Digital Studio 6: Photoshop Essentials Q&A | Benjamin Halsall | Skillshare

Digital Studio 6: Photoshop Essentials Q&A

Benjamin Halsall, Final Cut Pro X & Adobe Courses

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12 Lessons (1h 35m)
    • 1. Introduction to The Photoshop Q & A

      0:47
    • 2. What do I need to know about the interface?

      12:31
    • 3. How do I change one color in an Image?

      3:42
    • 4. How do I scan in line art?

      8:51
    • 5. How do I select, copy and paste in Photoshop?

      12:45
    • 6. How do I color in cartoon line drawings?

      16:40
    • 7. How do I remove something from an image using the patch tool?

      3:21
    • 8. How do I make a selection using the lasso tool?

      8:35
    • 9. How do I cut out part of an image using the quick selection tool?

      9:30
    • 10. How do I get images into a project?

      7:45
    • 11. I can't use color in my project? What is happening?

      3:22
    • 12. How do I scale & rotate images?

      7:15

About This Class

A part of the series of Digital Studio classes I am offering on Skillshare this course focuses on the questiosn students have about Photoshop. If you are looking for answers about correcting colour, fixing photographs, colouring line drawings then check out the video tutorials on offer.

If you would like to take part in my other Digital Studio courses then please check them out:

Digital Studio 1: Interface, Layers, Cutouts & Shapes (aka Introduces Photoshop & Makes a Meme)

Digital Studio 2: Photoshop Drawing & Painting Fundamentals

Digital Studio 3: Color Correction, Retouching & Compositing in Photoshop

Digital Studio 4: Shape Essentials in Adobe Illustrator

Digital Studio 5: Create Polygonal Patterns in Adobe Illustrator

Digital Studio 6: Photoshop Essentials Q&A

Digital Studio 7: Adobe Illustrators Essential Tools - Carving a Pumpkin

So please head onto the Project Gallery or Discussion Board and post your questions.

Transcripts

1. Introduction to The Photoshop Q & A: how that man has been household and welcome to the first shot Q and A course. So this course is built up from a series of questions that I've been asked over the last number of years I've been using for a shop on their all responses to questions that students or colleagues have asked me. I've answered with video tutorials on building up the repertoire of this course. So the assignment tough this course is to post a question that you have in the assignment area. So if you head on and do that, then I will answer your question. And I could be any question big or small on. I'm happy toe going there. Answer it and post the video up, explaining how to do what you're looking to do in Photoshopped into the course. So go on ahead and ask your questions and I look forward. Toa finding out what you're looking to learn in fashion 2. What do I need to know about the interface?: Okay, so here we're gonna get a quick overview of the interface of third shot. And we've opened up one image here just to kind of help us. Steve, what's going on? But normally, when you're from photo shop, it will be a blank screen like this. Now, on the Mac, normally you'll see the best stop in the background. But actually, I have gone to window and turned on the application frame option on my Mac on this way, particularly for teaching. It means that the Mac interface of Photoshopped looks much the same as the Windows interface. So I don't really keep that on. Let's just bring that file backup. So figure to file and open Recent weaken. See recent file there. Okay, so this image you can see the name of it is visible here. We can also see the zoom level on the color mode for that image RGB as opposed to seeing y que then also the rulers of visible here. And we'll kind of go through some of the other different parts. The interface as we go through here, Importantly as well, we can see the file size theon compressed bar size of this image. So it's 34.9 megabytes. It's a J peg. So that means that when we actually open up the image home compresses it and makes it bigger. So if you look down towards the bottom here, you can see that un compressed all size. So just to come back around to the main tools that will be using within first shop, we're gonna walk through the toolbar on the left hand side here in the options bar on the top, and then also the options panels on the right hand side. Okay, I'm really talk about which ones of those will be using and how they kind of respond toe to one another. So the tool bar on the left is way or grab different tools for things. Such a selection on this section up of the top is the selection section on the selection of moving section of the toolbar. So we've got tools in here, such as the rectangular mark. It'll the last suitable for cutting out and selecting objects on then the move tool for actually moving objects or layers around. Okay, on, then on the left hand side. Just below this, we have some of the painting tools and also the healing tools within Photoshopped. So things like the healing brush tool the paint brush tool on down below things like the rays. It'll that you can work with that. If you're used to traditional photography, then we've got things like the Dodge Tool on this much to the blur toe available to us here . OK, so moving down. Then, in this next section, we have the vector based also the pen tal the title on then selection tools for working with the vector objects that we could draw within for a shop. So the direct selection talk here in the custom shaped up. OK, now what? You'll notice about some of these tools. They have a little white arrow just on the bottom right of them. So, for instance, under the last little we have a number of other different pools and where you can see this , why our down towards the bottom again? For tools like the title, you can see we have another set of options available to us here, So the horizontal typed or being the default and in the vertical type tour and then type masks now moving down towards the bottom of the hill Bath on these, the 1st 2 rushing in the years we have the magnifying glass tool which allows us toe Want to have it selected to zoom in. Okay. And if we help down, dealt option key on the keyboard, Dazeem out, okay, and you can see it's gonna allow me to zoom in on different as the image or zoom out of the image. I can also take a magnifying glass tool and click and hold. Okay. And it will zoom here on that point, which I'm holding the mess. The next tool about this is the rotate futile, and this allows us to rotate the campus. Okay, that's not making a permanent change. The image, it's just rotating it so that we can work on that image. And this is really useful if you're using tools such as the paintbrush where you wanna be ableto paint in a particular direction. But the camp incidents out that way, so this allows to rotate it. Yes, we can gets in control over how we're working with the image. Okay, lets reset view here. Okay, on below the rotate futile on the zoom till we have the set, foreground set, background color. This is the color that you'll be using. If you're painting with a brush are raising, then these colors will be the colors that are used with Also got the option here to reset the default background color. So if I just double click here Okay, you'll see that we get in the kind of pick her up. We could just quickly selector a red color here and will select quickly up blues. Just come down here quickly. Grab the blue. Okay, you can see we've got a red and a blue in the foreground and background. We can use this Little hooked our to swap them round if we want to. Okay. And then we can use this option here to reset into the default black and white for the foreground background. The next tool we have below here is the edit in quick mask mode. So essentially, this allows the paint onto the picture to make a selection. That one thing you notice as we've clicked here, toe select zoom tool and also the rotate futile if that this options toolbar is changing up at the top here. Okay, so you can see there is. I flicked between those two, we get changed hip. I would also get that change if we select other tools here as well. So, for instance, first rectangular Mark Ito. We get a different set of options on, for example, for the type we get the font, the face of the fun at the slide, that fun and then some options. These are basically the default options that will show up at the top. OK, now, if we look over to the right outside, we have a SYRIZA panels available to us. Now we can re scale these panels. So if I click on this little double headed arrow at the top, I can collapse those toe icons and then I can also collapsed a little bit further. So we just see that the icons and this is nice. If you work in a smaller screen on a laptop, it means you can grab back some with extreme real estate. And then you can obviously expand those outside, see the names if you want to. Okay, So often I worked like this. So I see the icons because I know what they are conflict on swatches and it will pop out to allow me to see it again. It will hide. It just gives me more space to work with on the campus. Okay, so if we just have a quick look at these will expand these up for the moment so we can see them. We're in the default mode here. So if you played around a little bit with fighter shot, you may have changed the panels that you have available here. If you just go to window workspace and select essentials window workspace and reset Central . This will reset of you to exactly the same view that I have here. Okay? And you'll notice that under that window menu, we see a check box next to all the panels that we can't have currently have Open. So adjustment color on layers are all panels that we have visible here. Okay. And then if we want to turn on other panels that we don't say so, for instance, we might want to see paragraphs. Okay, are paragraph options. We can turn those off OK or another panel that I use a lot from time to time is the navigator. The coach allows us to navigate around the campus weaken, Turn that on. And you can see that as I'm turning those on there popping up in my toolbar, my panels to a bar on the right side. So that's just a trick that to minimize it. Okay, so we can reorganize these. Okay, So we can drag out our panels so we can separate, Say, for instance, layers from our channels in our paths. When we conduct them back together again here, you can see we can shut for them like a deck of cards so we can reconfigure this and set it up as we want. Okay. Things that a useful as you're setting out definitely layers, panel channels and party may not use so much, but things like adjustment layers on the color. And this watch is that all useful tools that you'll be working with as you sow to learn how to use Photoshopped. Now, another way that we can select color. We double click on the color panel. That bottom left here is in the color panel here. Okay. So you can see that as we change this color, it's changing the foreground color. It's changing in both these place that's changing on the left here in the color panel here , and actually we have the title select the moment, so it's even changing for the type. So you can see as I'm clicking here. I mean RGB mode, and these sliders are moving as I click here, and we're getting some numbers that pop up on the right side. These numbers represent, as I do for the red, green or blue off that particular color. So red, green and blue, the colors that mix on any projector, any computer screen to make the color that you see on screen. Okay, so 100% or 255 there's only 255 Your regrettably will make white. And then if we pull those down, you'll notice that we are mixing just red on blue. So we get up kind of bright pinky, purple and so on and so forth. And these numbers are useful to keep a note off, especially if you're looking to keep color consistency. So, for instance, we select a nice red that we're gonna use across our documents in photo shop. Maybe an illustrator as well. We might want to make a note of these numbers so that we can then transfer them across from one application to another. We can also, from the color window, jump across to our toolbar, select the I drop it all and then just select colors from our image. Okay, so you can see I'm selecting reds or blues. What? Pinks From different parts of the image here. You can see as I tried this, it changes the color that's being selected, my RGB journalism. Right there. Nice little dance based on where I'm selecting an image. Okay, so we've had no view off the tool bar on the left. Okay. How? This toolbar interacts with the the options to about at the top here. We've mentioned the window drop down menu on how we could bring up some of these other candles as well on then. Also the panels that are available to us on the right. OK, we looked at zooming in, rotating the campus. I just mentioned the navigator tool again here. This is a really nice way of moving around image. You can see the red box allows me to see the frame of the image where I'm zoomed dead. And particularly if you're really zoomed in This little box just helps you toe navigate around the fine detail of the image so zoomed into 258%. Which is why everything's a bit picks lead. I come back to somewhere out 80 or 100 things will look a little sharp, Okay? And then we can zoo, right? How as well, Using the So that's a brief introduction to the tools and the interface off photo shop. And this will be useful as you go on to use of these tools. Just toe. Remember the flow between the toolbar, the options toolbar at the top here as we select different tools and then also these panels on the right hand side here and how we can bring up those panels if we're looking for them . If you're working on a map, I just show you one other tip as well, Which is if we're forgetting where something is. So, for instance, the history am in our menus here. If we click in the help and you and just begin to type in history, you can see that not only does it showed me that there is a menu item, Mr. Now But if I roll over this, it shows May where that item is in the menu. Okay, This is something I use a lot. I never have a photographic memory for exactly where everything is in all the different menus. So I find this really useful just quickly remind myself. So if we go to the same search and type in coffee, you see their number different ways of copying different items within a shop gets a brief overview of the interface. Have you enjoyed it? I have you enjoyed from the other video tutorials that I've made. If you have any questions about for a shop where any other applications, then please don't hesitate to send me a tweet and hassle or to post a comment on my videos . 3. How do I change one color in an Image?: Okay, So they were gonna have a look at how we can isolate a single color change their hue, that color. We can also adjust things like the saturation that Bryce at that particular color as well. We've got this image here is two chairs I'm actually, we're gonna look at is adjusting the color of the hue of this particular richer. So the way we're gonna do this is by using adjustment legs. So we jump into the adjustment layers across on the right hand side here. Now, before we get there, if we just take a look at the layout I've got is the default layout. Photoshopped. If you're not quite seeing the same handles that I have here, just go to the window workspace and check that you're using essentials on. And then if you're still not seeing the same set of powers that just click reset essentials that will reset the layout and you can see this has popped out a little bit. We can minimize these panels across the right here by clicking this little double arrow, and you can see it just jumps the icon of the name on their own. So we're gonna be using the adjustment layers on. And it's the first button on the second line here, hue saturation, but that we're gonna work with him. So if we click on this button creates a new layer, have a look at that in a second that allows us to adjust some help into the layer below it or layers below. At the nice thing about this is that we can turn it off. We can play around with it, try different things that without affecting your rich limits. So it's a nondestructive way of working. Okay, so we could just Hugh. But the whole image, as you can see here. So you see, both try as a kind of changing covers. We trust to here on what you can notice as we scroll left and right, he's a Hugh. But is that basically what's happening is offsetting the reds. Pinks? Yeah. What sort of pinks To reds and the Rex. Two yellows. So on and so forth. So, basically, the the Boston Row is replacing the confidence self against in this opera hit. Okay, so let's just take this back down zero. Okay? Now, what we're gonna do now is actually grab this little, uh, scrawny slider. This points a finger. Okay? They just gonna zoom in a low across this rideshare, and I'm gonna help out command on the Macal control on the PC, and then click and hold and you'll see that the North Marquis of the Control Key as we scroll the left from right here. Let go. We're actually adjusting that. You just purely this Richard blue chair across an electron site here. It's remained unchanged. So you can see now we're just in the reds on. We actually select that from this list here. So reds, yellows, greens, science blows, etcetera. And select those independently at the rest the image, and then slide this to adjust them. So its changes fracture to a nice pink. It works quite nicely against the blue show. There have a look at how this is actually working. Okay, so we just closed these too much. These little deliverance and we jumped the layers panel here. So basically, we have our background layer here. Hue, saturation layers. It's above that. If you're familiar with layers, you'll know that you can turn them off. Okay? So we can turn our layers on to actually see the result of that there, which means that we can add a number of different adjustment layers to one image without having more same time. We can see play around which one worked Best case. That's a quick run through of how to use hue saturation adjustment layer to adjust one a particular color of an image. 4. How do I scan in line art?: Okay, We're gonna have a look at here, is have to scan in line, are on, then had to bring into for shop on to boost the contrast between the whites and that the line. So you get the nice clean King image. So actually, we're gonna jump out of Photoshopped. Initially, we're gonna jump into pieces software called Image Capture. So we're gonna use a short cut to bring up image capture, which is Commander Apple Facebook. I'm just type in image catcher here, a spotlight, and it should pop up. This is the quickest way that I find to open up applications. So click on image capture and you can see here that I have my scanner plugged in on because I have flatbed set here. It's bringing up this preview of this can on some scanners and you may have a document feeder as well. So you may get these two options the scammer, flatbed and document reader on If document reader is set, then you won't get this preview instantly. So we've got flattened preview and it's been giving us an overview of the different things that are on this page and we can choose what you want to scan? Okay. We're gonna set the resolution. Hit 600 DP I You can look at resolution in terms of the largest size that you want to print out. 300 dp. I is normally a nada quick resolution for most purposes, So we're going to stick with 600 dp. I we're gonna in large some of these images. Late stage, so we haven't got any selections made here already. We have auto selection turned off, so I'm just gonna go through and grab a few of these cubes. And actually, later on, we're gonna make these shapes into brush it as a future tutorial. Okay, so we've got these three cubes set up on. We're going to scan them to this photo lineup on the desktop. On this is the name that it will use. The scandal is a tiff format, because that generally saves this line format a lot better than a Jake will keep the image quality high. And you don't get any kind of fragmentation J. So once that's all set up, we're not gonna do any image correction here. We're gonna do that photo shop. We can come down here and hit this, Campbell. Okay, so once all your images of scanned in, you'll get a list off them. Here. We can click on the magnifying glass to show us where they are. So just click here and this will bring us to the folder on the desktop. Okay, I would if you this in list. So we've got a number of scans that I did earlier, so I'm just gonna shift and click to delete those on. Then these later scans that we did So another tip for reviewing images on the max. If you click on the space bar with an image highlighted, it will bring up this preview of those images. So we're gonna pick this blind shape, drag that down to photo shop and work with this. So the first thing that we want to do here is really boost the contrast. Okay, so we have a lot of gray in the lines of the moment. We want to turn those to a black, and we also need to look at the white as well. If you grab the I drop it'll and click anywhere on the white of your scare and then double click on the foreground color here, You probably noticed that you're white isn't a pure white Now on screen. This may not show up straight away, but when you start to print again, you'll really start to notice that you've got colors and graze in that part the immature one thing that's really important to clean up, Especially if you're gonna go on later and work with and layer up different images. So we just cancel out of that for the moment. Good place that we can go to Teoh you. The colors that are in an image is the history. So if we go to window on history, Graham, it's will bring this up. At the moment, I have this set in all channels view on it, showing the statistics. Okay, we can see here if we look at the red, green and blue, this image that actually this area down the left hand side here is showing where there should be black and image, so you can see there's no black or darker parts of any of this image. It's all in the grays. Okay, which is why we have this gray line here. Okay? And then we moved to the whites. And you can see we have this big spike of white, which is all the white around here. But actually, it's not pure white. That white is almost went just off. So this workshop here so clearly on screen. But then when we do print out, we would see that because that's what you want a remedy here. So we'll just minimize that again. For the moment, we're gonna come to our adjustment layers and user levels adjustment, and you can see the same instagram here. OK, so we'll just pull these block. And why past image in first. Okay. And I'm just gonna pull all this kind of car did. So this is the line detail here. I'm gonna pull that much close to black, and you can see as I kind of move the black point, the midpoint on the white in from the edges, like a really nice high contrast image. Very quickly. Okay. We don't wanna put things too close together because we'll start to get some very sharp edges. So we want to leave a little bit of fade between the the black haired image than what are the image? Okay, now, one more thing that I will do here to kind of clean this up. And I'm just gonna add another adjustment layer hue saturation adjustment layer, and just drop the saturation right down. That means that the black in here would be a kind of pure black if you like. So if I select the I drop, it'll just double click in here. You can see the black of the line now is mostly black. Unless I come, you know, right to the edge of that line. Okay. All right. So we've got a nice, clean, black and white image on the whites are nice and cleaned up as well. And now it will look out on a new layer. That is actually how we can paint over these two sides of this image. Had a top of that shape on the side of the shape on t get some color in there. So if we select the brush store inside here and we just select a basic brush could be nice and hard. Onda, we can adjust the size kind of as we're working here, we're gonna select this brush. We're gonna change the layer mode to darker. So here What this means is that when this is set to darken, it's only gonna paint color that's darker than the color behind it. Okay, because this dark and planned so we'll just pick out a nice bright color. Yeah. Okay. And it begins paying. You can see as we do that because we got dark and turned on. I just jumped the raise their okay? Because I've got dark and turned on its only painting over the white areas. Dimitar, if you've got kind of correct stripped style stuff, it's the real nice way of covering in that Leinart that you get okay on. I'm just gonna jump in here. Andi produce the brightness slightly. Okay, So keeping the heat aside, adjusting the brightness down to get the slide of this image. Okay, you can see it works nice and effectively that we campaign rival those lines without having to be too precise. Shook up for the brush tool. His B a short cut for the razor towards these are coming up the edges here, just tapping it and fixing my mistake. Okay, so we've called in nicely. Okay, So just to recap, what we've run through here is how to scan an image. Talked a lot about resolution. And if we look here at this image size and we can see what size of 600 DP I image would print out out in terms of centimeters or inches. So I'm gonna jump toe inches. Okay, so the key hair to kind of seeing what you be able to print out until the size is at the moment, this is one of 1/2 roughly inches high and wide, 600 dp I uncheck re sample here and changes to 300. I'll be able to see what size that image would be when it was 300. Okay, If I take it down to 200 you can see that I get a sense of what size that would be. And it's a really useful way. Turning off result will see what size are scam. We print out a particular resolutions and then if we went down to 1 50 you can see the image size is able to print out a big we're changing the quality of image here. We're just readjusting the size of which it would print. Okay, so we looked at how to scare how to adjust the contrast between the lines on the white background and then also how we can use a paintbrush. Talk to paint over those lines without affecting the lion in the background. Now that's been useful to you. If you have any questions about the brush tour about scanning, then please don't hesitate to drop me. A tweet happened household. I'd be happy to ask your questions with the tutorial on Do I look forward to seeing you on the next one? 5. How do I select, copy and paste in Photoshop?: Okay, We're gonna have a look at making selections with the rectangular mark. It'll and we'll also look how we can work with Move tool as well to make adjustments to our selections. Okay, so let's grab the rectangular marquee tool, and we're gonna have a look at making a quick selection from this image with the rectangular mark. It'll we can click on hold and then drag make a selection of an image. Okay, so that's the basic way of making a selection. And we can adjust that selection in a couple different ways. So the first way is that we can move the selection. So keeping the rectangular marquis toe selected, we can make a move that selection. We can also add or remove from that section. So if we hold down shift, we can add to that selection so we can increase the selection. And you may notice that, actually, as we increase it, it's not necessarily that accurate away off, adding to a selection if you want to keep a nice, pure square. So sometimes just clicking once outside your selection and then remaking a selection is the best way to get a new selection. You'll see you get the width and height in centimeters as we adjust our selection. Okay, so let's keep that selection. So we're gonna go to edit on a copy, and we're gonna go to a new file, go to edit and paste. Okay, Now, this is one thing you might come across when you're making selections is that as you're copying and pasting from one image to another with a selection, the image size of the new image may be smaller than the original image. So your image may paste in very large on that Newedge. So there's a couple of different ways that we can remedy this. So the first is to go to edit, transform at scale. Okay. And what you'll notice, if you've used the scales will before, is that you may not instantly see their scale handles because they're outside of the image you're pasting into, So we're gonna zoom out. So if we go to view on Zuma or Comptroller Control Commander minus So I'm just going to keep zooming out, you'll see that the image that we've pasted in is quite a lot larger than the image that we're pasting into. Okay, so that's just grab the corner here. Now, when you re sizing, you'll notice here that as I'm re sizing, it's adjusting the proportions of that image. Storify just resize like this. The chair becomes very squashed. Okay, so I'm just gonna press escape to come out. That escape is often a tool for kind of exiting one of the transformed tools. And I'm gonna go to edit, transform and scale again that as I'm scaling, I'm gonna hold down shift. Okay? Just scale this time. Okay? So I'm probably hold of these corners to scale things and hit. Enter on. Now, if I zoom in, you'll see if I grab the move till here. I could move that image around. If we have a look at what's happening the layers of this new image, you'll see that we've got a background which we can turn off using the eyeball. We've got this layer one, which is our red chair. So we're just double click here on that layer on. Call it red check. Okay. Now, as we scaled that down, we've actually lost some pixels when we've been doing that. So let's just paste this in a slightly different way and scale in a slightly different way . So if we do tomorrow of it or edit and paste one more time for control And if you're on the PC and we're just zoom out again, okay? Not before we scale it. If we write, clip or control and flick on our life here, we can convert this layer to a smart object. Now, what this does is it wraps up the original scale of the image on means that we keep the quality of that original air. So when we scale it down, if we want to scale it back up again, we won't lose inequality with the first method that we described here would actually lose a little of quality as we scale and change the last night. So now let's go to edit, transform at scale. Okay. And as we scale, this will hold down shift again to keep in proportion. And you see the handles at the edge of this smart object a slight different. Okay, so let's just scale that down, okay? With smart objects, they do keep the original size, the image. So if you know that you're not going to scale things up and down all the time, Then using smart objects may not be the best thing to do because it does increase the file size. So just be aware that's keeping the original like image size. It's not losing any pixels as they're scaling things down. So it will and it megabytes to you, your file size. Okay, so you can see if we look here. We've got two different. I can't, sir, with the red chair. 2nd 1 that's a smart object. We have a slightly different icon in the layers panel that we can see there. Okay, let's just turn off these two ladies and we'll have a look A different way of making a selection. Okay, so we're going to stick with the same image. We're just going to select some portions of the patterns of these these chairs, the backs of these chairs. So if we select the rectangular marquee tool again Onda, we can click outside this to de select our selection or go to select on the select or command or Control day, which is a useful way of making a de selecting something. What we're gonna do this time is when we make a selection, we're gonna hold our shift. So this will keep your rectangle in a perfect square and the same works when you're working with an elliptical marquee. This is a way of selecting a perfect circle. So if we copy that now to a new fire, we're gonna paste in a perfect square. And if we go back to that image and we'll just grabber another square from original image, copy that and then paste it. You'll see that start to build up a Siris of layers of grabbing the move toe just to kind of line is up. We've got the smart guys turned on it so you can see that things are snapping together. Okay, if you want things to move fluidly and not snap to one another and you can go to view show on unchecked smart guides and that will turn their smart guides off, stop being snapping together. Sometimes they're really useful. Sometimes they're not. Okay, so let's just have a look what we've got here. So if we want to select and re sizes different layers, we've got the blue square here on the red sky here. Then we can either select them as the layers okay. And you can see I'm swapping between those two layers toe make changes or adjustments those different layers. Or if I hold down command or control, I could jump between those two layers. Okay. So means that that troubles on the auto select function on for working with different layers after you've made a selection and pasted him. Okay, so let's just corrupt at the blue line on this time, we're gonna use free transform. So if you go to edit free transform and this is the transformed told, I've used a lot of the time the shortcut for is command or control and t on This allows us to make different kinds of transformation, but it does the same scale transformation. So if I hold down, shift here and you can see as I scanned it down, okay, it's scaling in proportion. OK, now I'm just gonna press escape there. I'm gonna snap this to the top left corner of my square and I want to match the size of these squares. So if I do command Thio Thio, grab the free transform tool and then I just three transform this. I'm not worried that I'm gonna lose the proportions here because I know that this red block is a perfect square so we can snap those. And you can see that if we look upto our options tour by here we've got some displays that show how much we scale this image by so 59.33 percent on the width and the height of the original image. So we drag this to the right here. Those two now will be perfectly aligned. And if we zoom in to 100% So I just used the shortcut command and one team to that or view on 100% of the size so we can see that the actual pixels of that image and you can see that there. It's all perfect to the top and bottom there, and they're also exactly the same size. Let's grab another image here. So let's just grab the front. Respond will use the same here, so it's a different image, but we're gonna hold down, uh, shift and then make a selection. They will copy that and then paste that. So we're combining do different images now and then we'll use free transform so commodity to transform this down and I'm gonna make this the same size. That's those other squares to combine those together. Okay, Now, this bond is behind the other layer. You can see if I jumped to the move toe, help down command. It's gonna jump to the layer of front. So I will need to use the layers panel at some point to make a selection. When I'm moving Different layers. Yes, I grab layer three and then you can see that is a perfect square that matches up with those other images. So you can see how you can build up a kind of square collage of different images using this method. Just look at one more way off, selecting on image in proportion, using the rectangular Marquita. So if we cracked a rectangle mark, it'll here. We've got this option here. The sense parecia either fixed rations or fixed size. So if we select fix Russia and typing one and one here, it's gonna be want once That's a square. So if we drag around, this selection will now be a perfect square as well. Okay. So because I've used the 1 to 1 ratio, I'm gonna copy that jump to hear paste in and then transform that down so it matches the size with the original life. Grab the mutual or used divvy short cut across the mutual. And then I can drag it down and you can see it's a perfect square and those will match up perfectly. Now when I'm pasting, just have a look at my lazy So on layer three. There, when I paste it will normally paste above layer through. Okay, so above the lay have selected. So if you want a pace right at the top of your image, then make sure you have the top layer selected. And then when you paste command or control of video, edit post and it will paste about that later. Okay, lets just drag. This led to the trash that's drug out our layers. Okay, so you can see now we've pasted in these things different layers. So the squares and then these original chairs that we paste it into the background. Okay, so that's a quick look at a six elections with the rectangular Marquita. Let's just grab this original red share and I'm gonna re scale that. That fills the background. I just want to show another option that we have when we're pasting one, layer it off another. So just I talked out there. Let's just jump back to the rectangle marketable. And then we're gonna go back to this image of the chance again. I'm a crab a square this time, But then we're going to use the l key to remove part of Central. So you held that Holt click on Dr Okay, Then we've removed part of centralised. Let's have a look at what this does. So you go to edit a copy and edit paste or command or control of a and you'll see if we move this, that we've just crab a selection off that chair. But then with a hole, I'm in the middle of it so we can use it toe frame. Something dragged us to the front. Or I saw the other images used part of a confident Okay, so we're gonna finish off our tutorial with a rectangle marquee tool. They're all the selection tools often work well in conjunction with the other selection tool. So, for instance, you wanted a square with a circle cut out. You might is the rectangular Mark Keitel on the Ellipse talk. If you're cutting out shape that has some sharp edges, a square like properties at some uneven edges, you might mix the rectangle Marquita or the circle tour with the last suit or or other selection tools. These collection tools worked really well together. When you're making more complex elections, it's something you need to do as you composite work with your images. 6. How do I color in cartoon line drawings?: Okay, So we're gonna have a look at how we can color Cem black and white scanned images. That's what we're going from. Is this black and white scan line drawing, um, to a colored image like this on then? These colored images that I've got were used in a tourist map that I made on. Do you can see here on these small characters appear on the map. And so essentially, map itself was put together and in design. Um, but, uh, images were colored in first shop, and so we're gonna go through the process of coloring these these images. Okay, so the first thing we're gonna do with this first image is just crop it off. So we only want to work with one of these images for this. Excellent. So we're gonna grab this mom on her son off to the beach. Okay, Onda, we just grab the crop tool, select the area that we want to enter, and there were just zoom in a little need to sharpen up these lines. These images will appear quite small on a map, so we're not too worried about the fine, fine detail of the line, but we do want to sharpen its up to the blacks will be nice and crisp when they print out. So we're gonna jump into our layers, panel the bottom here, grab a levels adjustment layer, and then just tweak, tweak those levels. Okay, so we're gonna pull our blacks in, so you get a better a darker black. Okay, Andi, Then we're just gonna put off why it's backing up as well. Now, if you zoom in before I pull the wise But you can see there's a lot of this kind of yellow color detail in those whites, and so we're basically clipping the white stuff, so we get a nice, gonna clean black and white image. Okay, So nice gonna crisp edge to this image, and we can play around with that. And so we're happy that we've got enough detail in there, but there were not kind of ruined the sketch nous of the image, everything I'll do here as well as I'm just gonna jump to my hue saturation. I'm just gonna pull down the saturation off this as well, so that I don't end up with any funny blues and stuff in my lines. That is a nice kind of clean black and white line I've got. Okay, so now that we've got our image cleaned up to the point where we can begin to start shading in, we're just gonna fly on our image, okay? We don't need this adjustment layers anymore. And then the next step is to actually creates, um, transparency around the edge of the image for these quick sketches. I'm going to use a different approach to making the transparency in the background for these images because I want to keep some of these lines transparent. And also, you can see lots of gaps in here so that there's the process that we're gonna go through is essentially to make all the white air, the image transparent. And then we're gonna paint back in where we want to be a kind of a full color. So we're gonna unlock our background layer festival. Just gonna double click on my background layer. Okay. I'm gonna go to select on color range. Okay, that I'm selecting in the shadows of my image. You can you can see I can adjust the fuzziness here, so I make sure I get from all those lines of the image. Okay. And then once that's done, what? I bought those lives selected. I'm gonna create a clipping mask my layers. Okay, So, essentially, I've selected all the dark areas, the image. I'm gonna clip it off. And then, you see, we get the lines of the black and white image dropped right into the background. So it straight away, I'm gonna grab my brush stroke. OK, I'm going to right click and just make the hardness of my brush 100%. Okay, I'm gonna flip my so get down to the bottom of my tool by here. I'm gonna flip my brush to white and black. Okay? That's actually gonna be drawing into my mask layer here with a white bright shake. And you can see as I do that it's gonna paint white back onto the image. Now, as I do this in order that I can see what I'm doing, it's gonna be easier if I just create a new layer on Drop that behind here. And I'm going to give that new layer kind of nicer, bright color so I can see what's going on. Okay, then go to edit. I'm still your shift at five. Okay, I'm gonna feel this with a color, and I'm just gonna grab for the moment. So gonna be a beach scene, so we'll grab a nice off Sandy beachy Kinda from over here. Okay. We'll sell that. The measures means that when I'm painting in here, I can see. Um, so I've got the right part. The image. We're gonna zoom right in here. Okay on. Just work around my image, and it should be pretty quick. It's ah, Still this in now can use the road. Take campus tour here as we move around. This image kind of cover this in. So, basically, you can see on the layer mask here. We're just kind of gradually selling the same. Okay. Nice thing about using land last, obviously, is that we make any mistakes, we can go backwards and repair them, which will inevitably happen. So this is gonna be there kind of canvas for our color when we start to drop some color in on these sketches. Okay. So you can see now. Um, we may have missed a couple bits, but we've basically got this black of my image on top of a black plan out. So we dropped into in design. We can use that transparency to layer up with the other images which, if you remember, is what we've done right here. Okay. Also means we can drop in these nice kind of shadows as well. We'll look at how we do that in a minute. Okay? So the next step I want to go through is to make a new layer. This is gonna be the layer we paint on. Okay, On a to moment, if we grab our brush tour. Andi, let's just have a look at the beach ball for the moment. So grab a brush tool and we'll change our color to the That's kind of bright red of a beach full. And as we paint on these colors, we're going to use a couple of different settings. So the 1st 1 is we don't drop or a pastie down to the lawyer. 50%. That means that when we can zone now, the kind of painting on OPEC cut on the next thing we're gonna use is this option in our layers panel. Okay, so one of the blend modes to darken the background image now, none of our colors are gonna be darker than black, the red. So it's always gonna let the black see through. And so we just have a look at this with and without dark and turned on. So we paint red here with dark and turn on. You can see we can layer up the red to that beach ball and then if we turn off dark and it's actually gonna obscure those black lines. So that's the reason for using dark in here and keeps a black lines nice and crisp. That's crafty arrays, a tour which will be using a lot off when we go through this process. Andi then grabbed the brush tool against I'm slipping between A and B on using the square brackets quite a lot as I do this. Take excise now with opacity. If we paint once and let go on in paint again, it's gonna layer up. So as we're painting this, we want to kind of make sure that we're aware of that, and sometimes it would be useful toe. Get that layering up that sometimes you'll want to make sure that you keep just that kind of one layer of color Okay, I will get red in here for our bitch full. Okay. Rooms, at least. Kind of sketchy style. So we're not too worried if Noel the lines of their we're not looking for perfection. Okay, let's go to a mice beach full yellow and just paint that into Okay, Now you can see what's happening here is that we're going over The edge is as that beach ball, which is fine for what we're doing. But we could if we wanted to. It's just highlight. Yes, kind of sense of some more vibrant colors. Let's go back, Teoh. Never right here. Okay, so we can just I kind of pull some of this car off a little bit, Drop in some shadows underneath here, you know, miss. Okay. And you can start to see that we start to get some nice color in some parts of the image. We could add a clipping mask here if we wanted to. If you wanted to kind of keep the color within those lines for this example, we want to come to actually let it flow over the lines is a nice kind of loose effect. So we'll release the clipping mask here from? Well, just try and work with allies. Best week can. But if it flows over the edge, then we're not too worried about that. Can give a nice effect. So it's just loving my shadow on top of this ball. Well, just jumped to a little bit of why here on I just want to give it up. Ever highlight it by the sons. Kind of hitting the top of that boat. And we can go on like this so we'll grab another color. Let's go for a skin tone this time, okay? And we'll zoom in. That must start to get some color. Remember, I've got the capacity on here, so we're just gonna be building this office. We we worked through it. OK, so So as I'm paying, just keep you my brush on the camera, so I don't kind of get a doubling up on this site. Deliberately softer, stronger, cut off to some of the shadows here. I think you can see what starting toe build this up nicely. Here. It's not. Give him a nice blue T shirt. It's on green shorts, you know, slashes Kurt from inside here. You can see we could bay quite kind of loose with some of the brushstrokes here. But for this style can still have a nice effect, huh? Okay, so you get a sense of what we can do here. Come on. You can see from some examples that we looked at earlier that you can get some real kind of nice detail come in those images as well. But just working up those different layers, those layers of transparency that so close this guy up, Andi, we'll stick with new version hair and this Know what we're gonna do now? Because you actually want to add some shadows to the image. So we've used dark and here, But if you look at the map, we've just placed a small shadow underneath these these guys just to kind of place them on the ground Pretty rough, but it does the job. So I got a new lay here and we're described the brush tour again. Okay, on here with ah, nice type a brush. And we just change the flow here 200% so that when we paint the shadows in here, we get a nice and a smooth line. I just try and cement these guys to the grounds They don't like their floating on replacement elsewhere. So you can see now when we drop this on here, we might just want to go in with the razor and just line that up a little bit. Okay, so you get a sense of what we're aiming towards their kind of nice light on off loose style , where you're using an image with a transparent background. So we've added the layer mask to kind of make some transparency in the image. And then over the top of that image, we've added this layer of color using the transparency of the brushes to actually coloring around this, and then added this darkened teacher onto that layer so that that black line still remains nice and sharp. And so you can get these nice results that once you built them up, I can give you these kind of nice illustrations that you can place on other drawings in for a shop or using the nice flow from Photoshopped in design, actually flow images into a design there. Okay, that's everything for this tutorial. If you have any questions, please don't hesitate to get in touch with me. You can find me a tweet at and household happy to receive your questions and I look for CNX tutorial. 7. How do I remove something from an image using the patch tool?: Okay. Here. We're gonna look at how we remove unwanted objects from an image using the patch Talk. OK, now, there are a number of different retouching tools we can use in for a shot. But the patch tool that is a nice tool for removing objects on selecting pattern or texture from a different part of the image to them replace it. And that's a nice functionality in there that can work sometimes a good starting point and sometimes as a complete fix for first objects. Okay, so the first thing we're gonna do when using the patch tool, it's just duplicate the layer that we're gonna be fixing here. So drag this layer to the new layer button down here in the layers panel. Okay, so it basically means we've got two layers, the background, as as a backup of the original air, in case we were making mistakes. Then we'll come across the left hand side idea and come down to the second set of tools here on day. Just about 1/3 of the way down that the toolbar. We have the spot healing brush tool, the healing brush tool on the patch tour as the Thurtell there. Okay, so what we're aiming to do here is to remove thisted tray from this image. So essentially, what we're gonna do is draw around the area that we want to remove. Okay? And then the patched was gonna allows toe place something else into that layer. Now, let's just do this in two different ways. I'm just zooming in here a little, okay? I'm gonna draw Nicene tightly around here, okay? And now we've got two options. When we used in the pastoral one is normal and one is content aware we're gonna go for normal first, just to show you what the results. So we drag catch here. We're trying match some of that change in the lights in the shade. Okay. And you can see that when we patch it. It does have some kind of funny details and that they aren't really apparent in the rest. The image. Okay, so the normal mode will work in some instances, but in other instances, you'll need to use the content aware at all, so I'm just gonna take a couple steps back, Okay? Andi, switch to content aware. Okay. So now I'm gonna drag this too. similar kind of spot on content. Aware, basically, is taking a little longer to actually fix part the image. Okay, so I'm trying to match some of the blades of grass just toe give for a shot at best. Chartered a good job of this. Okay, So you can see now, if I d select that I've got a reasonably good removal of that part image. There's still some areas up here where the light doesn't quite flow. So now if we got to the history and just flick back and forth, okay, So forget about to adjudicate layer. And then we went to de select. You can see that, actually is doing a pretty good job of fixing that part of the image. And then maybe in some instances, some need to come back in and use some of the other retouching tools toe fix things. But generally, the patch to will give us a pretty good start. Okay, so that's the end of this quick tutorial. If you have any questions than just in your tweet at Ben Household and I'd be happy to take any suggestions for new tutorials 8. How do I make a selection using the lasso tool?: Okay, that's run through coming out on image with the last little. So we grabbed the last little from our tool bar on the left hand side. Here, you can see eruptions changed the top. Here we have a few different things that we can we can adjust. And most the time will be making these adjustments using shortcuts rather than by changing the settings here. So their first option here will let us make a selection. The second option. He will make us after a selection, but we can use the shift short cut key to do that. The third option will allow us to remove from a selection, but will use the ultra option key on the keyboard to make that we're gonna leave the feathering off for the moment. We're gonna have a nice, sharp edge, which then have a look at how we can begin toe draw around this pumpkin with the last little. So I'm using a pen tablet here, which makes it a lot easier. You're using that track pad on a laptop to do this. It comes very hard, depending on the size of it. If you're using a mass and it's also a bit tricky. So the pen tablet is definitely the best tool toe work with on this. So if we zoom in festival so I'm using command on plus or control and plus in the PC to zoom in. You can also use that DiSanto. I'm gonna come right in and just remind you if you shortcuts I'm holding down space here to move the camera around as I'm making my selection. So I'm kind of zooming in and said, It's quick for me toe draw around the object, but with some of the detail of the edge. Okay, so if we just start down here, will just draw roughly. My drawing quite loosely around the edge of our pumpkin here will show how we can fix some of those mistakes a little later on. And then when we get to the edge of our embassy, if we hope that the space bar you'll see that you jumped the handle when we can quickly then jump our selection or we see across to the left so we can keep drawing from that point . Okay, If we do come to the edge of the canvas and kind of keep going, the campus. Well, just stop there. So we do need to use that space by short cut. So then track up on my car selection. Okay? So we'll just keep moving around here. Grabbing are still actually leave a few deliberate mistakes here. Just so we could fixed those love it later on. That's come around is quite quickly now there are much better selection tools inside the shop, but the last two, it'll definitely has its uses. And we're working quite quickly here. But actually, if we slow down, make a selection will get a much better selection. So I want you back to the beginning. If we let go, we'll have our selection. You're see the marching ants around the edge of the pumpkin that we have here on. This is the same for every selection. So basically, we have the marching outs around the selection. Now, one thing to look out for that have marching ants around the edge of your select of your canvas on march around the middle. It normally means that something like the background of selected rather than the object you selected on that could happen. Sometimes when you're making a color selection, so Let's zoom in here and we're gonna come across particularly toe these areas here. So basically these couple of bits where we've made some mistakes, we want to add to the selection here. Okay. I wanna removed from the selection. This I'm just gonna go up and change my option, backs a new selection, and then when I'm here, you'll see I've got the last suitable. When on the outside. If I click once, it will take away the selection I already have. And I need to start from scratch. But if I hold down shift, you'll see a little plus in war. What up next to my ass? It'll and the trick here is not to try and draw a super close. Turned away. A selection is but the start inside your selection and then come to the point where you want to meet it. So we're coming from way inside our selection and then drawing around on the reason for doing that. I just run through again it so that if we make any mistakes were slightly wobbly the beginning, it won't matter. We're just adding to that selection. And it's only this line we made a last moment that can't. So we kind of give ourselves a bit of time t run into. If we hold down the option key on the keyboard, then we could remove from this selection. Okay, then we could keep going around, zoom right in with the A suitable and keep kind of correctness. Okay? And you can see that the last suit or does give you that nice kind of fluid control where some of the other more automatic tools won't give you that kind of clear control of what you're trying to select and so we can keep going round and adjusting our selection on just fine tuning it. I'm fixing these edges. Okay. Okay. So we made a selection of our pumpkin. He never two ways that we can not. The background out here, one is to make a straight copy. So if we go to edit and copy or command or control and see, then we make a copy of our selection, and then we go to edit Andi paste, and if we jumps the layers panel, we'll see what's happened here. We've got brand new layer, and if we take away the background layer, then we've got a selection of pumpkin, and we can see we've made a few mistakes along the edge here. Now, where we see this checkerboard around back here, If we look at the sun mail on our layers panel, we can see that actually has a checkerboard there. So all we have is the pixels that we've selected, copied and pasted. OK, we don't have any of the original image in this pasted layer, which is not the best way to actually create a new layer from a selection if you wanna have transparency. So let's take a couple of steps back. So we'll jump to our history panel here, okay? And if you don't see your history panel, just go to window on history. When you'll be able to bring it up, we'll just jump back to where we see the last lass. Ooh, Option. Yes, I'm just selecting that there will close up the history panel. And now what we're gonna do, We look in our lives. We're just back to having the one background layer. Um, we get a turn off the background option for this layer, so we double click here. Okay, Will call this honkin. Okay. And then once we turned that background there. If you see the lock disappear in the right hand side there, we can now use a mass layer toe, actually make the transparency. So if we come down to the bottom while layers panel here and click once, well, actually mask out that background. So what this means is that instead of removing those pixels were just using a black and white masto create that transparency. If you hold down, shift and click on the last layer, it will turn it on. Not so you can see those pixels are still there. We can toggle between Mars gone in the mosque off. Now, as we come to explore this a bit more, you'll see that this is a really nice way that we can actually add on removed from our selection. But the key point here is that we haven't lost any pixels. Okay, when we can work with this Marcelo in particular with something like the black or white paintbrush to paint in Paris, the image we have made a mistake. So just give one example of this quickly. So we're moving away from the last you till now and grabbing our paintbrush. And then if we jump to the black and white default foreground and background color here and just switch this two black so black is basically painting out of the image. Okay, We just select a soft round brush and we'll come in here and we'll be able to paint on the Marr Slayer and actually on paint out some of the edge. Okay? And you can see as we fit between black and white, we can pay back in the original air. Well, we can remain It. Okay. Wasn't quite hard edge brush here. You can see the point is, is that we can recover some of the original image. We haven't lost any information there. Okay, that's quick intro to the last little and then also talking about how we could improve the way we work with transparency and within Photoshopped 9. How do I cut out part of an image using the quick selection tool?: Okay, So here in first shot, we're gonna look a cutting out images in the quick selection tool. Andi, once we've actually made our selection with the quick selection door, we're gonna cut out in a very specific way. And the reason for doing this is so that we work in a nondestructive way we could cutting out will run through this, cut out and copy and paste apart an image. But actually, we're gonna use a mask, a layer mask to actually make the transparency. And the nice thing about this is that you can always correct any errors that do happen when you cut on image. So if you spot something later on, you haven't copied a selection and left the rest image behind. So we'll grab the quick selection tour across on the left. A little box, right at the top on this top section of the toolbar is all about moving and selecting parts . The image. So if you're looking for a selection till it'll always be up here in the top left of your first shop window. Okay, so we'll grab the quick selection door, and it works very much like a brush. OK, we have a few different options up here, but we're gonna trouble these musings from short cut key. So we just grab the default quick selection tool on, and we're going to increase the size of the brush that we're using. Okay, So quick selection tool works very much like a brush. You can change the size of that. You can change the hardness of it on. We'll leave the hardness up here. We can also change things like the spacing. Okay, so the size of the hardness of the main things that you would need to work with were really looking for a brush around 506 100 pixels. All right, so we'll start here. So if we drag along the middle of this bear, you can see that as we begin to drag, it's jumping to the edges. So where were painting? It's finding the range of colors on looking for the edge of that color. So that's where we can drag and you can see it selects the whole head almost all in one go that it's looking for the edge of that particular object that you're tryingto highlight. So we'll just see him in here a little bit on our reduced the size, the brush. I'm using a couple shortcut keys on the keyboard, the left and right square brackets to the left of decrease on the right to increase the size. The brush. That's a really useful brush short cup, the generally using brushes, but also works in this instance as well, so we can keep dragging here an increase and decrease the size of our brush. So what you might notice is that sometimes you'll go over the edge, and this is where we want to remove from our selection. So we hold down the Elke, the option key on the keyboard, and we can actually just paint without brush around the edge, and it will find that edge again. So we're removing that selection. Okay, now the theory is that the more that you select a part, the image, the smarter the selection gets. OK, so so it's a shop is looking at what you're selecting and then refining the selection kind of in the background, as well as a selection that you're actually make. You can see we can just keep going here. We're not too worried if we make any errors We can always go toe refine the edge a little bit later or use the layer mass that we're gonna make. Okay. So you can see if we kind of move around this. Now we have a reasonable selection. Still some. It's just the aren't quite perfect. Grab the years. We should be able to do that reasonably quickly. Right? What you might know, sometimes as you're making selections, is that it jumps to an urge and then adjust itself after you've made the first selection. So if we zoom out so command or control and zero, you should see that you've got a reasonable selection here. Okay, we've just missed Ah, a little bit of it down here. So we describe that little bit of the poor that way we missed on Duh. Now, the key to this next step is really that we unlock the background layer in the first instance. So double click on the background layer on, we're gonna make a new layer layer. Zahra, I click. OK, Okay. And we need to do this in order to add the layer mask. So just to demonstrate, one thing we we could do here is head it Andi, copy our selection, okay? And then edit and paste our selection. Okay, Now the disadvantage. I'm just gonna jump to the move toe. That is that Although we have a pretty good cut out off this panda, we turn off background layer. You can see from the thumbnail of the layer that we've lost all those pixels. So all the pixels around the edge of that panda on around the edges here have been lost. So if we did make any mistakes or the edges of rough, you can see some areas here that might want a little refinement. Then you've lost those pixels, so you can't go back and refine any of the kind of mistakes around the edges. So here, for instance, on with a brush tool later. So just gonna take a couple steps back. So I head it, Step backwards. Okay. So it back to where we just have the background layer. Unlock again. Okay, Just do. Come on. Zero. So now what we're gonna do is go down to our layers panel. Okay? We have a number of different functions here. 3rd 1 along his had lay a mosque. If we click that we had a layer mask and you can see that instead of removing the background of the image in the thumbnail. Here we have. The image is still intact. If we help downshift, inflict a layer mask, we'll turn it off so you can see that it's this black and white Hart off that layer that's actually creating the transparency so white as where the image will be visible on black is where the image will be hidden. Okay, on The nice thing about this is that we can paint onto that layer with black and white, so we could basically come along to origins. So we spotted a couple of errors, um, bumps along the edge here. So if we grab the brush store, okay. And I'm just going to reduce the size that brush tool using the left hand square bracket a right click here and just make sure the hardness is reasonably high. Just click once, and then I'm going to switch between black and white. Teoh either reveal or hide parts of the layer. So if I just double check my lame ass, I've got four kind of white corners around this layer mask. It means that have it highlighted. If you have the image highlighted, you'll notice you have those four white corners around the image. We don't want that. We want the layer mask highlighted. And now we could just kind of come in and we can paint out and refine any parts of the edges where we need, sir. Kind of fix it. Okay, so I've switched to white hair by pressing X on the keyboard, and you can see now I can actually pay around. If I make a mistake, I can press sex and I can come back and refine that. Okay, So this is how we make a cut out. Refined the edges manually of, ah, an image using a layer mask. Okay, But let me ask, once we have it set up will work exactly the same way as any other transparency. You know, you're going to see the transparency there. We can duplicate this layer so we can have lots of pandas where you can transform it. Okay. And so on and so forth. You want to find this kind of somewhere in Washington, D c? Okay, so that's how toe cut out images using a layer mask. Just gonna take a couple steps back on. We just have a look quickly how we could refine the edge. Now, before we do that, I just want to add another layer into the background here. I'm just gonna feel that I'm with a single corner. Okay, so I'm gonna come down here and grab the paint buckets. All okay on. I'm just gonna pick out a color that's not really in the rest of my image. Okay, just to help me to see how well and refining the edge of the green is is perfect. Okay, so now if we double click on the layer mask here, you'll see we get this the properties up for that land mosque. So we're working in Ah, very Photoshopped cc earlier versions. You may have toe select that in a different way. So we're gonna go to the mask edge on just really quickly introduced this so we can use this function called smart Radius. Alas, is toe, um, kind of increase on refined and smooth the edge. Okay, so it's looking for the edge, looking for how that edge transitions the background of and trying improve. And this is a really good tool when you're masking our hair in an image. But here it's just kind of helping us to smooth out the sides. That image. Okay, so that concludes the tutorial. And I have enjoyed it. If you have any questions that you'd like me to answer, just drop me a tweet. Happen household on Duh. Look forward, Teoh. You watching the next tutorial? 10. How do I get images into a project?: okay. Here in first, we're gonna have a look at three different methods of placing images within a composition of project that we're working on. Okay, so we've set up a new document by using the file new function. And now we're gonna play some images within our project. So the 1st 1 we're gonna use is under the file menu again. So we got to file place embedded Onda. We can select an image A J peg, a PNG or other file types such as tiffs on place those into our for a shop documents we can even place he d efs directly into official documents. So we'll grab an image here on press place on the bottom right hand side here and that will place our image in. Once we're placing our image will get this border that pops up around the outside of our image with handles at the edge that allows to resize our image. Now, if we begin to resize straight away, you'll notice that I'm distorting the image. So you want to hold down shift as we re sizing? I'm getting up Image ready position. Okay. So that we keep proportions. So will scare image download because we're gonna put a few images into this one document and then once we're happy with the scale of it, we can move it around on, then hit, enter. Want too happy with the position of it? So that's one way of placing an image within Photoshopped. Now, this is an embedded file. So if we save our project, this image will be contained within the file that we say the next option under file is the place linked option. They need to be careful with this option because it does place the fire is a linked file. More just quickly grab another in its year. Place a. Okay, Now this file is linked, which means that if we move or remove or delete that external file, then we will lose the link to that that file. So if we again hold down, shift on re scale this one, you can see the difference in the icons in our layers panel here. So we have the smart object, which is the first layer that we placed on. Then the second layer Place has this little link next to it. And if and if you right click on this layer. You can see that we've got the option to embed this linked file so we can at a later stage once we've placed the link file embedded within Arthur Shotwell. So the next section we're gonna look at is how we would drag and drop a file from one doctor shop document to another. So we'll go to file and open this time, okay? And we'll pick out a project file that we have here. Okay? So if we look at our tabs at the top of our shop window here, we conflict between them and we can also click and hold on one of those tabs on drag it out . Okay. And this allows us to, with the move tool in our toolbox selected, actually, click and hold on that image and drag it across to our a Photoshopped image. You can see here. This is something that pops up when you're moving images into another Photoshopped document . And that is that when you place an image that's bigger than the chemist size, it will retain its original size that can sharp very large. So if we go to edit, transform and scale, we can now scale this down, and we'll just use the new miracle options that we have up here. We'll link the proportion so that we scale it in proportion on just type in 25 here to make it 25% of the original height and width. Okay. And then we can go in on re scale it down a little more. Now, one thing to know about this image is that we have, ah, slightly different layer icon down here on absence of the layer icon. So these are really the three key types of image that you would place We ineffectual the smart object which retains the original image size. The link far, which retains the original image, retains a link to the original image on your computer. And you always need that image to be there. And then this, which is just a bit map image, now wants to scale back down. We've lost its original fire size and fire quality. Okay, so those are a couple of ways of placing images within our thought. A shot document were just open up another file here and look a different way of placing an object. Okay, so we can also place an image from one file to another by copying and pasting it. So if we opened fire up and select the rectangular marcato, we can draw around their of image. Those edits and copy come to the fire. We're making our competition in and go to edit and paste and that the pace that the filing and again if we because you edit, transform and scale, we can scale this image down and we'll let those together and scale down the size that scaled the image to the center of that original image. So if we zoom out, you'll see. And this can happen from time to time. But the image that we've scaled to scale around this center point. So just be aware that if you do use a numerical scaling, then it's going to scale. Andi can't scale off the campus, and so you may not be able to see it at some point. Yes, that's a useful thing to know. And if we had you can see image that, with copied and pasted is the same as layer one. Here are yellow truck in that it has lost the original image size. Okay, if we do want when we taste in an image that we've copied in order to retain that original image size. So I selected it ended, commander. See to copy there by paste in now. Okay, I'm right. Click on my lair. I can convert this to a smart object, which means now, if I if I transform it, it's going to retain its original image quality. And again, I'm holding down shift as I'm transforming us so you can see these two chairs I've pasted in. It ends up one is a smart object. On one is ah, regular layer. Okay, we can also, if we go to open another file, select a whole image. So if we go to a select option here, we can select all and go to edit. I've copy. We can close thes original images up now and then we can use head it's and paste toe pace that image in okay. And again, we can right click on the image, convert to a smart object before we transform it and then moving into position. Okay, so when I'm zooming into now, I'm using command or control, plus or minus, depending on whether you're working on the macro PC, But you can also use the view window to zoom in and zoom out. You can see the short cuts listed just to the right here. Okay, so now you can see we have, ah number of different images placed within our Photoshopped document on these images stop in layers like a deck of cards. So, for instance, if we have this red chair and wanted toe, move it behind these other images, we can grab it here, click and hold, and then drive it behind. Other images on you can see it shuffled back there. Okay, so that's a quick overview of how to combine images within first shop from different sources. I have. It's been helpful, and I look forward to seeing on the next tutorial. 11. I can't use color in my project? What is happening?: Okay, so here we're gonna have a look at three color issues that I had pop up when I'm working with images in first shot on Do these air from questions that I've had with students or clients that I'm working with. So the 1st 1 is the black and white issue. Okay, So, basically, sometimes when you are working for a shop in your image, mysteriously will only work in black and white. The first most obvious reason I'm is that the image mouth we can change to gray scale here . Okay, So, basically, you need to keep on eye on your image mode. Make sure that it's set to rgb color here. This can often happen if you're scanning in an image or if you move from something like a bit mapped image on index color image that is only black and white. I'm into benefits that you want to work, that you've chosen to head it within version and save is a Photoshopped document. Okay, so make sure you're always working in the color mode that you want to work in. So in this case, that would be rgb on. We're just gonna take a couple of steps back so that we go back to the original code image . The second is a slightly less obvious thing that can happen. And that is that I just pull out the channels here. If you've been looking at the channels, then sometimes you can turn on and off these different color channels. And for instance, here we've just turned a blue channel on on the Blue Channel will now show up was a grey image. So if, for instance, we come back to our layers, Okay, I'm just gonna jump back to the channels as well. In turn, everything but the blue off on on a new layer. We have our color here. Set. So what is clearly a a red Well, let's try a purpose. That's been a bit of blue in it as well. Okay, then, when we start to paint with that color, it will paint. I'm leaves in a gray or a whiter of black here. Okay. And that is because of the rgb is turned off. So if we turn the RGB back on, you can see it jumps back. Ter the color that we're expecting. Okay, that's ah, second issue and again, I'll just take a couple steps back here to do with the channel. So here, where the channels a lot of people were ever need Teoh use a look at the channels, but they are useful tools. But if you set them incorrectly and then you can pop up with some some problems, the third thing that can happen is that you export an image, will save a J Pagels and like that from photo shop, and it won't show up on a Web page. Mysteriously, you've been working on it in full color within photo shop, and it just won't work in your Web page or won't be accepted when you trying to preview in a certain program. And the reason often for this is that someone has set the color mode to see him like a Okay , So if your image is not showing up in a Web browser in other programs, it's not important properly where the colored expected in tow, something like after effects. Then just check the at C N y que on rgb color and make sure you're working in the Cala mode that you need to. So Archie beef the screen based projects such as the Web film video on C N y que. For any print based projects that you worked on. So these are three quick tips working with color, particularly troubleshoot in color issues that might pop up when you're working in a photo shop. 12. How do I scale & rotate images?: Okay, so here we're gonna look at transformations in photo shop in particular. Gonna have a look at the free transform tool and a couple of different ways in which we can transform things and importantly, how we can keep the proportions of an image when we transform it. So the first thing to do is to select the layer that one transform. Now, we have two different kinds of layer. One is a smart object. On one is a regular image. Okay, so a bit map image, and you can tell that, but its icon down here on the bottom, Right. Okay, So the first thing I want to do is select our image on Then just turn off one of these layers. We're gonna look at the smart object. First of all, on go to edit on transform. Okay, Now, we have a number of different options here to transform such a scale, rotate, skewed, distort, perspective and walk. But actually, a lot of these options are available in the free transform option. So we're gonna have a look at this today. So if we turn on free transform or commodity, then we can grab on a scale or object. Okay. And if we press escape, it will come back to the original image before we transformed it on. This is one of the key things, really, Which is that when we're transforming here, So talking on command and T one of the things we wanted to most of time is transforming proportion. Now, there are a couple of different ways of doing this. One is to hold down shift, okay? And you can see now this car here will transform a proportionate. When I enter, it will apply that change. Another way of applying the change is when you've done the transform. So I'm holding down the shift here again if they just select the move to or another tool. And it will ask you if you want to place the file or apply the transformation, more click places placing this file down here now. But now we can move this independently. Now, the nice thing about the smart object is that the original image size is held within it. Okay, so we're gonna have a look at this first thing. We're gonna have a look at a normal it map layer and just talk about how that works. So if we do, come on and t again, you'll see that we don't lose Sent it to the transformation that we've made. Okay, so we've got 38.4% which is the transformation from the original image. So if we want to go back to 100% weaken type in 100 here, it will make the wit 100%. Okay. And if I type in 100 for the height, it will take us back to the original image size F 100% on 100%. We can also lock the transformation effect of the same is holding down shift by clicking the maintain aspect ratio on here. Okay. And that will maintain the aspect ratio. If we then make any changes, it will always maintain aspect ratio. OK, The other thing that's nice about sentences up here is that we can also see if in images become bigger its original size that we type in 200 here, 200 image might look ok on screen, but we know by looking at this 200% here, the images actually increased in size. So when we're gonna be output in that we may receive lots, some loss in quality which we may not do if we keep it 100% or below. All right, so that's hit into here. Okay, We'll just turn this layer off for the moment. They come to the second layer, which is a regular bit map later. Okay, Now, if we transform this, okay, they looked and saw as I made the transformations for the smart object that when I transformed it down and then transported back up, it didn't lose inequality. If I transform this down, no, make it quite small just to illustrate this point and hit enter and then transformed back up, we'll notice a distinct difference. I want to hit. Enter now we actually have a very blurred image. So if we take a couple of steps back, you see, that's the original image, okay? And I just used the short cut the step backwards here, which is option commanders and on the macro control and said on the PC, like a step forward by doing shift command and said Okay. So I can step forwards and see the blurriness, the emission of scaling that down, scaling back up. And then the original quality of that image in this bit map player. Okay, So while we're in the bit map, no, we'll just talk about something else that could happen when you're scaring things. So as mentioned before, we want to keep things in proportion. Normally with most photographic material s were, you know, skewing something to put it onto a sign or something like that. But in this case, we want to keep it in proportion as we're scaling this. And if we scale it like so you can see that I actually put an image, What up? Washington's 12% of the original width and 56% of the original height. OK, so it's a very distorted image now, which could create some interesting issues. You can see now when I come back to the scaled image is back to 100% 100% for this bit map image. Okay, So if I try and regain the original proportions of the car something like this and hit enter, then I'm getting a very distorted version of the image. Okay, so this is one thing that you want toe be very aware of when you're working for a shop is this idea that you know you don't want toe normally distort the image that you're transforming? Okay, so trying to fit a around peg in the square holes there speaking your design may not always be the best thing to do. Sometimes actually, looking at a crop rather than trying to resize them to fit into a certain part of your image is the best way to go. So there's one of the thing that I'll mention here to do with the transformations, and we'll go back to the smart object here, and I'm just gonna transform this toe 50% of the original size. And that is that when we're transforming things here, okay, with commodity, we have other options available to us, unlike Transformed scale, where it's very much limited to just that scaling of the object with a free transform. If we come to the edge of our image, we actually have the option to rotate it as well. Okay, that's another thing That's nice about the smart object is that if we go back in to transform this image on, we want to take off that rotation, then we have this. 54% is so we can just type in zero. So she was remembering the amount which we've rotated it on. Weaken, drop it back to being zero degrees. Okay? And also, we can do things if you want. Oh, kind of flip it weaken type in 1 80 it will flip. It won 80. Okay, so holding down shift as well, we'll move your rotation by increments of 45 degrees. Okay, So shift small objects, keeping things in proportion and the rotation options that you have when you're holding down shift already important tools when you're composing your images on screen.