean, you could just go under this for ages ready, and there's a limit based on how much retouching you wanna do. But it's a really clever tool. If I pull back out, we can have a look at some of this area here. So you see here where we've got actual let's just get a little bit bigger. See here where we've got kind of blurry, larger sections that spot healing would be brilliant. There, for instance, that would work quite well, and it would work quite well on that crack. I never do that. It's gonna work less well here, so I'm gonna show you another tool for hair weaken. Tackle that, and that's called the cloning tool, which is couple down. Just this one here, the clone Stamp Tool Clone stamp tool here again works on brush, size and hardness that I never wanted to be particularly hard. Just leave that on 20 for now. We'll go a little bit bigger because what we're gonna do here, what this does effectively is where the circle appears. It's going, Teoh, we're gonna create Target section by holding down the old key and clicking. And then what you'll see is a target will appear. The target will appear in our click on it. And now, whenever we go over something here, what it's effectively doing is dragging what was there and putting it over there. So what I tend to do here is set it to normal. Um, past 100 flow. There have just gone for 40%. So in terms of what it's pasting, it's only going to paste over 40%. In fact, I think that needs to be a little bit bigger. Let's take that bigger in this situation. And then what we can do is we can build it up in stages, so we're now at 29%. Line that up when we just go over there like that and we just start to touch the up. And so what that's doing is it's cloning the area that was on the left from the target, and we do again over here. So our target is Lanqing. Over here somewhere, we're just gradually click and drag, click and drag, click and drag, and it's building up because it's the at 30%. If I just like the ones, it's Noel Gun. But it's quite a nice way to keep clicking and building, and you can sort of build up you re touch so that it it works particularly well on the softer areas. Um, where you want to just kind of touch up a bigger area. So for it is that I'm going to paste or clone on top of their just by doing that. But it's only a 30% strength, so it's not too invasive, and it's not destroying it too much. Every again there that would pace that on top of their lose some of those. So where you've got kind of light and dark and dribble as it were. Nice word, but yet that's a good way to touch those up. And where you've got a simple little spot like that. That's a good way to touch that up. So there's some of our simple, quick retouch options using either the spot healing brush tool or the clone stamp tool for bigger areas that you want to touch up. So there's a couple of quick designer tips for retouch options. 7. Image Sizing: Okay, Welcome back to designer tips for awesome Fate A's. We're not gonna have a quick little look at pixel size explanations, and there are two main pixel resolutions that you need to know about. They're going to be basically two main uses for your image. You're either going to do something with it, where it gets printed on a home printer or an external printer or some kind off print format. And there is a resolution that is standard for print options, and that is 300 dp I minimum DP. I stands for dots per inch, and it represents how many dots you would get in an inch if you took a magnifying glass and you home right in on it. 300 dp. I is the standard that's used by print and print professionals, so that's kind of really all you need to know if you're designing something that's going to get printed or output on a printer. The other main resolution is what we call screen resolution. So your screen is your TV monitor, your PC or computer monitor your phone, your iPad, your laptop there, Alvaro versions off screens and they run off a much lower resolution, which standard used to be 72 dp I Sometimes we talk about 100 or thereabouts, but 72 is the accepted norm for what we call a screen resolution. So 72 d P. I. For screen 300 dp I for print. Now, with images, you need to make sure that they look good at the sides. You're going to have them, so you can't really take a very tiny thing and blow it up into a poster without it going blurry and leading focus. But you can take a very big thing and shrink it down, and it will hold the quality so you can go from sort of big to small quite easily. You can't go from small to big so easily looking at our image that we've got to hear. This is where we're pretty much one of our stage re touches, and I'll just show you again our original that we started from. So I've just opened that up as well before we did anything to it. Now what you do in photo shop here is you get to the image of the top, pull down and you'll see image size so if we click on that, we will get a window here that tells us how are images made up. Now that's quite handy for re sizing an image, but it shows that the current original size straight out the camera when I took this shot was 46 08 pixels wide 25 92 pixels high at 350 dp I or pixels per inch pixels. Fridge is the same as DP. I'm so you don't worry about that now. If so, we just remember that 46 by 2592 at 3 50 We look at our image over here that we've been working on pull down image size exactly the same, so the size hasn't been affected in any way by the work we've been doing in terms of retouching levels, colors, etcetera. But suppose we want their image to print in a magazine. And let's say we want this to be seven centimeters for argument's sake, seven centimeters wide on a layout we working on. What we can do here is we can resize from pixels to sound centimeters, and it's currently saying that it would be 33.44 This little button is linked, so it means it's scaling improve. If we were to put seven in there, it would now become seven by 3.94 at 3 50 pixels per inch. But we said that we need 300 footprint. So if I type in 300 there, we've now gonna have seven by 3.94 at 300 pixels per inch. It's telling us that before we started our image mints 34 megs and the end image will be 1.1 meg. And if I click OK, what that will do is basically resize their image down, and it will become seven centimeters by whatever it was three ish at 300 dots per inch, and that could then be saved in a format that you could give to a printer and they could lay it into your print layer. Or you can put it in your design layout at that size. If, by contrast, we've again to take this image and we were going to put it in Facebook or we were interpret it in, Instagram will come to cropping the image later and selecting an area. But Basically, we would want to be saving that image at 72 dp I So if we go back to our seven centimeters , for argument's sake, like I said, it's always better to get down in size. But now we need some 22 dots per inch on. We know at seven centimeters or smaller, that's gonna look great. If it turned out we needed 10 centimeters at 72 it's going to stretch it and start to look blurry, so that's not so good. It's always better to maybe make it slightly bigger and keep it at 72. And then even if it comes down, it will hold the detail that's already in the air. And it's going to re sample this automatically, so we'll have a 10 by 5.6 image at 72 d p. I okay goes away and just there, As you see it's shrunk it on our screen. But using that command, plus, we can bring it back up. The reason that's starting to look blurry is because it's actually presenting it way bigger than it would on the screen. But we know that's gonna look absolutely fine on a screen if it was at 10 centimeters, and you can then say their image to put into your Facebook or whatever of the social media you might be using is not a problem if it's higher resolution. If you Actually they're bigger files, so they'll take up more space. But it's no problem to be higher, essentially, unless it's too high. So to bigger. Far sometimes, when you try and upload a file to a scientist will say that's a limit on the size you cannot played. And if you're over that limit before you even start, it won't go. So that's why it's useful to know after downsides and re size your images so that there's a little walk through there on 72 Deep I for Screen 300 DP I for print. We'll talk about seeing my K an RGB, which were also related to screen and print in the next lesson, and we'll have a little look at cropping and saving as well in different formats later on 8. RGB & CMYK: Okay, welcome to the next section where we are going to have a quick look at RG B and C M I K. Now essentially RGB means red, green, blue and C M I K means cyan, magenta, yellow and K witches for black. Now the difference between those historically is the RGB is for screen use or screen, so television monitors television picture will be RGB. Your camera will take RGB images. Your phone will display RGB rare if you again to print magazine or you're going to read a book. They will have been printed traditionally using four color printing inks, which are the see. In my case, I n is a sort of a blue. Magenta is a sort of a pink, Yellow is yellow and K is for actually for black, so those four colors can be used by a printer to print any sort of blend. They could be made up from those four printing inks, and that's why I see in my K is a print process reference. RGB, on the other hand, is made up of red, green and blue, and those are the colors that will be projected historically in an old television cathode ray tube or is now represented on your modern day screens. So essentially all you need to remember is RGB for anything that's on a screen, see in my K for anything that's going to get printed. That's a very broad but very simple way of explaining it. So when you think about the image that we've now got and here's our finished image were happy with it. Now we've changed our color balance. We've changed our color levels. We've got it looking. How we want this image is an RGB because it's come straight from my digital camera. And if we go up here on the freighter shop menu under image mode, you'll see there's a little tick there. Next, RGB, which indicates that it's RGB now that's absolutely fine on. We would save that now, at 72 dp I 72 pixels per inch. Give it a full name that we're happy with, and we can put that onto our Facebook or whatever we're going to do with social media. If, on the other hand, we want to print this, we want to put it in a magazine layout. We're going to have to convert it into seeing my K. Now the image currently has two layers in it, which is our retouched layer on our original. So that's where we started. This is where we've ended up at the moment, are retouched is on the top, so you can't see the hidden background layer. It was useful for us to show how we did along the way, but now we're happy with it. What we're going to do is flatten this image so that there's only one final layer, and we do that by layer flatten image. So now we've lost our old background image. We've got one new background image, and so that image is now ready to be sent as ah print file once we turn it into seeing my K now there two ways to do that, you could literally just click the sea and Mike A but in there. But it gives us a warning about the profile that we're going to use because different printers in different parts of the world will have different print profiles, depending on how it's going to be printed on what process The other way of looking that that is, if we do edit here. Convert to profile down here, so edit convert to profile. Now what that's doing is it's going to change from our GV Teoh A. C and Mike. A printable profile, and it's offering us you're a scale coated V two. I'm in the United Kingdom, and this is a standard. You're a scale print standard that our printers would use, so that's absolutely fine. If you click on this area, you will see there are Siris of other ones. Photoshopped defaults. There's a generic that you could go with, which would be absolutely fine. Or if you're doing something very specific that you know about, you can select from this whole list of different things, but your skull coated or generic see and my K is gonna be absolutely fine. So we just connect that and do OK, so that window has given us the option to select. If we'd simply gone with the previous one that was image mode and see my color. When that warning came up, we could have said okay and convert, and it would have used that default anyway. So now we have are seeing Mike a image. It's very hard to tell it might be slightly different in certain areas in terms of how it's rendered the different colors. But you could now save that in a J peg or it. If you could hand it to your printer, you could drop it into a print layout you're doing in design or something similar. And that's a very simple way off getting from RGB to see in my K as I say the majority of the time, you're going to be an RGB because your images air coming from your digital camera should you want to go back the other way. It's basically a reverse so image mode RGB and it just gets back. So it's near energy, be it have to re save it again. And I would suggest maybe putting brackets RGB in your file name, so you need to reach former you've got. If we undo that, could you see any changing color? Partly any. So it's made very little difference. And that's the beauty off, using fate of shop to change an RGB to see in my K, and you're then in control. So you know what it's gonna look like when you put it in your design layout. 9. Using the History Palette: welcome to the next section history palette here to go back and undo changes before we finally save our image and send it off for use. I just wanted Teoh cover another final little designer tip, which is the history palette, which is a very clever way off, going back and having a look at stuff you've done before or removing something, going back a stage to go back and try again. Now his our image that I'm now calling Amsterdam. It's a PSD file, and the reason for that is we've got Teoh before and after layers on it. But if we look under here window history and pull that window up, it may already be here. What you can see here is ah, whole Siris of all the stages that I've worked on on this image, saying she have done quite a lot of spot healing, done a bit of undershot mass that we talked about. Now we could go back to any of those stages, but what might be more interesting would be if I do a couple of things are a bit of a mess . So let's say, for instance, I was going Teoh, take the spot healing brush. Take it very big and try Teoh de Something here like that. What that's done is you can see it's kind of painted a bit of where's messed up with the typography, and it's put some blue on the bricks. If I then try and retouched that out doing that, I've used big areas. I've got some weird black bits have come in here, and I've lost the black of that. It's more apparent if I was to sort of crossover areas like that. Actually, that was not bad. But you see how it's broken up a bit there. Now if I don't like any of that and I want to get back, basically, what I do is I open my Windows palette history and then I can get back to the stage before state before and you'll notice how. See we were there we were looking at were looking at this bit here. If I get back two there it comes back again. Forget to the next one. That was when I changed all that. That made a mess of that so you could actually could go back. Could get forward again in time where you could go backward in time, but that's actually before we started messing with it and the stages of their. But they're great out, but it's gone. But that's just a really clever, brilliant way of being able to go back. So suppose again, it's just another one. Suppose we do that color balance and we did way two months, everything. Actually, no, we don't like that anymore. Didn't work out. But I suppose you've already change your image size down to 100 pixels, for instance. You can't. If you just do undo, it will only take you back one stage, whereas with history panel, it will show is we've changed our image size and we've changed our color balance. And we didn't want to do either of those. We just wanted to get back when we were there. So by clicking on there, it will take us right back to that stage. Is if we'd never done either of those two things Fantastic little tool and a great designer tip for having a look at what you've done, how it compares and going back a stage if you're not happy and then the final thing. I just wanted to remind us on this. We've got two layers here. We've got where we are now, and we've got that original again. It's really useful to see where you started on where you've got to the history palette. 10. Saving your final image: Welcome back to designer tips for awesome fate owes. This is our final section, Section nine Putting it all together. We're now going to save our final image in a couple of different formats. We're going Teoh, save it for use on screen or we're going to save it for use in a print design layout. And we're gonna have a quick look at a couple off crop formats that we would need for social media. So here's our final image. The first thing we need to do is flatten the image you may recall. That's where we started. This is where we've ended up. What we're now going to do is up here in the right hand side, pull down flat, an image discard hidden layers is OK, so we do that and we now have a single image flattened out with one layer in it. That's our final image. As you may recall, we looked at image size earlier on. Let's just get back there and we'll check. This is currently 33 centimeters by 18 sentiments at 350 pixels. Now what we're going to do first is save it for a print design and so I would think an A four page is 297 millimeters by 2 10 millimeters. So if we turn that into millimeters and we maybe go for 250 that would be pretty much a full A four width, and we need to change that resolution to 300. So we now have a good quality printable image. There will be 25 centimeters or 250 millimeters wide with a 300 pixel per inch resolution. We click OK and there were gay. There's our image, so file save as and under the Save. As there are a number of options here, it's currently a Fate shop file, but if we're going to use it in a print layout, I would suggest a tiff. That's because if you say it is a J peg, which will be OK, there is a compression that is going to compress the image to make a smaller size. And sometimes when you compress an image, you can lose some of the quality on the detail that you've put in there. So I'm not going to call this final tiff, and we'll just save it in our source image. folder for now, Click Save. Now we get this window. That is options, so we don't want to compress the image Pixel ordered to leave. That's fine. I'm on a Macintosh, so I'm going to leave that button selected. If you doing a PC, you'd want to change that PC and then that's it. Click OK and you're done. You have your final image saved as a tiff that can be used in a design layout can be handed to a printer with your artwork, and it will be absolutely final print. Really? Well, now, if we're going to do something on screen, like maybe put that into a Facebook post, we don't need it to be so big down here. You can see the image size on this is currently 14 megabytes. That's partly because it's a tiff rather than the J peg. But that shows that has a lot of data in it. We're going to use it on screen. We would say image size on. We would now make this down to 72 or 100. We might leave it that size because if it's smaller, honest, it'll probably be way smaller on the screen. But that will hold a lot of quality in. And as you can see, it was 14 megabytes. It will now become 828 less than one megabyte, 828 k click OK, that obviously shrinks it as such, But but that's what you need for screen. So that's a now a screen ready, and we could save that as a J peg. We don't need to flatten it this time because we Flender already. But if you're going straight to this stage, then you would want to make sure you had flattened it as I showed you earlier. There's R J Peg, so it's no final J. Peg. This wants to embed the color profile that's already built in to photo shop in the screen set up, and that's absolutely fine. So if you get default like that, don't worry about it. The box that comes up it's slightly different allows you to select the level of compression you want. If you go to this end of the scale, it will make a larger file. 368 If you get down to the low end, it won't hold as much quality, but it will be a much smaller file, so a medium is OK. If you've got the ability to save and send a large, slightly larger file, it's not even massive. Then I would go with that and I would leave the format options at the default baseline. We save it and that's it. So we've now saved our image as a print quality 300 dots per inch tiff or a screen ready J peg at 72 dots per inch. There are a couple of things I just wanted to show you as well for social media. So if you are saving for a Facebook post, besides, you want to be working. Two is 1200 by 6 30 so you could actually look at your image size where in pixels. We're talking here because we shrunk this. We can't go to 12 where we can get 1200 but you see her back quality is slightly lost, so that's not such a good idea. So we should probably have cropped that to their size before we had saved it in Quite in fact, that's what all day, if I close that and will open the tiff that we made because that had the larger quality. The image size box will now make this ready. So festival again to go 72 d p I we want to be in pixels and we want to be 1200. So I mentioned 1200 by 6 30 This is gonna be slightly wider, but it will be the right format. So what we can do there is if we open the info box, you will see these numbers as I drag. This is the cropping tool. I'm going to start in the corner and go full depth because sorry, I'm gonna get full whip because that's 1200 you can see up here 1200 and then I can actually just crop down until I get to the 6 30 that I needed. That's good enough. I think on then I'll just use my arrow buttons to nudge that. And if I now Teoh image crop, I have a 1200 by all my 6 30 image de Select that, and that is now a post size ready for Facebook. And I can save that as a J peg. If I was going to do instagram again, I would need by crop tool. And as we know, with Instagram, it's a square format, so I'm going to need the same number of pixels deep as wide. So I'm currently 631 Not that 631 So that's my perfect square and using the arrow keys on my keyboard, I can just move that around until I got that the way I like image crop, and then that's in a instagram ready square shape. Obviously, you can upload your J Peg image straight into instagram anyway and re crop it in the APP. This is just a little tip, for if you want to be very specific about your crop and how it's going to live, so you would then save that has a J pig, and you can send it to instagram to your feet. So there we are. How to save your final image, ready for use in either screen or social media 11. Class Project: Congratulations. You've now completed the course. Designer tips for Awesome Fate A's in this class. I've shown you some simple, easy ways to use photo shop to improve your digital pictures. Some will be more relevant than others, depending on your image, and there's no pressure at all to use any or all off them. But you can now take a many of these as you like and apply them to one of your own images. And your challenge is to do that and then upload both the original image and the new improved image so we can see your results. Images that you upload should be saved for screen resolution 72 DP I or 100 Deep I. As we've explained in the class, they should also be in J pack format and ready to, uh, played. You should list in the description box which of the tips you've used to make the changes so that we can see what you've actually done and maybe tell us which you found most helpful in your work. If you're a user of instagram and want to upload your finished results there, please feel free to take me on your images at flow designer so I can support and share your work with my full of his tea. Thanks for following this class. I hope you found it useful and learn some new tricks and tips on. I look forward to seeing your results. Good luck.