Graphic Design Bootcamp for Beginners - Learn Photoshop, Illustrator, and InDesign | Derrick Mitchell | Skillshare

Graphic Design Bootcamp for Beginners - Learn Photoshop, Illustrator, and InDesign

Derrick Mitchell, Designer | Teacher | Artist | Innovator

Graphic Design Bootcamp for Beginners - Learn Photoshop, Illustrator, and InDesign

Derrick Mitchell, Designer | Teacher | Artist | Innovator

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64 Lessons (7h 45m)
    • 1. Welcome to the course!

    • 2. Adobe Creative Cloud

    • 3. Setting up your shortcuts to open apps

    • 4. Create a Poster: Introduction and setup

    • 5. Gathering assets for your poster

    • 6. Making selections in Photoshop

    • 7. UPDATED: Refine edge selections

    • 8. Refine edge selections

    • 9. New selection masking tool

    • 10. Text

    • 11. Layout

    • 12. Additional looks

    • 13. Exporting

    • 14. Photoshop compositing introduction

    • 15. Photoshop compositing assets

    • 16. Photoshop compositing selections

    • 17. Photoshop compositing color levels

    • 18. Photoshop compositing pushing further

    • 19. Photoshop compositing exporting

    • 20. Typography introduction

    • 21. Working With Text: Type Tools, Adobe Typekit, and Creating Outlines

    • 22. Working with Shapes, Color & Graphics

    • 23. Artboards and Creating Additional Designs

    • 24. Exporting Your Files

    • 25. Logo design introduction

    • 26. Research and Gathering Ideas

    • 27. Creating a Moodboard

    • 28. Bring in Your Text and Picking Fonts

    • 29. Basic Tool Overview

    • 30. Creating Your First Looks

    • 31. Refining Ideas

    • 32. Designing Your Presentation For Your Clients

    • 33. Exporting and Sending Comps to Clients

    • 34. Finalize Your Logo, Part 1: Refining Color and Creating a "Details" Page

    • 35. Finalize Your Logo, Part 2: Artboard Setup for Quick Export and File Management

    • 36. Finalize Your Logo, Part 3: Batch Export Files and Professional Client Delivery

    • 37. Introduction: Create a Magazine Ad

    • 38. Setting Up the Magazine Ad File

    • 39. Gathering Assets and How to Scrape Photos

    • 40. Getting Things in Place

    • 41. Magazine Ad Design Continued...

    • 42. Bullet Lists and Font Awesome Icons

    • 43. Further Refinement, Adding Photos, and Masking with Shapes

    • 44. Export the Final Ad for Press & Reviewing Design Decisions

    • 45. How to Package Editable Photoshop Files to Share With Someone Else

    • 46. InDesign ebook intro

    • 47. Placing Assets and Basic Layout

    • 48. Finalize the Design, Exporting, and Packaging Final Files

    • 49. Custom Brochure Introduction

    • 50. Custom Brochure: Beginning With the End in Mind

    • 51. Custom Brochure File Setup

    • 52. Custom Brochure Outside Layout: Part 1

    • 53. Custom Brochure Outside Layout: Part 2

    • 54. Custom Brochure Inside Layout

    • 55. Exporting Final Files, Part 1: Generic Export

    • 56. Exporting Final Files, Part 2: Adding Printer Marks and Fold Guides in Indesign

    • 57. Exporting Final Files, Part 3: Add Printer Marks and Fold Guides in Illustrator

    • 58. Business Card Introduction

    • 59. Business Card Design

    • 60. Exporting Final Files and Custom Finishes

    • 61. Build Your Portfolio: Introduction to and

    • 62. Features Overview of and

    • 63. Export From Adobe CC Directly to and

    • 64. Create a Custom Cover and Full-Width Portfolio Image for Behance

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About This Class

Welcome to the Graphic Design Bootcamp! 


This course is for anyone who is interested in becoming a graphic designer, and especially geared towards beginners. When you enroll in this course, you will have access to over 15 hours of on-demand content, as well as the opportunity to join a private Facebook group with over 16,000 members.

I move quickly through the content, since many students enjoy a quick learning pace. Do you prefer a more laid-back pace? Many students find that re-watching lectures or pausing the lectures during key learning points is a helpful way to digest the information.

I also make use of shortcuts – something that all great designers learn how to do to increase their productivity and maximize their workflow – so once you enroll, be sure to download the course shortcut hotsheet: a PDF listing many of the most-used shortcut codes so that you can follow along easily and get ahead quickly.

In this course I'll also show you how to make some of the most popular projects in the industry, like:

  • Custom logos
  • Business cards
  • Brochures
  • Flyers
  • Web graphics
  • and more.

What Students Are Saying About This Course:

  • "I have used Adobe CC for a few years now, but everything I've learned I've learned from doing. While some of this has been basic as I'm already familiar with the tools, there are tricks and advice that I would have never known that make life MUCH easier (the "content-aware" fill is a game changer) and I really enjoy the pacing and manner in which he explains the tools, techniques and theory!" - Nikki Tetreault
  • "This course is good. The tutor is really nice and clear (US accent is alien to me so I sometimes find it difficult to understand - the tutor here is great, doesn't speak too fast & is clear, without too many colloquialisms). Enjoying the classes. Feel prepared enough for the purpose I took the course. Would definitely recommend and also do other courses by this tutor" - Alvira Kiss
  • "I started this course with little experience and thankfully I have learnt a lot throughout this course. I can't wait to learn more about this industry and make my mark on the world and it's all thanks to this course which has kickstarted my journey!" - Charles Vaughn
  • "So far it's been great. I'm a student that struggles largely in traditional school settings, the ability to pause, take notes, rewind, and move back and forth as I need has been great. The instructor has been clear and precise, and has given plenty to think about as we're creating files." - Samantha Finn
  • "For a guy whove been working with photoshop for nearly 10 years Im still learning from this course." - Aryne Neil Cabatan

What to Expect:

We will be using Photoshop, InDesign, and Illustrator; the industry-standard applications for graphic design. I'll also review relevant terms and design practices to help you create pixel-perfect projects for print and web, with the goal to get you up and running as soon as possible so you can start your new and exciting career as a graphic designer.

If you aren't looking to learn design for a job, don't worry - this is a great course for you too! Many of my students are moms looking to make fun cards or invitations, or students looking to spice up their resumes and social media graphics, and teachers looking to add some creative elements to their homework materials - the list goes on and on. Design is for everyone! And this course is, too!

There is also a private Facebook group with over 16,000 students and counting, which is an awesome resource for you to take advantage of while you go through the course. The group is an excellent place to post projects, get insightful critiques, and network with other like-minded students and working professionals all over the world.

All project files are included as a free download, and you are welcome to use the files however you want, or simply to follow along with the projects as you move through the lessons.

As mentioned before, I cover a lot of program shortcuts in this course as well!

For the most part, all of the principles you will learn in this course transcend the tools you actually use - There are students using Adobe versions from CS3 up to CC 2020, and there are even students using apps like Sketch and Pixelmator to make some of the projects in this course. However, you will have the best experience using the latest versions of the software and I do my best to keep the lessons updated when Adobe updates the software. 

If you see anything in any of the lectures that no longer apply with the software update, please let me know! I’m doing my best to keep this course up to date and continue to add value for you.

Instructor Qualifications and Background:

Derrick has spent his entire career in the creative arts and marketing sector. Starting back as early as high school where he turned homework into paying gigs, his love for all things art and technology driven has continued to grow. Working with brands such as MTV, Nintendo, and Netflix while employed as an intern for Seven 2 Interactive catapulted his career. His branding work and graphic design has been included in international publications for the design industry and regularly featured on trending websites.

Derrick is the owner of a small design agency, Mitchell's Garage | Creative Media Chop Shop, located in the heart of downtown Kalispell, Montana. Mitchell's Garage has been successful in reaching and working with clients all over the world, including Washington D.C., New York, California, Calgary, Austria, Australia, Washington, Colorado, and of course, throughout Montana.

Meet Your Teacher

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Derrick Mitchell

Designer | Teacher | Artist | Innovator




Hello! My name is Derrick, and I’m so stoked to be teaching here on Skillshare!

Are you interested in making a living in the creative arts industry as a graphic designer, freelancer, videographer, photographer, or web developer?

If yes, then be sure to join me in these courses here on Skillshare as I show you what it’s like to be a graphic designer and make a living doing something that you love!

I will help you master the skills you need to become successful. I’ll show all of my processes so you can accelerate your success, while also learning from my mistakes so you don’t have to repeat them yourself and fall into the same traps that I did.

I have spent my entire career in the creative arts and market... See full profile

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1. Welcome to the course!: Hi, My name is Derrick, and I'm so excited to welcome you to the graphic design food camp. I created the graphic Zain boot camp to help people just like you quickly learn the skills and the programs needed to create stunning, high quality designs about having to sit through hours and hours of random General How to videos Do we just launched a brand new software update for the creative cloud. So this is a great time to enroll because you'll be getting all of the latest and greatest content as I update the course over the next several weeks to reflect the latest software updates to have access to the latest and greatest tools and teaching resources. These lessons and projects are based on my 18 years of experience from the design industry on our strategically crafted to teach you exactly what you need to know to either become a successful graphic designer or to use the adobe programs as a hobby, from business cards to photo manipulation, from posters to social media and Web graphics, I'll walk you through every step of the process so you feel confident creating things on your own moving forward. If your dream is to start your own graphic design company, work as a freelancer, carve out a career working for an agency or in house designer. This course will give you the ground level skills you need to begin turning that dream into a reality. I love that a career and graphic design gives me the freedom to spend time with my family while also providing a great income and the ability to use my creativity on a daily basis. That kind of freedom is what you're looking for and what you're after. Then you've definitely come to the right place. This course has over 100,000 students across multiple platforms with over 7005 star reviews . So when you enroll, you have a chance to also join the community on Facebook that also has over 14,000 members . The purpose of this group is to put you in contact with like minded graphic designers and piers from all over the world, literally from every country of the world, so you can help one another with feedback and encouragement as you perceived through the course materials on your graph design jury as a whole, since the software we use as designers is constantly updating and changing. You need to be able to state educated on the new trends and tools. When you join this course, not only will you have lifetime access, you also get free updates to the lessons and content as a new software and updates are released so excited to have you join this course and to dive in and show you everything you need to know about graphic design to get you up and running fast. 2. Adobe Creative Cloud: in this lecture, I want to show you exactly how to download the adobe creative cloud app, the desktop app and then from there, download all of the apse. You need to be successful with this course. Now there's a good chance that if you've already purchases course, you already have done this. So feel free to skip this lecture at any time for the rest of you have never done this before. I'm gonna also walk through some of the subscription and plan pricing structures that they have available and guide you toward what might be the best fit for you. So, first of all, let's go to adobe dot com and their home page changes frequently, so this might look a little different when you get there. But up at the top, we've got their main markets and sections available, and we're looking for the creativity and design. So I'm gonna click on this link here and from there and the drop down, we have some really helpful links that you should consider checking out if you have more questions than what I've answered in this video. But what you're looking for is the view all plans and pricing button. Now that this has changed since I've recorded this and looks totally different, you might have just as good success by going to google dot com and typing in Adobe Creative Cloud from their pick, which everyone looks like the best link for you here. They've got an Adam's gonna click on this one right at the top, and that should take me right to that same plans and pricing page. In this case, it's just the home page for the creative cloud. So it's got some Mawr tabs about what's new learning and support all products and a free trial. Now, one thing I want to point out. Their free trial is only seven days long. So what I suggest is, if you're taking this course and you've just purchased this dive right in and do this right away, because I want you to know that it's a good fit or not a good fit as soon as possible. If you discover this isn't a good fit for you, go out and get a refund for this course as well doesn't hurt my feelings at all. I want to make sure this is something that you love So from there, let's go ahead and click on the Choose A Plan button, and that should redirect you to this page here. Now I want to point out there are four different tabs across the top. They have plans and pricing for individuals, which will probably be 90% of you business students and teachers and schools and universities. So if you're currently a student at an accredited college or university, definitely check out this plan and stepped through the different processes. Here. You can click on the learn more button and see if your school qualifies for this, cause if it does, it's a substantial savings. Now for the rest of us. You'll probably end up choosing the individuals plan. Now, within this plan, we've got a few different options here to consider. So one approach you might take two following along with this course would be to do the trial version tried for the seven days and then go from there and reevaluate whether you think you want to continue on or get a refund for this and the course as well. The other thing you could do is a majority of this course currently touches on photo shop. We do get into illustrator, we do get into in design. But I would say if you get stuck on an island with one app, I would choose Photoshopped because with photo shop, you can do a majority of the graphic design tasks you'll be doing as a beginner. So the way you could do that is you could come over here to single app, choose an app such as Photoshopped, and then click the buy Now button. You'll be asked to make your own account, and it will give you the download. You'll notice this is only $20 a month if we choose annual plan paid monthly. So what that means is you are signing a contract essentially for one year, and they'll give you this discounted rate of $20 a month. If I click monthly plan where there is no commitment, you'll notice it's a little bit more expensive or I can choose to pay prepaid for the whole year, and it's about $240 for the year Now. I know that might seem like a lot when I first started and learned you had to buy the entire creative suite it was over $1000 to buy. So this is actually a really good deal. To be able to kind of put your big toe in the water and see if it's something that you enjoy. You could also consider this photography plan depending on the level you choose will notice the options down here change. And this includes both photo shop and light room. So for those of you who might be leaning towards photography but dabbling in photo shop and some graphic design, this could be a really good plan for you as well. It also, depending on the plan you choose comes with 20 gigs. A terabyte. Oh, I guess one terabyte of storage with just light room. So something to consider for sure. Now I use the all APS bundle, and I would suggest that for you as well, if you're if you're set on doing graphic design and learning mawr, even video editing and photography. By doing this annual plan with all of the apse, you have access to absolutely everything from video editing, photography, the Web design, APS and all of the photo shop in Illustrator in design, Creative APS as well. So This is what I actually have. Recently I upgraded, and I have the Adobe stock bundle as well, which then adds a monthly subscription for images. Now, before you choose any of these, especially the annual plans paid monthly where you're actually signing up for a contract. One more thing I want to point out is on adobes legal page. They mention that if you cancel, you have to do so within 14 days of your initial order. So what that means is, let's say, have a seven day trial and you go for the seven days. Then they would build your card on that seventh or eighth day and then 14 days from when they build your card, you need to contact them and say, Hey, I want to cancel that there's any any issue. Otherwise, what's gonna happen is you will be charged for 50% of the remaining contract obligations. So if you have a whole year left, they're gonna charge you for half of that year, so I won't be very clear to you before you dive in and then forget that you've got a subscription. Make sure that this is something you want to do And don't forget you've only got those seven days is a trial before you kind of get serious. So again, you know, if you're gonna be a designer, is what you want to do. It's just it's just a cost of doing business. There are some other APS that we can talk about a little bit later, such as pixel mater and a few other new ones, like Sketch, where you can pay for it out right and never have to do the subscription thing. But the Adobe creative cloud is by far the industry standard. So once you've selected what plans and pricing makes the most sense for you, you can click to buy now button at the bottom of any one of these. It will redirect you to the page where then you can set up your email account and create your ID, your adobe I d. And then from there, just follow the prompts. To download the software that you need, you'll be able to download the creative Cloud desktop app, which is a smaller app. So what downloads quickly you install it on your computer, and then, from there, you can open it up and see all of the different applications that are available to you, depending on your subscription level. From there, just click the button over here on the side that'll say install. If you don't have it installed yet, or in my case, I've got a few that need updated so I can go ahead and click the update button. Now the Adobe desktop app is a great way to keep all of your APS current as well as using these tabs across the top, where you can learn more about how to use the software manager assets, find Adobe stock free next project, or even create your be Hance portfolio. 3. Setting up your shortcuts to open apps: are. Once you get the applications downloaded to your computer, it's a good idea to create shortcuts. So that way, it's faster to get into the your applications. There's a lot of ways to access the programs. I'm on a Mac. One of the ways I do it is a command space. It's a shortcut for your spotlight tool. Appear in the top, right? I see my little spotlight so I can click on that, too. But again, command space for the apple space. I just type in photo shop, and I'll see it pulls up that way. That's one way to open it. Once it's open, or any of these APs or open, you can right click, go to options and then keep in your doc. I'll go ahead and close photo shop for now. So now when I quit Photoshopped, that icon will stay right in my dock. Another way to get there if I open up my finder window. I'm looking for applications in the sidebar, but I have apparently turned it off at some point, working on something. So if I come up to find her preferences over here, I've got the options under the side bar tab a launch under general. But if you click on the side bar tab up above, we can see that we can turn on and off different folders. So applications is one of them. We can turn back on to be totally honest, I don't really access my APS this direction, so that's why I have it turned off. But again, you can navigate here and find any of your APS that you've got going on. So, for example, let's go and add in design into my doc now. So I click wants on this in design folder, Little click and drag from this in design dot ap P file down to my doc and then I'll let go . So now I've got the in design shortcut there as well, and then another way we can access our APS is through the launch pad. So if I click on this, most likely your app got stashed in the very back end of I don't even know what the screen is called. But there's my photo shop icon. I can click and drag, and if you have an iPhone or IOS device of any kind, you're probably familiar with moving app icons around like this, but I can drag and drop. Put this wherever I want to make it a quick shortcut. So now another way to launch photo shopped for me would be to click on my launchpad icon in the dock, and they come up here and click on the photo shop icon, tow, Launch, motor shop. So those are all different ways you can get into the program, and you can do this for any app you want for me. I usually keep photo shop in design and illustrator in my Dock of God I messages and then slack and a few of the things in. This tends to change depending on what I'm working on. I like to keep my workspace clean and clear and minimal. So, for example, if I'm not using slack or something else, you can click on that icon, hold up until it says removed, and then let go. So obviously we didn't address the shortcuts on a PC, and I apologize. But I don't have a PC to show you that or I would. But as far as that goes, just use whatever is most comfortable for you, whether it's putting shortcuts on your desktop or down here in the in your start menu, on it on a Windows machine or in the dock on a Mac, all of Richard great again, use whatever makes you the fastest and whatever you're the most comfortable with. 4. Create a Poster: Introduction and setup: right now that we've got our application set up and are shortcuts in the right spot, we're ready to go. It's time to roll up our sleeves and actually make something so hope you're excited about this. I figured we could start off of the poster, and the reason why I want to start with a poster is well, actually, there's a couple reasons. The first is It's a rectangle, so the tools and the skills you learn in these next couple videos will hopefully apply to just about anything you want to use or create, such as a Facebook cover image. Something for Pinterest. Maybe something on instagram or a Web banner or postcard you name it. Just about anything you make as a graphic designer will be some form of a rectangle shape. So I figured a poster is a great place to start. Also number two. I want to make something that teaches you the skills but is also practical that you could actually use right away. So while I'm gonna give you some assets toe work with, if you don't have anything, feel free to deviate and create something that's helpful for you. So maybe it's something you want to sell. You could create a for sale poster and put it up in a coffee shop. Maybe you want to promote a social cause or an event of some kind. Feel free to take the skills and make something all your own. All right. The other thing I want to do is as we're learning some graphic design principles and elements. I also want to teach you how to use the software. So it's gonna be a mash up of both skills and techniques as well as theory. So let's go ahead and dive right in. Start off by opening Photoshopped in this case, I'm going to click on the icon of my doctor Launch photo shop. Once photo shop is open, you'll notice that we've got this start page in front of us just to make sure you and I are looking the same thing. Go ahead and come up to the top, right. I'm gonna click on this drop down, make sure it's selected as start and then hit reset, start and then that way you and I are looking at roughly the same thing. The recent files on the top left here shows any files that you've created now, in this case, you haven't made anything yet, so you won't see anything. But you can toggle between the list view or the icon of you, and you can see some of the projects have been working on lately. And as you create new projects, your most recent will be at the top. Your libraries are collections of assets for different projects, and you can create as many libraries you want and put anything in there that you want. So for me, I've got some clients that I've been working with. For example, this unearth logo was the logo is working on for the Discovery Channel, and I started collecting assets for, like, this background that I purchased as one of the earth patterns that are used in the logo. And I had some other resource is I was working on. I've got this tough country collection where I've got the clients colors, some photos of purchased the adobe stock and some of their logos and things like that. I've also got this foul core project where I've used all their color swatches, some different character settings for their fonts, their logos and more photos that I've purchased for the brochure. So libraries are a really great place to collect everything, so that's easily accessible. And libraries now work across the entire creative cloud. So when you open up illustrator or in design, you can see all these assets. No matter where you go, it's really handy. It's a great new feature. Then we also have presets, so we're making a poster. Today. We're gonna start making an 11 by 17 and I realize you probably don't have access to 11 by 17 printers, so we'll start big, and then we can crop it down and resize it at the end of this thing. If you want to just dive in within 1/2 by 11 you could click right here. Go ahead and try it. We'll click on that and you can see him up and running and ready to go out my blank canvas . I've got my tools on the left hand side and everything I need to start working in photo shop. I'm gonna click on his little X here to close that tab to get back to my presets and you'll see that we've got some photo presets, some Web design presets. Go and check those out as you want. Teoh. What we're gonna do now is create a new custom size because we're doing 11 by 17 1st I don't have as a preset yet, so what I'll do is I'll click on the new button here. A shortcut would just be command and on a Mac control and I'm a PC. I could also come up here to file new, and you'll notice that there's a lot of ways to do the same. Thing is, we work in these APS on these lessons. You'll notice that there's probably multiple ways to achieve the same thing. So just figure out what works best in your workflow and what you want to use to get started . All right. So I clicked on that new button to make a new document, and here's my new document window. You'll notice As you play in here, we can set different document types. I also have a few more presets, depending on what you choose if I come down. The Web, for example, is a document type. It has a few more sizes for me to choose from, which is kind of handy. I can go ahead, and I'm gonna come back up here to us paper, and I'll just kind of set my club my settings closer to what I need for print. So I'm gonna set my size right here. I'm gonna set at 11 inches wide. Make sure set inches and not pixels. Set the height at 17 and then we want a resolution at 300 her color mode at C m. Y que. Let's take a quick time out here. I want to talk to you about resolution and color mode. All right, let's go ahead and define and talk about resolution first. So this is a term you're going to use universally, no matter what application you're using. So it's important that we get this before we get too far down the road. So resolution. It's a measurement of the output quality oven image. Usually it's in terms of samples, pixels, dots or lines per inch. The terminology varies depending on the intended output device. So, for example, if we're gonna talk about screen resolution, we talk about PP I or pixels per inch. We're gonna talk about print in this case, our poster, N B D p I or dots per inch basically dots of color dots of ink on the page. So for every inch how maney dots of theirs every square inch. So, in this case, 300 dots for every square inch on our paper. Often images referred to his high resolution or high rez or low resolution low rez. So this poster is gonna be a high resolution file. It's gonna have 300 dots per inch, whereas some of the Web based projects will do. Down the road will be a low rez at 72 dots per inch. So if you tried to print out low rez image and there's only 72 dots per inch, it's gonna look really jagged and what we call pixelated, where it doesn't look smooth and the colors don't look very good Now at a distance, it might look fine, and that's actually a trick we use with banner design or bus wraps or things that have to be really, really big. If you get up really close and look at those print projects, you'll notice you can see the dots. They're actually printed low rez, and the reason is because you're viewing distance is so far back, your eyes actually blend those colors together. If we tried to print a higher resolution, file 300 d p I. And it was huge, like the size of a bus wrap. The fire would be so big your computer would crash to get it out. So we use a low rez file, so that way it doesn't get too big, so you can print it. And then we let our eyes blend it at a different at a distance, so hopefully that clears up resolution. Now let's go ahead and talk a little bit about the color modes. The reason why this is important is because we have two different mediums were working with your either Working with Scream. We're working with print, and they both handle colors very differently. So unfortunately, you're designing on a computer in its shining light into your eyes. But when we print this, we're printing ink on a paper that is in reflecting light. So the way that the printers behave compared to your screen are gonna produce different color results. So in order to achieve the closest color match from what you see on screen to what you see on print, it's important that we pay attention to what color modes were using. All right, so the 1st 2 that I really want to talk to you about, I know there's a couple others in photo shop here that you see in this menu, but RGB and see him like a Those are the two that you're really gonna be working with, the most RGB we use for print or I'm sorry for screen based projects. So it stands for red, green and blue, and basically, those are lights. If you look really close that your screen or at your TV, you'll see little led is shining, so you've got a red, green and blue and depending on how bright they are, if they're all on all the way, you actually get a white light and then print. We have C M y que, which stands for science magenta, yellow and black. So think of that, like mixing inks on paper or maybe finger painting or painting right. When you mix those colors together, you can achieve different results. So, for example, science is like a blue color. Magenta is kind of like a pinkish color when you mix them together. You get more of a purple color. So same theory price applies to what you've probably learned in traditional art. So we're gonna use science Magenta, yellow and black C M y que for print projects. So while you're looking at this on photo shop, it's going to display RGB colors because it automatically corrects that for you. But when you said it to a printer, they only have cyan, magenta, yellow and black to print from those think tanks. They don't have RGB colors to mix, so we need to convert the file to see him. Why K to get the most consistent print results? Hopefully, that makes sense. Let's go ahead and dive back into the project. Okay, so now that we've defined our color mode, let's go ahead and get back to this new window dialog box here and make sure our sayings air correct. So we're making a print project. So just to verify, we'd better with their heights that inches with a resolution of 300 better color modes at the C m. Y Que looks good to me. Let's go and hit OK to open up our new canvas to get started. Now, before we do anything else, make sure you save this, so I'm gonna go to file and hit, save as. And then let's give us a name. Typically, what I'll do is call it whatever the thing is. So in this case it's a poster. And then I might even give the size two. So this was gonna be 11 by 17 and we make other sizes. I might name it in half by 11 or whatever. Just so it's easier to tell what I'm making right out of the gate. Make sure your format is set to photo shop. That way you can come back and edit it later. When we're all said and done, you can export things like J pegs or tips or different file formats. But we want to leave us as a native Photoshopped files. We can come back and make edits over time. Now, I've already got a folder on my desktop called Poster, and I structure my files like this. You don't have to yet. We'll talk more about this as we go, but set up your design. I've got mine in the design files folder, and I put in a folder called PSD. So these are all of my design files that I need to make this project. My file centers where I put things when it's ready to go when I've sent the project a printer to a client and then my assets folders where I collect ideas and photos and fonts and things like that. So we'll talk more about that as we go. But right now I'm just put this in my design files folder called PSD. I named it Poster 11 by 17 and I will go ahead and hit. Save. Okay, this is a great place for us to push, Pause, and we'll go ahead and start pushing pixels around in the next video. 5. Gathering assets for your poster: in this lesson, What we're gonna do is pull in some of the photography we want to use and start building our general layout. So first things first. What I typically do is open up safari or chrome or whatever happens to be the browser of choice for that week, and I'll usually do a Google search. So in this case, we're just gonna look for a band poster and then all choose images up here on the top. So I just want to see all the images available, and you can see right away that there are a ton of really creative band posters, which is part of the reason why we're doing this in the first exercise. It's something fun. It's something that will teach you how to use brushes, textures, typography, photography and and use all these different pieces to create something fun that you enjoy. So what we're gonna do right now is just briefly look at some different ideas that might be inspired. And when I look at poster ideas or any idea for anything that I'm trying to research, I usually I'm looking at either fawn set. Inspire me. I'm looking at color schemes that I like or layout designs that I like. So, for example, looking at this real quick, I like that. It's not just straight horizontal text on this waterfront poster. It's got kind of, ah, not quite afford five degree angle. But you know, it's at an angle, which adds some visual interest. This Linkin Park poster. I like the color, and I like that the guys air kind of cut out. So what? I'm gonna do these things that I want when I find something I like you to do one of a couple things earlier, right? Click and I will save the image to liken ideas folder. So if I come in here and I'll make a new folder on, I was called Ideas It save or What I can do is I can click and just dragon image straight over the photo shop icon in my dock. Hover until it comes up, hover, tell come back there and then let go, and I dropped it right into my workspace. Now, in Photoshopped, the way you can scale things up, the shortcut is command T or control T on a PC. So the way you would find that If you forget, it's up under here at it, and we're looking for free transform. And that shortcut right there is command T. So, what it does it gives me these little handles that I can start to drag this up larger, and the photo shop will let you skew an image. Right? So we want to keep it proportionate. So we're gonna do is hold down the shift key. And now when I click and drag, it stays. Uh ah. In the in the right perspective here. So when I get it where I want it, I can hit the enter key. Or it can hit this little check mark up here, toe finish my transform. And I'm just gonna start building in a bunch of layers here into this poster file just to start getting some ideas and things I can work with. So come back over here to safari. And, uh, let's just kind of see what else we've got here. Things that inspire me this Mumford and sons. I kind of like how they've got, um, this illustrative instead of a you know, photographic poster like the illustration behind it. Some of the right click I'll save image as on the throat in that ideas folder, so I can refer to it later. Usually I'd work one way or the other. Either save it into that folder or I would click and drag and drop it right into Photoshopped for me to work with later. And I let go too soon. Let me try that one more time. Click and drag hold, Bring it back. Okay, so we could spend a lot of time researching and grabbing a lot of things. So what's best practice, at least for me, is almost a literally set a timer for maybe 10 minutes. Otherwise you could start to get overwhelmed with the possibilities and what you could Dio and all of a sudden you lose your entire day just looking for images or just trying to find inspiration for different things. There's when I saw earlier Oh, here it is. I really like this. Ah, this I thought was really cool. So I'm gonna click on that right click save image as my throat in that folder so I can refer to it later if I need Teoh and in this case, was gonna throw it right into photo shop Command T. And then I'm holding down the shift key. And I'm also going to the altar key by holding down the altar key. Let's see if I just hold down the shift key it it anchors it to the top left. But if I hold on the altar key, it scales out from the center. So just just faster, it helps me scale up faster. I return. Actually, this case that my in turkey okay, and now you can see on the right. I've got my layers. I'm gonna shift click floats right now. Layer three selected all hell downshift and I'll click down there one and it will select everything in between. And I'm gonna hit this little folder icon down here. What that's going to do is put it into a folder. I could have also hit command G on a Mac Control Guiana PC. And now I've got my group and I can double click on this and I'll just give it a name. It's really good to keep your file organized. We'll call it ideas. Okay. And then now is a really good time to save So command s control that's on PC. Always save your work. It should be like a nervous twitch that just happened. So you don't lose anything. All right? So the reasons why I like thes this blue color was inspiring. I also liked the, uh, just out of the organic nature of this is creative. It's Mumford and sons again. I liked how the high contrast of this darker illustration and against the white background and then this Lincoln Park image here is gonna drag this up a little bit so I can see it. I liked that, um, they've got if you look closer, the guy. So this blue triangle that kind of interacts these layers merged together, toe kind of color them, and Ah, it. I think we're gonna probably take that approach on this poster. So what I'm gonna do now is I'm going to turn out that ideas, and we're gonna pretend you'll have this this photo in your in your, um, in your assets file that will provide for you. But I'm just gonna drag this image. We're gonna pretend like this is a new artist. It's coming to a venue here. We've gotta make a poster for him. You confined this image in your downloads or this is on ah website called pixels dot com. So p x e l s dot com and he's right it here. So what we could do is click on it and then click free download, and it will bring to this window I could right click and then save image to downloads. Okay, so I got that one and then about a couple other voters that I found in pixels dot com that were inspiring That might work for this project. We've got some guitars, and then we've got this, uh, soundboard here. So what I'm gonna do with these same deal are right. Click save image to downloads. Click on this one, right click, save image to downloads. So I'm starting to gather all my assets. Okay, so we've brought him into our workspace. And now what we're gonna do is in the next lesson. We're gonna cut him out or isolate this photo so well, crop him out. And that's one of the moat between layers using layers and photo shop and making really good selections. Those were the two probably most critical skills you'll learn and photoshopped because once you master those you can really do just about anything and composite anything together. So we're going to go ahead and shut this down for this for this lesson, and the next lesson will dive into making selections and starting to work with all these assets we started to collect. 6. Making selections in Photoshop: Now that we've got some ideas to pursue for our poster, we've got a photo of the main artist. It's time to start building up layers. But before we do any of that, we have to start isolating things. So imagine that this is really truly if, let's say it's a four by six photo. Uh, anything below this layer is not going to show through. So this little icon down here next to the trash can is a new layer icon. If I click on it, I've got a new layer to work with. I'm clicking back in this photo If I command, click some Homeland Commander Control on PC, and I click it will put the layer below it. So just a little quick shortcut here instead of just clicking a new layer and putting at the top, I want Slayer below And the reason why I'm gonna come up here my colors and just get a bright green right here. I'm gonna hit Ault. Delete all delete is the short cut to fill your foreground color to the canvas. If I command delete, it fills it with whatever is behind here. So this background colors that's white So I basically fill this layer with white all the lead again. I could go toe edit, fill right here or shift F five. That's another way to do the same thing. So one thing you'll discover in photo shop, there's probably 100 different ways to do the same thing. So these air to short cuts that I've discovered that I use in my workflow. So all delete the whole reason I wanted to show you. This is I've just filled this new layer with green. So if I turn off this photo layer, you can see my campuses green behind it. Turn that back on. So this whole white area needs to go away, right or something else. We can explore our layer styles. So right here we've got normal. But I can play with different layer styles and what a layer style is. It controls how whatever layer you're selecting interacts with the layer below it. So right now I'm just clicking on it multiplies. One will probably use a lot, and you'll see what it does. Multiply hides the lighter tones but keeps the darker tones revealed and then merges that with the layer below it So, um, you know, if we change this campus color, let's say to in this case, a purple add new layer. I'll just click on it so it put it above the other layer and I'll hit Ault delete to fill my foreground color. So now he looks purple, But maybe I just want my background to be, you know, purple or green or a texture of photo, and I don't want him to be part of that. So I'm gonna come back over here and you could explore more. So here's another shortcut I'll have. Make sure your move tool is selected. Okay. With that selected on the layer you want, you can hit the shift and plus or minus keys to cycle through us right here as I'm hold as I hit Shift. Plus, I'm basically scrolling through all these options without having to click on each +11 at a time. So sometimes, but then that's kind of a creative effect right there. But sometimes, you know, that's that's all. Find something I want to work with all hit shift plus, and I'll just cycle through real quick and just see what different layer styles effective My image in different ways. In this case, I'm gonna start with normal because I'd like to keep him black and white. Keep his skin tone how it is. I want to just cut him out. So this is one of the most critical skills you learned in photo shop. There's a lot of different ways to cut images out. One of the rough ways I can hit the letter l. A Get my lasso tool and I could literally start to just, you know, we'll just do a super rough cut here. Whatever I trace around, I'll get what we call these marching ants case. I've made a selection, and there's a lot of different ways to isolate the selection. I could delete it. In this case, I usually hit Command J, which jump cuts it up to its own layer. So if I turn up the original, what I've done now is I've brought this letter to the front. Obviously, it's a terrible selection, and it's it's not edible. Are smart object. It's it's destructive editing like I can't ever bring back here where I didn't make a good selection. So making a selection with the marching ants tool and then just jump cutting. It isn't probably the best way to work. A better way to work would be, too. If you make a selection toe, add a mask. So down here next to the FX, we've got this little square with circling that this is a mask, and when I click on it, it remembers what's behind it. But now we're masking it. So anything black hides anything that's white reveals, and I can click left or right here. If I click on the main image now, anything I would be doing would be on the actual image. If I click on this mask now, I'm working on the mask. So, for example, let's say you want to refine my selection. I could get the brush tool. I had to let her be. Get the brush tool and I'm gonna go to window down to brush. And now I can change different settings, like how hard the brushes I can select right here. Maybe a softer brush will turn my spacing down. I'll bring my size up a little bit, and I've also got some other things going on. I'm gonna uncheck these for right now. These things will get into a little bit later. So I've got a soft brush so I could actually come in here. And if I paint with black, So I'm painting with my foreground color, which is black on the mask. So black is hiding. Have hit X X is a shortcut right here to toggle, which is in front. So if my white chip is in front now I'm painting with white and light reveals so you can come back in here. And you could really I mean, this is one way to work. You could zoom in and really refine your selection exactly like you want it. Okay, That's one way to work. I'm gonna go ahead and turn off this mask. I can hold down, shift and click, which just hides the mask. It's still there. Shift click to bring it back, or I can drag it to the trash. Okay, Now I'm now I'm back to the original image here. Another way to work. A newer tool is this magic wand tool, which is kind of ah, combination. I'm signed up the magic one, but the quick selection tool, it's kind of a combination between a brush and like the lasso tool, but in this case it's smart and it detects the color around the edges. So I kind of just drag over everything here, and it's smart enough to know what to include and what to leave now. A problem you run into his areas like this was not a lot of contrast. Technically, his shirt is still over here. But if I use that tool in a try and you know, try and add that it might work in this case, photo shop is pretty intelligent and it sees. But it's not perfect. They're still, you know, down here it's it's having a really hard time. So but let's say you're just trying to make a quick calm for somebody just to see if they even like it. You don't want to spend a bunch of time cutting out this image. You could do a rough cut like this. Now, if I want to add more to this election right now, it's really tough to see. But there's a little tiny plus sign inside of this icon. If I hold down, alter, it turns to a minus sign, and what that means is now. I'm now I'm subtracting from my selection. So, groups, I took too much of his neck away. So I'll zoom in here, command an option. It's a short cut for my zoom tool. Or you just click over here and zoom in any time. And now I'm hitting space bar to get my hand tool, which is right here. So any time you can use your keyboard is a shortcut, it's obviously better. You'll be much faster. So command space bar and now zooms in or command option space bar and I get up and I get my zoom out tool case. Where were we? Oh, yeah, We were on our quick selection tool. I'm gonna hit the Ault key. I'm sorry. I'm gonna leave it alone because I want to add back to this neck. Here. There we go. All right, so now I'm gonna zoom out Command. I'm sorry. Space bar command and all to zoom out and let's do the same thing they did last time. Let's add a little mask. All right, so this is better. A little bit better, but you can see we still didn't get everything in the shirt. The selection isn't quite right. Still So this would be enough, though, if I wanted to just quickly mock it up and see if I like it. All right, So for me, the best way to work when I end up doing all the time is using the pen tool. So we're gonna zip through this pretty quick. It's kind of a complicated tool. I just want to get the principle to you, and then this Something will learn more as we as we go. But what I'm to do is get the pen tool and I wanna make sure path is selected instead of shape. If it's a shape, you can actually draw new shapes and you can change the field color, which is great. But right now, all I want to do is I just want to use it to create a path and then cut out that path. So I'm gonna delete that my shape layer still selected, will hit, delete, and that goes away. I'm gonna hit P to get my pen tool and I'm gonna changes from a shape to a path. Okay. With the pentacle again, it's something you'll need to practice. But you can click and drag and then click again and you'll notice I've got my anchor point right here is where the path starts. It's gonna go towards where this handle is, so it's gonna bend towards that and then get down to here where this other point is, and it's bending up because of this anchor point. If I hit command, I can get my selection tool and grab that anchor point and bend the path. So again, these are just handles to control this busy a curve here what we call it, uh, and what I like about it is you can get really, really precise. So, uh, what we're gonna do now is we're gonna zip through this real quick over here, My paths later. I've got that path, that work path. I'm gonna delete it. Yeah, we'll come back to my layers. All right, so here we go. I'm just gonna go quick, so you can see, however, do this and then we can practice these skills more later. So I hit the caps lock key. It changed my icon from his dependable to the precise marker here. So I've got my caps lock on his human real close. I'm holding down the Space Bar Command. All right, now we're gonna start cutting this guy out here. I'll click and they'll drag a little bit. Now hold on the altar. Key to change to my, uh, this tool here, This is called the Convert Point tool. And it just helps you grab these anchor points because otherwise, what would happen is if I did it my command to We'll see how it grabs that lower curve to, and it bends this one. Well, I'm happy with this being here, and I want him all to key to start bending this around. All right, here we go. So we're just going to zip along this line real quick. It's not going to be perfect, but it's gonna be good enough here to get our poster going. So let's just zip through this real quick. So I click and I dragged a little bit. And the reason why is that? When my curves are a little bit softer and they're not, that's that. You know, like, if I just click like this or not jaded if I click into rag right when it commands, eat now in Photoshopped, have to command options, your control all Z to step back. Multiple. Otherwise, what happens if you just want to undo commands? It just Hol goes back and forth between the last thing you did. So you want to step forward or step backward by using command options? E Okay. All right. So let's keep going with my selection here. Click and drag. All right. And what we're gonna do now is when we get close to the hair, we're gonna do a different selection of method, and I'll show you that here in just a second. So we're gonna keep right along his shirt, click once, and then I'll click again and drag my handle this way. So my curve comes along here, click out and the reason I'm clicking during this way. So my handle, man, it's really tough to see on this image, but so my handle comes this way and that curve, which you probably can't even see Europe's comes along that neck now would have the old key . I'll grab that handle. I'm gonna bring it right around here. So it follows his neck, I'm gonna come up towards his hair, and then what I'm gonna do is zoom out real quick and I'm just gonna get close. There's another selection method to get all this hair isolated. Okay, I'll come up past the canvas and, uh, will come down here around here. I'll click once, and then I'll click again And drag, click, drag, Come down here. Click drag to bend that curve. Okay. And now I just need to close that gap. So I'll come down here, Click, click. And then when I hover over that open point where we started, my cursor changes to this icon with the pen to one in a little circle. Next meeting, we're closing that path. Okay, so I've got my path over here, and what I usually do is I double click, and I'll call it something usually call it just cut out And what it does that way it saves this path in this file. Okay, Now, what we're gonna do is I'm gonna hit command, return or control return to turn this into a selection, you could also grab that path again, right? Click and make sure that your pencil selected and say, make new selection. We'll click on that and will make a selection. So again, we're just giving those marching ants. Okay, now I'm gonna click on my little A mask tool, and I've got this nearly perfect selection if I zoom out. Okay, so the other thing I would do to polishes up a little bit, I need to add this little chunk here. So let's get my pen tool and I'll start. Same thing. I'll just cut him out real quick. Okay, close enough. Command return. Got my selection now because I'll come under this mask and I can fill it with blacks. Remember when I was feeling with green and purple? I was holding Ault delete to fill it with black. We'll make sure I've got you can see this sudden little box and make sure I've got that selected around my selection. Blacks on top of it all delete. And I've added that to my selection here. Okay, so now we've got a pretty good selection. Now, what we're gonna do in the next lesson is we're going to really refine this hair, So go ahead and play with this on your image. Play with that pen tool practice, making your selections, and then the next lesson we're going to learn how to make really, really, uh, difficult selections with things like hair 7. UPDATED: Refine edge selections: Now that we've learned how to make basic selections, we're gonna try and tackle hair, which is a much more complicated selection. Obviously, we don't want to try and cut out by hand all these little strands of hair. And luckily, Photoshopped makes this easy for us. So as I look at this, though, I realized I probably could have cut this a little bit closer to make voter shop a little bit happier about life here. So I'm gonna do with the letter L my lasso tool. Okay. And I'm just going to make a closer selection That's a little bit closer to where his hair actually is. And this will help us out here in just a second. You'll see why I'm gonna come back over here and then says I let go. It closes that gap. I'm gonna make sure that selected will hit all delete command D to de select. I could have gone up to select de select. Okay. And now I'm just gonna keep working around here. And the reason why I'm only doing his little chunks and hit off the lead is because if I if I had to try and trace all the way around and then hold on the space part of move and then keep coming over here It then I have to see if I just let go. Here it closes. The gap is a circle across his forehead, and I don't want to do that. Um, So what I would have to do then, is come back all Iran. I'm still holding down the mouse. Hit the space bar to move still holding down the mouse to basically make this like, loop shape. Okay, so that's why I'm just quickly grabbing little chunks, all delete again, making sure I'm still in my mask layer and again just trying to get rid of some of extra white space that I left. So over here, it's not too bad, But we'll just remove a little bit of it, getting it closer to the hair that I want select. And the reason why is what we're going to do now is I'm gonna hit command and click right on this mask with command. Click on the icon. It brings the selection back, and that's a shortcut, actually can. Using any later, I command click on anything. It'll put a selection around that layer. Ah, quick detour. Let's say I have a shape here, this random shape that have drawn hit command and click on that layer It puts a selection on whatever pixels it sees in there. OK, so delete that layer. Click back of my mask, Hold down command. So I get that little tiny being even see it But that's square on my hand Cursor click ones in my eye my marching ants My selection comes back. All right Now I'm in at the letter m to make sure my square selection tool selected. And the reason why is because when I hit that letter M key, let me go back to let's see what was on. Maybe the pen tool. You see, I've got a pen tool. Options appear in my heads up display by hitting letter M. I've got my selection tool or one of my selection tools. I could do that on the lasso as well. But what you see is up here. I've got this refined edge option that shows up when I have the lasso tool or the selection tool. Hey, sorry to interrupt. Let me cut in on this lecture real quick. I have an update for you. I was about to show you how the refine edge tool worked. But in the latest version of photo shop, when you go to the letter M instead of the same refined edge it now says, select and mask The other thing that I'm about to show you is I When I made this video, this layer was a smart object and I found it had better luck with my selections. If I right click on this and May in Rast arise the layers Let me go ahead and decent like this Command d to de select I'm gonna right click Amazon Rast Arise layer Now that rast arise all command click on my shape or on my mask layer again Well, at the letter M And now I'm gonna click appearance, Select and mask. Now what I'm gonna do over here on the left hand side I have the letter R, but this brings up my refine edge brush tool And now I can start painting in here and you'll notice you'll get a much better selection right away. And that should help you out a lot. I've been getting a lot of questions about this, and I hope this clears it up. Go ahead and watch the rest of this lecture. There's some great tips and tricks. And then be sure to catch the video that I made That gives you even more detail about the new photo shop. Selected mass tool. All right, continue on. Thanks, guys. You see, I've got a pen tool. Options appear in my heads up display by hitting letter M. I've got my selection tool or one of my selection tools. I could do that on the lasso as well. But what you see is up here. I've got this refined edge option that shows up when I have the lasso tool or the selection tool and click on that refine edge. And now it brings up this dialog box here where I can paint over the edges and photo shop is smart enough to know what dark and what's the hair that it's trying to keep. And I'm just kind of guiding it to where I wanted to make the selection for me. So I just kind of paint over the hair a little bit and look at that. It just knocks out everything behind. That's not hair. So this refining edge tool is amazing. It really saves a Thanh of time so I can click over here, and it's kind of drag around the image to finish my selection. And in this case, this is why I you can see it's kind of struggling with this orange edge a little bit, which is why I went through and cleaned up that white selection. Just It was a little bit tighter and on things, okay, and I could spend a lot of time doing this. And if you have a hard time seeing what it's actually doing, I can click on this view button, and I could put it say, on White. In this case, it's a white background, so maybe I want to put it on black and see what my selection is doing. You can see we've got a little bit of bleed through. Well, my computer catch up here, Let's put it back on the overlay. Okay, so we're coming through and we're just getting the selection refined and you could spend a lot more time on this for the sake of this video. I don't want a linger too far here. I just want to show you the principle of how we could do this. So once we get it close to how we like it, I'm using the space bar again. I'm only on the space party in my hand tool to kind of move around and see if it's close enough. And then once were done the output, we could put it to a selection to a layer mask to a new layer. Right now, I'm gonna leave it as a selection, okay? And I want to add it to this other selection I have Now here's the catch. Its selecting everything on the inside. So if I hit command, delete and fill it with white Well, that doesn't really do me any good, because I've already got that selection there. If I hit, all deleted, filled with black Well, that doesn't help me either, because now we're filling the inside of my selection with black and it hides my image. Some of the command Z. So what we really need to do is invert our selection. So if I zoom out, you can see we've selected the image here. But honestly, what I wanted elite is this white space around it. So I want to select everything but that so come to select inverse or could hit shift command I. And now my selection is everything except for the middle. So I can add that to my mascara Click here. I'm gonna fill it with black. So it all delete, and now you can see I've got a pretty good selection of his hair. And again, this is this is a problem. And look at that. You can see it's almost perfect. Um, I could have done a better job up here, but we're just trying to blitz through this so you can get the principles and see how it's going. So once that selection is how you like it now is the fun part. We can start adding images behind or working with layers to bring him in front of or behind different text elements. We're gonna go ahead and do that in the next lesson. 8. Refine edge selections: Now that we've learned how to make basic selections, we're gonna try and tackle hair, which is a much more complicated selection. Obviously, we don't want to try and cut out by hand all these little strands of hair. And luckily, Photoshopped makes this easy for us. So as I look at this, though, I realized I probably could have cut this a little bit closer to make voter shop a little bit happier about life here. So I'm gonna do with the letter L my lasso tool. Okay. And I'm just going to make a closer selection That's a little bit closer to where his hair actually is. And this will help us out here in just a second. You'll see why I'm gonna come back over here and then says I let go. It closes that gap. I'm gonna make sure that selected will hit all delete command D to de select. I could have gone up to select de select. Okay. And now I'm just gonna keep working around here. And the reason why I'm only doing his little chunks and hit off the lead is because if I if I had to try and trace all the way around and then hold on the space part of move and then keep coming over here It then I have to see if I just let go. Here it closes. The gap is a circle across his forehead, and I don't want to do that. Um, So what I would have to do then, is come back all Iran. I'm still holding down the mouse. Hit the space bar to move still holding down the mouse to basically make this like, loop shape. Okay, so that's why I'm just quickly grabbing little chunks, all delete again, making sure I'm still in my mask layer and again just trying to get rid of some of extra white space that I left. So over here, it's not too bad, But we'll just remove a little bit of it, getting it closer to the hair that I want select. And the reason why is what we're going to do now is I'm gonna hit command and click right on this mask with command. Click on the icon. It brings the selection back, and that's a shortcut, actually can. Using any later, I command click on anything. It'll put a selection around that layer. Ah, quick detour. Let's say I have a shape here, this random shape that have drawn hit command and click on that layer. It puts a selection on whatever pixels it sees in there. OK, so delete that layer. Click back of my mask, Hold down command. So I get that little tiny being even see it But that's square on my hand Cursor click ones in my eye my marching ants My selection comes back All right Now I'm in at the letter m to make sure my square selection tool selected And the reason why is because when I hit that letter M key, let me go back to let's see what was on. Maybe the pen tool. You see, I've got a pen tool. Options appear in my heads up display by hitting letter M. I've got my selection tool or one of my selection tools. I could do that on the lasso as well. But what you see is up here. I've got this refined edge option that shows up when I have the lasso tool or the selection tool and click on that refine edge. And now it brings up this dialog box here where I can paint over the edges and photo shop is smart enough to know what dark and what's the hair that it's trying to keep. And I'm just kind of guiding it to where I wanted to make the selection for me. So I just kind of paint over the hair a little bit and look at that. It just knocks out everything behind. That's not hair, so this refining edge tool is amazing. It really saves a Thanh of time so I can click over here and it's kind of drag around the image to finish my selection. And in this case, this is why I you can see it's kind of struggling with this orange edge a little bit, which is why I went through and cleaned up that white selection. Just It was a little bit tighter and on things, okay, and I could spend a lot of time doing this. And if you have a hard time seeing what it's actually doing, I can click on this view button, and I could put it say on White. In this case, it's a white background, so maybe I want to put it on black and see what my selection is doing. You can see we've got a little bit of bleed through. Well, my computer catch up here. Let's put it back on the overlay. Okay, so we're coming through and we're just getting the selection refined. And you could spend a lot more time on this for the sake of this video. I don't want a linger too far here. I just want to show you the principle of how we could do this. So once we get it close to how we like it, I'm using the space bar again. I'm only on the space party in my hand tool to kind of move around and see if it's close enough. And then once were done, the output, we could put it to a selection to a layer mask to a new layer. Right now, I'm gonna leave it as a selection, okay? And I want to add it to this other selection I have Now here's the catch. Its selecting everything on the inside. So if I hit command, delete and fill it with white Well, that doesn't really do me any good, because I've already got that selection there. If I hit, all deleted, filled with black. Well, that doesn't help me either, because now we're filling the inside of my selection with black, and it hides my image. Some of the command z. So what we really need to do is invert our selection. So if I zoom out, you can see we've selected the image here. But honestly, what I wanted elite is this white space around it. So I want to select everything but that so come to select inverse or could hit shift command I. And now my selection is everything except for the middle. So I can add that to my mascara. Click here. I'm gonna fill it with black. So it all delete, and now you can see I've got a pretty good selection of his hair. And again, this is this is a problem. And look at that. You can see it's almost perfect. Um, I could have done a better job up here, but we're just trying to blitz through this so you can get the principles and see how it's going. So once that selection is how you like it now is the fun part. We can start adding images behind or working with layers to bring him in front of or behind different text elements. We're gonna go ahead and do that in the next lesson. 9. New selection masking tool: Since I've launched the graph design course, adobes actually made some changes that affect this tutorial that you're watching. So what I want to do is two things. First, I want to show you the difference, specifically the selected mask options that they've now added. And I also want to show you where to find all of the changes that Adobe has made and how to stay current with that. So the first things first is let's jump over here to this creative cloud icon and then click on APS and we can see all the different applications we have installed. We can see which version we have. So this one that I've updated are upgraded to is 20 15.5. When click on View Tutorials, which will launch a browser and bring you here to the Adobe Photo shop landing page. Then click on the What's New, and that's gonna bring you to this page where you can see chronologically all the changes that have happened. There's a lot of really cool things you definitely need to check out, but specifically, what I want to show you is a selection and masking space. So if I click on, see how it works. You can actually check out this page, and there's a much more in depth tutorial if you wanna learn all the bells and whistles. But when I want to show you is for some of you have the older applications. Older software. If you go to refine your mask in your selection when I have the skin a little hit the letter M and I've got my rectangular marquee, which in my options bar, is going to bring up the select and mask option. Now, on the older versions of full photo shop, you'll probably still see the refine edge if you haven't upgraded yet, So I've kind of showing you how to do that in the last video. Now I want to show you is the new selected masks space. So what I'm gonna do is go ahead and click on Select and Mask, and it opens up kind of a new window where we've got some options down the left hand side. We've got this brush here where we can ADM or to our selection. We've got this brush below weaken refiner selection and then a few other options, which, honestly, I don't haven't had to use too much yet. So what I want to show you what's really powerful is over here in the view mode. We have his onion skin mode, and they still have the other options that we had in the refine mask where we, you know, we could put the layer on black or white and really get a feel for what's going on. But this onion skin mode is great because you can see the layers below and I can control. The transparency is, well, I can scrub it left extreme it all the way to the right to control. But I'm seeing so right now it's 100% opaque. So I'm I'm seeing my selection, and I'm not really seeing anything else. I'm not really seeing the blend, but I can back us up just a little bit and I'll notice that I'm actually missing a little bit of the hair here, which I would have noticed if I was just looking at the 100% mask. So I'm gonna dial that down a little bit. I'm a cop here and choose my quick selection brush, and I'm just basically click just once, right in there. Click once right in there, and it pretty much does a good job of adding in that piece that I missed. Now the next thing I want to do is jump over here and click my refined brush, and it's gotten a lot better in this refined selection or this selected mask box. So as I click and drag, Photoshopped does an incredible job of finding all these little stray hairs, and I just kind of click a couple times, drink over here, click and drag over here, maybe a little bit down here. And if I accidently get too much across the top of his head right here, those white highlights blowout and actually looks like it's transparent. But really, we know that that shouldn't be. Somebody was hit the altar key and then kind of brush over that a little, get a little bit. And again, I'm amusing the refined brush tool over here. And then if I dragged this back up to 100% you can see I've got a really good selection there still a couple pieces down here. If I wanted to be really picky about it, that I can refine that a little bit more, and then once I've got it, just how I want it, I can come back over here and if I need to Now, right now, I'm using an image. I'm kind of cheating because the hair is on already a pretty light background, so it makes it pretty easy. But if you've got a difficult background, you can use some of these options to get a better selection. So whether you need to smooth it out, maybe feather in a little bit, or even add a lot of contrast that might help get a better selection against one of her background you have, or you could even shift the edge. If I scrub all the way to the left, you can see that it sucks that image that selection in or Frey I scribble away the right. It really blows it out and gives it a lot more space around my selection. But I found that photo shop does a really good job right out of the box with the default settings for most images. So these options are there to play with. But again, I would start with just the defaults and see how it does now, once you've got that, just how you want it. If you just see this right here, output settings, we can click a little twirl down arrow, and we control exactly how this is going to be exporting our layer. You might need to click on decontaminate colors now where this would come in handy. In this case, I've got a black and white photos, so I really don't need to use it too much. But it did clean up this hair a little bit, so I had a little bit of white coming through. And let's say this was shot on a green screen or in some of the setting. Maybe there's a red light, and there's some some color cast onto the edges here. If I click Dick decontaminate colors, it'll help really knock out those edges in a way that you won't have. That issue does a pretty good job with that. Now, once you've done that, we'll go ahead and click on how you want to spit this out, and I typically I would just leave this as well. Now that I click decontaminate colors I don't have the option to keep is a layer mask, which is typically how I would keep it. Since I click on that, it's great that I was gonna make a new layer with my mask. And the reason why I let me go and click OK is because Photoshopped has actually adjusted the colors around the edge of this photo is actually manipulated the photo and it saved the original, just in case I'm not happy with it if I ever need to go back to it. So anyway, I hope that helps. And I hope that clear some things up for you Just want to take the time real quick to say thank you so much for signing it for this course. I hope you're learning a ton, and I'm gonna do my best to keep us updated as current as possible. If you ever come across any other changes like this that, uh, that adobe has made, please let me know. Feel free to hit me up on the Q and A or a direct message through the unity platform. I try to get back to everybody within 24 hours when I can again. I just thank you so much for taking the time. Teoh join this class and let me know if you have questions or if you need any help, or especially if anything has changed. All right, Good luck. And, uh, here we go. 10. Text: all right. In the previous lesson, we were fined the hair and it wasn't quite perfect yet it looked a little bit like this. At least it did for me. And I went ahead and spend a little bit more time cleaning it up. You can do that on your own time if you want to, but we're gonna continue on. We're gonna add some typography. Obviously, the event details are important as well as maybe some images. And perhaps let's change the background from purple to something that fits a little bit better. So what we're gonna do now? I'm gonna hit the letter t to get my type tool. I'll click once in here and I'll start typing in. In this case, I've already got my details. So I'll copy this. We'll pretend it. This guy's name is John Singer. Oops. So clicking here, Command V to paste enter to, uh, commit my layer. And the reason why is when this is still selected after I've pasted it trying to the letter v tool V to get my other tour. Any other tools? Obviously, Um, those hall, those are all characters. So none of my shortcuts work when I'm inside of the text here. So one hit command v o hit enter on my 10 keypad. Or I can click on the little check mark up here to now commit that text. And now I communities any shortcuts I want In this case, I have the letter V to move it around. Remember that shortcut command t to do the free transform and this will let me scale it up . Now, if you get tired of having to hold the shift key to keep it in perspective to keep the ratio, you know how it supposed to be. You can come up here and click on this little link icon between the width and the height. Click on that. And now, no matter where I scrub or you know drag, it'll stay the same perspective without skewing it. I can also scrub right here on the W on the within the heights to make this bigger or smaller. But in this case, I just want to drag it a little bit larger. And I'm just going to stick with Helvetica for this font. Quick side note. Now, this is with the whole course of the whole. If you want to become a great graphic designer. You need to keep studying. Keep learning everything you can. So what I thought I would show you Is this movie Helvetica, right? You can rent it on Amazon or buy it from Amazon on Netflix. If you have the DVD subscription, you could get it from there too. I'd highly recommend checking that out. It's great. Ah, great little documentary about the font Helvetica where it came from And some designers love it. Some designers hate it, but it's worth knowing. Whatever you decide to choose in your design, why you chose it? Not just, you know, throw it out there. So what we're gonna do now, I t to get my type tool again and I'm gonna click right between that space. Click and drag returned to put this on two lines. And now I want to do is it command A to highlight all of it. And now command option and then the upper down arrow keys. Change is what we call the letting back in the day when these set fonts that I should put physical pieces of lead between the font characters. And if you watch that Helvetica movie. You'll learn more about that anyway, So we're changing the width, which again is called letting another way to do that in again. Holding command option and the upper down arrow control Ault up and down on a PC. I can also open up my type window if I go to window and down to character. It adds that little shortcut here in my menu bar. And you can see we can change the font the size right. Here's our letting. So with this guy selected, I can scrub here and change that gap size. Okay, so that's another way to make that change. What I was doing ahead all selected command A and again command option up or down. And you can see as I do, that this number over here is changing. Okay, So again, shortcuts will help you blaze through designs much faster and get your ideas out as quick as possible. I also have right here it I typed it out. Lower case, but I hit command shift K Tata, go on this all caps. So I want this to be all caps. Wants to get my change. I want it all hit. Enter and now it command T. I want to scale it up a little bit. Now let's pretend like this guy is super famous and everybody knows him. He's some kind of a rock star singer so we can get away with. I'm gonna make this a little bit smaller. And now for hold on shift, it goes by a factor of 10 right here. So if I hold down, shift and go up and down, it's 2030 40 50 60. Okay, it goes faster, or I can take my finger off of shift and go basically one point at a time. Okay, so I'm a stack that right on top of itself had the letter V to get my move tool. Then I am going to move this up behind. And when you did this, your type was your type Player was probably on top here and again. That's where layers are so awesome. Because I can come over here, I'll click on him and I'll drag this up above, or you can hit command in the left bracket or right bracket keys. Those are the ones right next to your letter P. So if you look at you like a piano keyboard the very next one, that square bracket. If I had command and that it will send my layer below or if I hit the next one, it'll send my layer above. Come over here the layer and let's find that arrange down here. This is what I'm doing. These air, those shortcuts, okay to move those layers up or down. So we got him in front and again it's pretend this guy super famous. Everybody knows him so we could get away with a really cropping this toe, where it's almost unlikable, you know, or maybe you lose some of his letters. Or maybe you want to keep it to where? If somebody's not familiar with this artist, you still kind of legible. But that's where you have to choose. Do you want to be, you know, cutting edge and do something crazy, which would be kind of cool, kind, like a magazine style, or if you need to be more of a functional piece where you want any information to be lost. So that's up to you as a graphic designer who is communicating to make those decisions. Okay, so we've got a text where we want it. Let's go ahead and bring in the other tax here. So a lot of times, what I'll do is I'll just copy all of this. Come and see. Come over here and click. Once. There's a couple ways we can work, click once and paste this. Which brings it all in like this, not inside of a text box. So I don't have the option to refloat my text or with my text so I can click and drag, and it makes a box that that my text fits within. So the reason why that would be important is let's say this is bigger. Um, and I'm using command shift and the period key or command shift comma to make it bigger or smaller. Okay. And inside of a text boxes I click into rag, it will re flow my text to fit in that box. This is great for paragraphs and things like that. So again is either click ones and paste with my type tool or click and drag to make that box. Okay. And these are all little things will learn more as we go. But just so you know what, I'm doing that. Okay, So here we've got the details. Now here's where you would not want the details to hide behind his shoulder. Otherwise, people won't show up on time. So we need to find a creative way to enclose this information and bring it in front. So first and foremost, we hit command shift in the right bracket key. So it's not the one right next to Letter P. But the one after that to bring this layer all the way to the front again that was under layer. Arrange Bring the front. That's what I did. Okay, so we've got all the way in the front and, ah, we've got a type in here and we're going to use the same font Helvetica, and let's go ahead and pause right here and in the next lesson. What we'll do is we'll work with shapes and textures to start really bringing this thing to life. 11. Layout: all right. We're getting really close here on our poster. We've got our text in. We got the image of the artist. The content are the the event details. So we're really close. Obviously need to clean it up a little bit. And now at our polish to it to make it look like we wanted to look, this is where it can be a giant time suck. You could spend hours on this thing or, you know, you could just call it good and you know, the details air on there and we know who it is, and we're good to go, But let's go out and push us a little bit further. Let's learn a few more things that we can do in photo shop, and we'll go from there again. We're gonna blitz through this pretty quick, and you can take a much time, as you want with these assets toe to make something creative that you love. So let's go ahead and think about this tax. What do you want to do with it? We've got a couple of issues here. One is it's a lot of text, right, and it's dark so it doesn't fit well over his shirt. We need to find a way to either put it in an enclosure or bumped the contrast to do something toe where this is this functions, you know, form and function, right? It might look cool, but what People actually show up to the venue because they can see the text. The other issue I see here is the photo we had. His head was already crop to the top, so I can't really pull him down without his head looking like it's been chopped on top. And that leaves us with two options down here. So he's he's not quite big enough to fill his image, so I can either one command t to get my free transform tool and just scale him up. I could skew it, which obviously looks terrible. Solve that shift key and just enough just to make him just a little bit bigger that he goes the full width of the image. That could be the best solution, especially if we start, you know, putting our type, you know, filling our type down here. So it fits around his arm. That might be a cool way to go about it. right that fits really nice around the shoulder. I could keep pushing the details or maybe make this second chunk a little bit smaller. Had command X to cut that And what that does it cuts it and also copies that your clipboards enough a click ones here in the command V just that addresses down here. So maybe, you know, it's gonna be a big poster. So this is really an 11 by 17. And it's this big that's still technically legible. If people want to see where it's that they can see this and that's good to go, Right, So maybe we're done. Maybe this is all we need for this poster or let's pushing a little bit further. So another way we could do, uh let's say that we didn't want to make it that much bigger. And he's gonna be the short. So now what we need to do is find something to put over the top so we could get our shaped tool. The letter you I'm gonna draw a rectangle. It's gonna feel the black currently, or I could match my design a little better, hit the I to get the eyedropper tool and select that lighter gray from his shirt. And now, when I hit the letter, you it pulls in that lighter gray color click and drag to get my rectangle I'm gonna zoom in a little bit so I can see this a little better. Okay? And numbers command t to direct this right where I wanted to go. And it just needs to be big enough to hide his well, one of two things either big enough to hide this gap down here or maybe a little bit bigger if we decide we want to put our text. It's kind of tough to see my design right here on this great background. So here's a tip for photo shop. I can right click on this canvas and make it a different color if you need to see your image a little bit better. Okay, so maybe we grab this, uh, this text and we put it in line. Summit space and shift and the pipe divider. It's right below your delete key or right above your return key. It's space hit delete to bring that in the lineup next to itself. So there is that little pipe divider I put in there. Maybe I'll add another space between those. So it's easy to see over here. Ochlik double space. That pipe divider, double space. Hit the delete to bring the text. Okay, so now it's all up in one line. I can do a couple things, but this text will selected. I can hit command elite to fill it with that background, White or I could have double or triple clicked in here and selected a color from appear. Or I can hover anywhere in the image and select the background. So if you want to match this current purple color, we could do that. Uh, I'm just gonna command delete to fill it with that white text. So here, you know, here's another option. Maybe maybe it's just super simple. We've got our date time. Uh, and then we've got our information down here. Maybe we need to add a Web address or something else down to this information. And again there's that could be a poster. You could be done there. Let's push us a little bit further, though, Um, another option may be to make it more creative. I'm looking at his shoulder and it's kind of Let's see if I were to see real quick on this drought quick rectangle. And I'll fill it with some bright, obnoxious color so you can see it. Um, let's pretend you wanted to match that angle. I could. Now, here. Here's what I did command T. And then I hover down here and my cursor changes to that. That curved arrow, which means I can turn this. Okay, so I'm just kind of matching the angle of that shoulder. And that's another tip to when you're designing things. Look at the elements around you and see what things you can work in to create consistency. So now I'm gonna get my direct selection tool right here so I can grab these little anchor points or click once here. This will be easier to see on his shirt. If I click once here, this one is solid. So I'm just selecting that one point where I can shift, collect multiple points and move those around. Okay, So I'm gonna do is I'm gonna click this little guy, the other one down here. Maybe you could let me. Here we go. I'm just gonna Come on, try it again. Click Once shift Click over here and I'm gonna drag straight down to kind of create this cool little shape in the minute command T I'm gonna zoom way the heck out and zoom it up. We're scale up a little bit and again, I'm just trying to match the angle of his shirt. I'll bring it down just enough to where it covers that arm. Or maybe to where it feels good on the side as's faras Good balance. Turn off that of the layer. And so here's another thing we could do. We could stack the text over here and we could bring this information down here highlighted . All in all, line it to the right and I don't like this angle against this angle. So maybe what I'll do is I'll bring the time up on this line, okay? And now this angle, this angle match, and that's starting to feel pretty good. And then we could do the same thing to this text here. So you can see we could endlessly start to refine things and this is how you work. You just start to play with things and see what you like. Uh, and I'm going to align this to the right and something has to pay attention to is what we would call guides or the grid. So, you know, if things aren't quite lined up, right, Maybe that's on purpose. Maybe that's a choice. But whenever possible, pay attention to the other elements on your page. In this case, I can click, right? If you don't see the ruler command are good view and turn on your rulers. Okay? And now what I can do is is ah pulled down a guide. Hold down, Ault. And now I changed from a horizontal guide to a vertical guide. All right? And that I can make sure that my text and all my assets line up in the same spot. So just little tricks like this will set you apart from the other designers as far as keeping things in line. All right, so we're playing with this. Lay out a little bit. Ah, and you can see how you can start to work with the layout in the next lesson. What we're gonna do now is try some different background elements, maybe try some brushes and textures to finish this thing off. 12. Additional looks: Okay, We're getting really close on our poster now. Now we just need to add those finishing touches of either textures of background elements before we do that. Let's just pretend like this poster was exactly what the client asked for. Or, you know, this artist or whatever. But let's say it's not quite what you were feeling, and you hate it when that happens. A lot as a graphic designer, you might be, you know, might have to appease somebody else who wants something specific. And let's say purple was his favorite color, but it just looks terrible. So what I would do in this situation, I would go ahead and save where we're at. And, uh, because I've been recording these videos, I've been forgetting to save. But make sure you save along the way. So we save this and then usually what I would do in this situation. If I'm happy with one Look, I would save it here and just hold on to this file, and then I would hit command shift s or control shift s on a PC and save this state as something else. So I love my symptom poster, and I might put Dash and then V two as my second version or another idea that I had. So I hit save. And now, no matter what I do to this, I can always go back to this point in time where, you know, maybe it's exactly what they wanted again. I is not my favorite at all. We got some work to do, so let's go ahead and dive in. One idea I had when I was looking at pixels dot com, we had this guitar image and we had this 1000 soundboard. As I looked at it again, though, it's actually a deejay turntable. So maybe this guy's a deejay and he's not a guitarist at all. Let's go back to our Photoshopped file and I'm gonna click here. Here's a trick. Whatever you layer, you click on with your okay, I've got my move to a selected and I've got auto select layer turned on so I can click through. Any layer in over here will automatically select that layer so I can start. You know, if I wanted to start clicking on anything and moving it around, I'm a hit command Option Z. We gotta throw in that option key to step back multiple steps If that was turned off, sometimes it's handy if you've got a really obscure layer like let's say you want to move this John Singer title behind him, but without actually accidentally selecting him. So I'll select my layer. And now, no matter where I select on our board, I can move that around behind his head. Okay, so that's a handy trick to know anyway. So what we're gonna do now is we're gonna play this a little bit. I don't like this divider here, so I select it. I'm gonna delete. I can't see my text now, but that's OK. We'll fix that here in a second. I want to fix this gap. I'm gonna click once on him, Command T. Well, scaling up a little bit, holding the shift key down. Okay. And then let's grab that turntable and I'm gonna direct right into this image. Now, one thing you need to be careful. When you download women bitches, Web images or any image in general, make sure it's a high quality. It should be a bigger file because you'll notice right now. This came in at full size This is a poster snuff. It command T and I scale it up. I run the risk of Sago riel big. I run the risk of this becoming really pixelated. If I get really close in, you know, maybe it's blurry and it looks bad. So it's just something you need to pay attention to. Okay, in this case, it's big enough for what we're doing. I can hit return and let's hit command and the left bracket that key right by letter p to move this layer down below him. Okay, now there's there's not enough contrast. So now we can play with this layer. We can change the opacity right here, and you can scrub this down to make that a little bit softer and whatever layers below will show through. I can also a shortcut for that. I'll just hit the numbers on my 10 keypad. If I hit five, it jumps to 50% opacity or maybe eight for 80% opacity. In this case, I want to be a little more subtle. So hit 3 to 30%. I don't like that purple background. What can we do with that? Let's play that a little bit. Um, let us try. Maybe a blue or something. Okay. And now his titles kind of getting lost. Let's bring that above are turntable layer. And maybe now that those air darker tones maybe we need to make it a lighter color. So I can with that layer selected, I'll make it white command delete to make it white behind him. I'm gonna click on that turntable and just kind of move it around to where it may be, where I like the look of it. Let's just kind of see what we've got here. Maybe we'll feature that so you can see the turntable little better. Or maybe we like the dials. Just totally is your preference. Your call. Whatever you want to dio case, that looks kind of cool. Um, and then now we gotta make this text here legible. So let's click on that, and I'm gonna make it a line left. And let's see here. Let's make this a little bit smaller. People can study this image. If there really insured in this, they can look at it and figure out the details of the concert. We'll grab this location. So what I'm doing now I moved over hit T. Click in there once command A to highlight the whole thing. Click on the left aligned left box and return when I'm done. Actually, the enter key when I'm done And there we go. Now I'm lining these up. I've got these visual guides and photo shop so I can see that these air in line with each other I could also select multiple layers at a time. And then I get these alignment options so I can align these So these two rectangles with a line to the left edge or to the bottom edge or to the center. So if I click on this centre, it'll align them center with each other or in this case, I want them to align the left edge. They're all aligned left. Let's make this just a touch smaller here on this poster are on this Ah, location. And I'm really happy with the spacing between here, it feels it feels good. And balance is about the same out of space. It bends around the shoulder again. Just pay attention to where things working on your, uh, on your our worker on your poster, where things are falling in line to make sure there's good balance. All right, so that feels pretty good. So we could call that done. So there's another version of the command s to save it. And let's say for kicks, we want to do one more and we'll bust it out real quickly. Command shift, save. We'll go to V three on this. Now, before I do that makes you save it once first. So you save this currently as version two and then command shift save to create another one . All right, so now we're gonna do is one more version, this thing and let's pretend like they're like, Oh, we got to remove this little tattoo on his neck. So I'll zoom in real close the letter l to get my lasso tool, and I'll just draw right around that little tattoo. Pretend it was a temporary tattoo or something. And his manager said All we got to remove that what we can do, make sure that layer selected. All right, click. I fill and in photo shop, we've got this content aware fill. What's awesome about it is it looks at all the pixels around it and fills it into match so real quick you can remove blemishes or things like that. Or let's pretend like on his shirt you wanted to remove. Let's say it was a brand name and had to go away. We could select different elements and right click Phil to content aware and boom! It disappears. So that's a fun little tip as we're looking at this, all right, so let's do one more version of this thing. Let's pretend like we want to go more of a subtle ah texture or random pattern. I could turn that off and let's add a new layer and I'll get my brush tool out the letter B . Okay, I'll come over here and open up my brush presets. If you don't see that, go the window and you can pull down your brush or brush presets. And Photoshopped by default, has some pretty good options. But you can also download some brushes, some different texture brushes, and I can provide these in your assets folder for you to look at, but what we can do now select your brush and we can hit the bracket key so the same bracket keys you to move a layer Reinisch letter p so right bracket or square left bracket, which your brush size bigger, Smaller. You can also click up here and scrub left or right to get a brush. Bigger. Smaller. Okay, so on this layer, what I'm gonna do is I'm gonna select this blue color. I'm going to click on this chip and make it just a touch darker. And I'm going to make sure you're working on the new layer. Let it be to get my brush tool. And now I can start just kind of clicking anywhere in here, and it's a really subtle effect. But now what I'm doing is adding kind of this little just just a little bit of texture. Just so it's not flat. So again, this is where you have to decide. How much do you want to put into this piece? What? What does it take to make it something that looks cool and that's going to get the idea crossed so I can turn that on and off if I don't like it? And at this point, you're probably feeling pretty comfortable Photo shops. What we're gonna do now, we're gonna shut down this lesson in the next lesson, I'll show you how to export these files to either send them to your client to view as a proof or toe have them printed. 13. Exporting: All right, We are on the home stretch for this project. It's time to send it off to our client for a proof or to send to the printer to get printed . Either way, we need to figure out how to get this design out of the box. So let's go and open up the other versions we made to right now, we're still on version three. Open up, finder, and I'm going to go ahead rename this just for consistency. I've got version two and version three. This 1st 1 we did, though, didn't have a version. So it looks like it's the bottom of the stack. So just add V one just to make sure my files are clean and I'll open these up all down shift, Click All of these in between. Hit command O to open, and it will open all those up here. So we've got this version three we just wrapped up with We've got this original photo we started with him is gonna close that road quick. And then version one, which I think looks terrible. And, uh, I only say that just so you don't think that I think it looks good um, Anyway, let's look at what we have virgin to hear pretty much the same. Look, let's go ahead and export these. The only difference. Here we have this turntable and he still got that tattoo on his neck. Version three. We did a texture, and we removed the tattoo in his little spot on the shirt. So here are the two ways I I would go about getting this out to send to a client first. What I would do is make sure they're all the same size I would hit command zero. What that does. It goes to view, and it makes it fit on screen. And I would do that for all three of them. Just so they're all the same size. And this is if I'm sending a screen groups. If I'm sending a screen grab or a screenshot what that is on a Mac, at least I can command shift four. I don't know what the shortcut is currently for a PC. I know you can hit the print screen button, and it captures the whole thing. But since I work on a MacInnes, my work full, I'm showing you exactly how I work. Let it command shift for. And then I would click and drag down here to did to get a screen contest. A screen grab real quick click on this guy to the same thing. Command ship four. I use the space bar to move my selection where I want it. Appear to the corner and then let go the space bar, Come down here and get it close, Let go. And as soon as I let go, it takes a picture of that file and throws it right in my desktop. So I've got the screenshot and this screenshot right here. You gotta do this last one here, click on it command ship for and you might be wondering, Well, why, why not just export stranded boater shop? Honestly, I could I could go to file save as or export And we will do that here in a second. But for me, command ship for quick click and drag an Lego, and it's just faster. It also is a low rez file. So let's say I haven't been paid by my client yet or let's just say I want to send him a text. A lot of times I worked with text messaging with my clients use I message, and I'll drag and drop a quick look right to them. Got a lot of clients that you know they travel or whatever. And just to see Hey, I'm on track and I go in the right direction. What do you think of this look? And I'll just quickly grab this screenshot and just drag and drop right into my messages, sent him a text message, and they could get right back to me or send it in an email. Whatever. One thing I would do, though, is I would rename these. So this version, with the texture background on a Mac against it, return to start renaming this or, you know, click and get that option to rename it. So this will be, you know, poster B three. Come down here to set a screen shot of return poster Dash V one and then this last guy poster Dash V two. And that way, if they refer back to me and say, Hey, I really like version two. I know what they're talking about. It just keeps everybody on the same page came So the other bank bonus to this I'm on a retina display. So this files a little bit bigger. It's 1.5 megs. Um, you know, typically, when you do, a screenshot is going to be under 1 may get a B in this case, 880 kilobytes. So it's a really nice small file they can't print from this file, which is nice if you don't want them to print. If it's not been approved yet, you don't want them to try and print from it cause it'll look terrible. But that way you can send him a small file size, all right, And so I would take these three versions and I would drop it into email or text message and sending my clients of Hey, what do you like now? Let's pretend like they like, you know, version three, and they want to print it the way that I would work to get this to a printer. Let's jump over to version three. So what we'll do it will come to our image good mode, and we'll turn it into a C and like a color document, we'll go ahead and flatten all of the images, and that way, any of our blend modes that we had don't get messed up And the reason why we didn't start with seem like a was if we wanted to add different filter effects If you're in seem like a not all of the filter effects are available. Okay, so that's why I started RGB Now what we're gonna do now we've got it flattened and ready to go. I'll go to file save as instead of Photoshopped file, which has all the layers and not everybody has photo shop. I can send it out as a J. Peg or a Photoshopped Pdf file that would be preferred. I'll save it as a Photoshopped pdf file, and I'll just click on this use proof set up that'll just help. The colors look consistent, no matter who prints it. Click once in here now hit Save right here. This preserved Photoshopped editing capabilities. I don't want them to be able to open it up and edit this right now. Plus, it'll make the file much larger, so I'll turn that off and then I'll go ahead and hit. Save PdF. So once it's done saving, you could see photo shop working on it right now. and it might be a little bit of a bigger file. I will jump over here and I can find that v three dot pdf and you can see it's 17 megabytes significantly larger than our screenshot. If I send this depress at a look fantastic, it's a huge file. One thing we did not talk about was the thing called Bleeds, and we'll get into that a little bit later. But just be aware we when we go to print this out of print shop, there's a really good chance will have a white border around it because of where the printer has to actually grab the paper. So to avoid that, you would actually print on a larger piece of paper and then trim it back and again bleeds or something. We'll talk about a little bit down the road, but now you know how to create something in photo shop and export, in this case as a PdF. Or you could have done a J peg and then how to take quick screenshots to share with your clients 14. Photoshop compositing introduction: all right, let's talk a little bit about Photoshopped. Composite images or Photoshopped. Compositing is it's sometimes called. Here's an image I created for a client that was a staff photo. They were all dressed up as nerds, as you can tell, and they wanted to create this nerd poster. So what I did initially I took a bunch of photos of them all together. But if you've ever tried to do that, you'll know that anything more than about three people in a photo gets difficult. It's really tough to get everybody making the face that they want, whether it's smiling or in this case, they kind of have a serious, serious vibe going on. But what I ended up doing to create this image was I took a picture of all of them. Let's take a look here separately, and the way did that was went in and set my camera on a tripod and then had them all step in and I took a photo. Now, one thing you'll notice is I did this. I had them all trying stand this line or as close to this line as I could get them to stand that way. I had a frame of reference as I cut these images out and brought them into photo shop. You can see here, I've got a line across the top of this machine, and it gave me a really good idea of how tall they were. So that way I could make a really believable depth of field. Some of these photos are just ridiculous. Sorry. Anyway, All right, So what we did here, let's go ahead and open up this file and take a look. I'm gonna open up photo shop. And because the Post, if I was one of the most recent files that I opened, it's gonna be in my recent files list. Here. There it is right there. And Ah, take a look. So what I did when I created this image, and you can see here. I've got these guides and these guides help me see how tall everybody is. When I brought them in, cut him all out. And if I click on any of these and drag him around all of a sudden, it totally breaks the illusion. If it didn't already with me telling you. But, ah, we can cut all these people out Drop man. You'll see. I added some drop shadows by their feet. Let's take a look here it zoom in a little bit. So I've got there feet here. Let me double click these air smart objects. What that means is it remembers what they what? The original file was in a bad. So I've got an inner shadow going on here. Just just a subtle shadow and some smart filters for coloring. And ah, the shadow down here by their feet was done with custom brushwork So I can save this place it in my main document file and those changes will stay with me. But then I can always go back and edit them later. So anyway, you can see that I've made a lot of layers here for this project. And this is what I want to teach you is how to create a Photoshopped composite image. Let me give you a few more ideas of what's possible. So let's go ahead and open up Google and ah, let's search for a photo shop composite or Photoshopped compositing Either one stereo and click on the images. Search here and you can get a really good idea of some other things that you could dio just some ideas to get the creative wheels spinning here in your mind among a command click on these images. So by holding a command or control on a PC here, I can click on images that I'm inspired by, or that I want to talk to you about here briefly. So as I hold down command and click, what it's doing is it's opening up new tabs here. In that way, I can keep browsing while I'm opening new tabs toe come back to here in just a second. So all right, so the other thing about Photoshopped compositing is it doesn't have to be people. It can be products or or things. Let's say you want to put something on, etc. Or on eBay, and you want to cut out your product and maybe make it look a little better or more appealing. This is another technique you can use for that as well. So here's an example of a product right here where we've got this piece of sod and clouds and we have the ST Mark's behind it. So Photoshopped Compositing is is a great tool, and that's why we're diving in. I think it's a really fun topic. So here's a few other ideas. Let's just look real briefly. We've got some really high contrast stuff going on here. This background, I'm sure, was not where it was shot. It was probably on a green screen. Here's another one where he's just superimposed over the top of a background. It sounds believable, mostly because of where the shadows and the lighting are coming from, but we can talk about that as we dive in here. So here's another one really high contrast hdr type of a photo Again. This background was probably placed after the fact we even got some light burst coming in up here and things like that. So that's what I want to show you as we dive in here. So first things first, go ahead and do a little more research. Figure out what you want to make, whether it's a photo of yourself or if you want to use one of the assets I've provided, I'll provide some of these photos that you can use to cut out and work with, or feel free to take a pause real quick. Take a picture of yourself when you do, make sure. Let's look at these photos. I took real quick. Make sure you give yourself space to cut all the way out around the image. Okay, so don't crop the image to close so that we have room to work. The other thing is, let's say you want to make an image. Let's just look at pixels dot com. This is a great freebie resource for free images. You can search for beach or forest or city or coffee shop or any kind of a background you want to find. Let's just pretend you wanted to use this one here. If you are going to use this, let's look at with lights coming from. It's coming from the top left here. So if you take a picture of yourself, make sure you're lighting in. Your placement of your lighting is kind of in the same vicinity that'll help the image look a lot more real and believable once you dive into the project here. The other thing is, if you're sitting straight on, it wouldn't look quiet. Israel's if maybe from like a 3/4 angle. So maybe sit on a stool or something. So just some ideas as you start to gather some assets and resource is to create your composite image. So all right, go ahead and take a second. Now go take those photos or open up the project files and we will dive in with next video. 15. Photoshop compositing assets: All right. Welcome back. Hopefully you've been able to get some voters of yourself or download. The resource is to follow along here. I thought I would point out right quick. Here's a couple photo shop fails. You can google Photoshopped fails and find all kinds of crazy things. But I thought I'd point these two things out to you. Ah, one of which we look at this and obviously is not lifting this much weight. It could be believable. But if we look into the mirror, obviously it's been Photoshopped. And what about here? We've got this extra hand hanging out on the shoulder here. We've obviously cloned out somebody sitting next to her, but we forgot about the hand. So as we work through this section about Photoshopped compositing, make sure you pay attention to the details and one of the details in one of the skill sets that will help you master. This section is your selections. So to get started, go ahead and grab that photo of yourself. And I'm gonna just open this random photo I downloaded. I'll do a couple of these photos here that I can show you a couple different selection methods So, depending on the image you're working with, you may or may not have the perfect photo work with. So here's an example of ah, couple different tools we can use. What I'm gonna do is I'm gonna zoom in real quick, holding the command and space. It's a shortcut. I could click on the zoom tool of my tools over here, but I like to work with my move. Tool selected, and they'll hit Space bar to get my hand tool if I need to move around in the image or hold on space bar and command to get my zoom tool. So what I'm doing now it's the letter W to get my brush. My quick selection tool. It's kind like a brush and a magic wand at the same time, so this is a great tool. If I wanted to quickly brush out and you'll see with an image like this, it's basically in gift wrapped me. It's such a high contrast between the background and the foreground that I almost didn't have to do anything. So with this magic wand, um, selected here, we've got the ants marching around here. This marquee if I click on his back on later and hit command J. It will jump cut it to a new layer here, nominal down the command key and click on this new layer icon to put a layer below. If I just click on the new layer icon, it'll put a new layer above. So I want a new there below with my default swatches said over here, I'm gonna hit command. Delete. Make sure I'm on layer to hear that blank layer command elite will fill with whatever is in your background color. So now I can see I've got him cut out here on his own layer, which is fine. That works. Great. I'm gonna double click on this library image I have over here for this background. And I could easily to Reagan drop me to click with my move tool, drag up towards his tab, hold for a second, come back down and all of a sudden I've got him in the same photo like command to you to get my free transform tool, and I'll drag him up a little bit so you can see I've got this asset that I could work with . Obviously the selection as we bring it in here. It's not that great. It did miss quite a bit of the details that's got this glow around it and wouldn't work out . So get I'm gonna delete that layer. But I did want to show you. Here's to lead these two layers. Dio. I didn't want to show you that With this brush tool, we could make a quick selection. The magic wand tools another one like that as well, where I can click once and it'll select similar colors. A better example of that would be on this shorts model. So if I click once over here in the great background, it's elects. I never tolerance into 20 so about a threshold of 20 gets pretty close. If I put this up to say 50 it'll grab a lot more of those details. And then I could hold down the shift key to add to that selection. But you'll see real quick. It starts to bleed in and grab a lot more than I wanted to, so I put this tolerance back down to about 20 command you to de select. I'm gonna click once shift click again and just keep shift clicking until I get most of the selections that wanted Teoh, so there's a lot of ways to work with selections. I don't have to come in and try and select a model. I can select around everything else, then come up to select in verse. And now I've got the inverse election. So if I back it out now, it's just selecting him with that layer. Selected Command J The jump. Cut him to his own layer. Ah, click and drag up back to that industrial factory photo and there we've gotta put in there and, you know, we could work with this and make it somewhat believable. But again, take a look here. We didn't clip out between his legs or between his hand, so if somebody was really paying attention, they would notice those things, especially like the detail around the hair. We missed some things, especially in this dark background. So let's try again. Let's come back over here to the selection tool to the I'm sorry to this image. Here we'll use a different selection tool. Another option we have would be like the lasso tools with the letter L. There's a few different lassos we can use The regular lasso tool is just that we can draw with our mouths to make the selection, and this will be really tough to get a perfect selection. But if I wanted to, I could zoom in, hold down the shift key and add to the selection, or hold on the altar key to remove from the selection and just work it back and forth until I get it. You know, pretty close to what I wanted to be. This would obviously take a lot of time, but depending what you're selecting, sometimes that's a good way to work. I'm gonna de select that we have the polygon lasso tool, which is a nice, quick way to get straight selections. Sometimes that works great for what you need to do. So I just make quick selections here. DoubleClick When I'm done and it closes that off like commanded to de select and then the magnetic lasso tool. That's another good one, where if you have a high contrast image here, if I just start drinking right here and I kind of get it close and I can click along the way where I wanted to stick, it's kind of a sticky selection. So even if I wander out just a little bit, it's still wants to snap back to that high contrast area. So that might be a good way to work. But let me show you the way that I like to work is Here's the deal. You're never gonna be gift wrapped in image that's got this much contrast between it. Sometimes you're gonna have an image like this. It's a great photo. But what happens if we want to put this person into a new image? Well, if we tried the quick selection tool, it is a quick selection, and sometimes it works great. So if I click and drag, it does a pretty good job of grabbing just the images or just the pixels I want. Now hold on the altar key. I can remove or subtract from that selection, and it does a pretty good job. If I were to zoom in pretty close. You can see it jumped around a little bit on the hair and, ah, you know, it forgot this backpack strap things that you know most people wouldn't even notice. But sometimes they do, and it depends on the level of complexity you're working with. So I'm just holding down shift. As I click and drag over these rocks here, it got way more than I wanted to hit Ault and drag. So this really is an incredible tool. And sometimes it works really well, really depends on the image woman do is hit the letter V to get my move tool, and I didn't even jump. Cut this to a new layer with selections going to click and drag. You see my selection, My move tool turns to on icon with the arrow in the scissors, which means I can cut it and actually move it, are bringing up to this tab, drop it back into this setting command to the free transform and just kind of scale it up a little bit. So not not a horrible selection. And if we were going to do something else with maybe a dark sky background or a mountain type of a background, let's see if I have already downloaded one of those here. Let's put her in a different setting. I just click and drag that in here. Real quick groups. That's the wrong one there. Were you all right? so scale that up a bit. I was gonna drag this layer below the other one here and so I could put her into this scene and we could do some work with the lighting toe, lighten it up and make it look a little more believable. But the rocks really look good. And because of the detail in all of the color around it, that selection is more than sufficient Now. Here is probably one of the best ways to make a selection, and this is something I would do if I really needed to know that my selection was perfect. So here's an example of an image I used for my client, and I really wanted the image, the selection to be perfect. So what I did is I use the pen tool to the letter P. We'll get our pento click up here in the Top Tool Options bar and make sure that path selected we want to do a shape. Right now. Let me show what a shaped as real quick click on shape, click and drag. It will make a shape, and I can change a color. Appear so you can play with that later I'm gonna come over here my paths window, click on that path and delete it because it's not what I'm after right now. Now, if I come back, Teoh, my pen tool, the letter p changes down to path. I can click and drag or just click. Clicking and dragging will make curves were called busy a curves if I had command return. Well, if I come over here to path in command, click on this icon. I'll get the marching ants again. So this is another way to make a selection, just like the other selections you've seen. But the difference is with the other selections. It was pretty tough to go back through and refined selections here if I wanted to get really fine, you know, with detailed with this work, I could hit my caps Lock key, which changes my cursor from the pen tool to ah ah, precise cursor So I can click once, click and drag to get to bend this line. And now, wherever I click, it'll follow that anchor point, and that's my actual path. So it's a little bit of a tricky tool to get used to, but you'll start to see If you can play with this a little bit on your own time and get good at it, you can create incredible, incredibly precise selections. So I'm just gonna rough this one out road quick. I'm just I'm just clicking real fast just so we can move along in this tutorial here. But, ah, what I like about it is I can come in and really, really control exactly in how my my anchor points land and I can also move them exactly where I want them to be. Someone's gonna make my selection here, and you can see that I can quickly zipped through this and it doesn't have to be perfect, especially if the size isn't going to be that large. But if you need it to be perfect, you could come back in hold on the command key, click on any one of these anchor points and move it right to where it needs to be. So that way it's pixel perfect. When you're ready, come back, click on that last point you left off on and continue on your way. If it any point, you accidentally de select your path and you can't see it. You can come over this past layer. Click on that work path. Hit the letter P. Let's try that one more time. A command click on this end right here. Now I've got my pento all click, and I'm often running again off that path and I left off on. So, uh, hopefully you can see how this could be a really great tool. See? And I didn't catch that curve right there so I can grab this anchor point and then grab my handle and bend that out a little bit. Click once on that end point, click and drag, and now I'm often running again. So it's a really, really great tool. Things you need to work on here. If I click and drag, it'll bend it. Or I can click once drag to get my anchor my handle and then come back and click again to get a bend. I can come back over it with the Ault Key selected and changed my curves from a rounded curve to a hard curve. Or I can grab my direct selection to will be here the letter a grab those points that I don't want hit the delete key and delete them. So it's really, really flexible. Way to make your selections. I hit the letter P lips hit the letter p real quick and grab that end point. And I'm just gonna zoom out a little bit. I'll come back over and find where I started. I want to hover. I get my pen tool with the circle next to a medium closing that path. So now with that selected, I can right click with my pen tool selected and Hit makes election, which gives me the option to make a new selection or for already have a selection I can subtract from the selection. Minutka. Mandy, why don't click on this work path here, but the command key selected to get this election. So now if I wanted to come back to my layers, I command J to jump cut this to a new layer. And if I bring this over into my let's see, I could bring over anywhere wanted to Ah, but you can see how we can make selections and their pixel Perfect. So what I want you to do is go ahead and spend some time cutting out your image. Try and get it toe where it looks like this. Here, let me grab my example real quick. So we've got this guy Worries totally cut out. All the details are removed and we're ready to work in our new scene. Here's another example where I've gone ahead and actually cut him out completely. So go ahead and do that real quick. Get your image cut out and then we'll dive into the next video. 16. Photoshop compositing selections: all right. Once you've finished cutting out your photo of yourself or whatever photo you're working with, make sure you do a quick look one more times to make sure we got everything selected. So, for example, if I look at this, it looks good at the first pass. But as I zoom in here, I can see that I forgot to cut out the part around the trigger here. Some of the letter P. I'm gonna click and drag just to do a quick little selection here to grab what I forgot to select here. I'm gonna add to that selection down here. There's a couple more spots where I forgot to cut out the background. Now, nobody probably would have noticed this one because the same color gray as the stock here, it would be a minimal mistake. But I would know, and I like to make sure that I do things as close to perfect as I can. So I'm gonna go ahead and clean this up real quick. And now you've noticed I've got multiple paths going on here. If I like my path, it's all under the same work path layer. So what? I could do is command click. And now it selects that section as well as these down here with those selected on make sure on the right later and also hit the delete key to delete those pixels Command D to de select. And now, on a zoom out. I see that looks pretty good. And I think I got everything else. Let me look through the suspenders here. You know, nobody probably noticed this one at all, but I could come in here and clean that up just to make sure that there's nowhere in this photo that accidentally sticks out. That time I said command return and it made in my selection. I'm on this layer hit the delete key and now de select my selection. They're perfect. Okay, so now I'm confident that no matter what background I put this on, it's gonna look good And one way to tell before you actually put it into a scene I can hit command and click on the new layer I icon to put a new layer below it. And I'm just gonna click appear my color swatch area and let's let's do a bright color. Pretty obnoxious green. Make sure that layer selected. And now, since I selected that it's my foreground color Soto filled with foreground. It's Ault delete or come up here to edit Phil and choose that foreground color as an option . Okay, so now I've got that green fail. So now I can come back through one more time and just kind of make sure selections looking good for the most part, you know, everything's looking pretty good here. I don't see anything that I've for gotten hope. You know what? There's a couple things right there and this again. This would probably not matter. And this is where you can spend all day long. So you really have to choose. How precise do you want to make your selections? But that shoe lace their command return. Now, if I hit delete right now, I would just be deleting from the green layer. I want to make sure that I've selected the layer with my photo. I hit delete and now just what's within that selection gets deleted. Same thing over here on this part of the shoe I can come through Highlight that and again, honestly, like this is the way it went to press I this these little shoe lace things here. If we looked at that original poster I showed you, Ah, it you wouldn't even notice because the feeder on the ground and it's dark and nobody's going to see that. But again, you want to get in. The habit of doing as good of a job is. You can write. Do you want to make a mistake and have it be an expensive mistake where someone is to reprint something? Because they did notice? So all right, now we've got that selected. Let's work on a couple techniques here to help blend this into the background. Well, for starters, let's look at the edges here because we use that pen tool method. This edges super crisp and super hard. Now that's fine, but in reality it's not gonna be a crisp image is gonna have a little bit of a blur to it, so there's a lot of ways we can do this. Like I've said before in photo shop, there's 100 ways to do the same thing, one of which, if I command, click on this thumbnail here, I get my selection back. Are you hit the letter M to get my marching ants marquis toe over tenure, marquee tool. And with that selected appear about this refine edge button, I'll click on that. Once my view mode are changes to, It's kind of tough to see, so I'll put it on black. I can see the edges better here I'll click out, and now I can smooth the edges here and it's kind of tough to see, but you can see that green bleeding through from behind. So it's smoothing out those edges and, ah, you can feather the edges to excuse me and by feathering out the images or that I'm sorry, the edges here, you can see that my selection is gonna be pretty soft and blurry. I can also shift the edge in a little bit, maybe change my feather a little bit so you can really work with that edge. If I hit, okay, it's gonna come combine them back to a selection. So if I hit command J. Aiken, jump cut that new one to a layer in front, I'll turn off the eyeball here and now when I zoom in, it went from having a very crisp hard edge to now kind of a blurred edge, which, depending on where where you're working, that might be great. But another, another aspects or in other areas, it might be too much. It might cut in more than I wanted it to. So that's where you're gonna need to play with 11. I'm gonna turn that off. Actually, let's zoom in real quick. I'll turn the layer below and you can see how much crisper that edges, especially right here. Okay, so another way to work. And this is the way that I typically work. I'll grab my blur tool. So over here in the menu bar on the left, kind of midway down, I've got the Blur tool. I'll set my strength pretty high, maybe 85 then all just paint over the edge is just the edges. Not in further than just the edges, because that I can control what blurs and what doesn't. So what I'm trying to do is just soften up these edges a little bit to help blend it in with the background and so I can control how much gets applied, and sometimes it just needs a little bit just to sell the deal. And now Here's another thing as humans, right? We're we're a little more organic, so we're gonna have a little bit more of a softer edge than hard metals and machinery type thing. So look in nature, look at real life and just get an idea for what should be crisp. Like this this rifle image here, the butt stock versus, like, his clothing, his clothing is gonna have a softer feel to it. So go through your edges of the photo you just did and use this blur tool and kind of soften up those images. I'm sorry, those edges to help really convince that this selection belongs in the new background. So go ahead, take your time, go through and just brush up on the edges. So I've got my blur tool selected. I'm just clicking into ragging over the edge here. Make sure you've got that one slayer selected because here's the deal. If I'm selected the layer below it and I'm painting, you're not going to see any difference or anything happening because you're actually targeting that layer below. So make sure you've got the right layer selected, and then soften up those edges again and you could take as much time as you need it to, but just do enough to really seal the effect. And, ah, once you get that done, we'll go ahead and dive into the next video. 17. Photoshop compositing color levels: one thing I want to make sure doing. As we work through this project, make sure you're saving frequently, just in case Photoshopped crashes where computer fails in some catastrophic event. Because that will happen. At some point, you'll have some kind of a deadline, and then it'll crash. So make sure you're saving all right back to this paths window real quick as you make your work path. And as you're working through it, you'll have this work path option here. If you double click, you can name this path. Whatever you want. I just call mine cut out just easy to remember and is basically my workflow on how I do everything and simply by giving it a name, that path will stay with this image when you save it. So now I'm gonna go in it file save, and I will drop this into my design files folder and I just name it. Whatever the image waas in this case, when I've actually cut out a photo for my camera dash cut out. So whatever the name dash cut out and the reason why I do that you don't have to do that. But the reason why I do it that way. And so if I ever needed to find the original, I could do a quick search for that. I m g underscore 7309 and find the original if I ever need to go back to it. So that's why I do that. It save again, Make sure hit on format. You're the format. You've got to set the photo shop and you've got your layers selected. That way, you can come back through and grab his asset at any time. So I'm gonna close that right now. And let's make a new document command and or cook on the new button here and also make another letter size paper that worked really good. If you want to do that or you are free to deviate and create your own size, whether you want to make something for maybe a Web background like a desktop wallpaper or something, okay. And I've got my paper size and what I want to do actually want to change this. I didn't want it to be vertical and the horizontal, so I'm gonna come over here to image image rotation, and I'm just gonna move, rotate this 90 degrees clockwise since everything on here yet and then feel free to drop in whatever background it would you want to work with. Or in this case, if you don't work from the assets I've provided you and it's going to scale this up a little bit and get it ready to go here. Perfect. Now what we need to do is start creating this visual effect by adding in our layers or our assets. So I will open up that file that I just closed. I could have left it open, but good practice for you to find where you're putting your files will open up that Photoshopped file. We just cut out, click on that image dragon, drop over into your new file and then let it go. Once we've got it in there, it's going to hit command as to save this now. And let's call it whatever you want. Composite image is a great and I'll save it in that design folder. All right, now that we're back in here, let's start with some simple housekeeping here. I'm gonna command t and shrink this down and get it kind of close to size and then What I want to start working with now is the coloring of this piece. So I will come up here to filter camera raw filter, and this will apply to whatever layer I had selected. So this camera filter is a great filter to use on any image, especially photography. But you can come in here and adjust the temperature, just the tent. Maybe it'll under exposed or over exposed. We add contrast. We really come through here and and control exactly how our image looks. But before I get to fight on the road here, let's just let's just study this a little bit Here, let me command to you to shrink this down a little bit, get him a little more into the scene, okay? And let's just think about where the lights coming from. Think about how bright things are. So the lights coming from top down, top left or top top left down to the bottom, right. If we were to put this over here on the right side to really put him into the scene, we would probably have to deal with these windows shining at some point. So we would need to, for example, I could make a quick selection around his leg here. It command returned to get that selection. I'm a hit. Command l to get my levels panel, and I was gonna brighten it up a little bit. Hit. Okay, Command, eat a de select. And now it looks like he's standing behind that sunlight, which is great. But the problem is, is now assumes they're gonna move him back over here. His leg has been messed up. I didn't create a way for me to work in a non destructive manner. So what that means is, as you work through things sometimes you want maybe, let's say, wanted to save this like you were pretty happy with it. But you wanted to try and add that light effect here. I could hit command J to make a new layer and do that effect we just did again. I use my pen tool to just kind of make a quick selection here. Command returned to get it command l to open up my levels, and I just brightened up the whites a little bit. So that way, if for some reason I want to go back to the other version, I could turn that layer off and open a new layer didn't cost me anything to do that. You can have as many layers as you want, so it's a good idea to save layers at good stages along the way. So looking at this again, though, he's a little bit lighter than the background, and I could actually probably make the background a little more dark and ominous. A swell. So what I'll do here is I'm gonna click on this industrial layer, come to Filter and jumped to my camera raw filter, and I'm gonna go ahead and bring the contrast. Are the exposure down Just attach? I could crank the exposure. I'm sorry the contrast up or bring you back to soften it up, maybe bring my highlights down so it's not quite so bright. I could bring the shadows down or exposes shadows to make the shadows seem brighter, which then makes my highlights not seem quite as bright and balancing out the image so again. Just play with it, you know, just play with it and see what makes sense for your image, and when you get it to a spot that you're happy going, it okay. And now, if I command Z, I can toggle between what it waas and what it is now. So you seem a little bit darker, A little more contrast. But now he really stands out. So let's go back and a justice layers. Well, I'll come back to that filter camera filter, and I'm gonna zoom in a little bit here just so I can see him a little better. And I'm gonna move things around just so I can see what the background looks like and try and get a better match. So we definitely bring down our exposure a little bit. Not too much, but definitely a little bit. And ah, the contrast. You know, it's probably fine where it's at. I usually come through on the grab each slider and I scramble over the right. All the left is trying to find a good balance for where things need to be. So the whites obviously need back down, just attached blacks. Same thing will darken him up a little bit. Bring up the clarity and we'll hit OK and see what that does for us. So already it's looking a lot better, like he belongs in that environment now, A few more things to seal the deal here. There's no shadows. If he was truly standing in the space, if you look at where some of these other shadows air coming across the room, we would need some kind of a shadow s. So there's a lot of things we can do here. I could add a layer down below command. Click his letter B to get my brush tool and this jump over here and my brushes will grab a soft brush. Bring my size down a little bit. Maybe a little bit bigger than that. Bring my hardness downturn up my spacing and ah, up here We got opacity and flow would turn this down a little bit if it's at 100% and I start painting with we'll just do green so you can see it. You'll see that I get a really opaque green. Now, if I bring this opacity down and start scrubbing, you see it builds up and I could keep building and adding to it. So what I could do here, I'll leave that layer. If I had a new one, I'm gonna get the letter D to get my defaults watches over here, which turns it back to black and white. Or it could a double clicked on here and select a different color. Anyway, I'm looking for black. So what I can do with this layer below the one above it is start to paint and you'll notice that it doesn't paint over the top of him. It paints behind so you can build up this effect and it becomes a lot more believable if I do it that way so we can add some drop shadow here to really kind of anchor him down to this scene So you can paint this by hand if you want to. Another way that I work. Sometimes I'll click once on this layer Command J to duplicate it, and I grab the layer below. I command t no click while holding down the mouse now had to command to air them side the command button, and I can a warp this and bend it down. You know the pain where the light is in this case. I don't want him back behind, but I'll just show you the effect here and now I'll hit the return key to commit it now to do is lock right here. There's this tiny lock icon with this latest Like it, I'm locking the transparency. So now what? I can do this. It all delete to fill my foreground color. And it'll Onley Phil pixels that air there. It won't feel anything around it. Now, if that wasn't selected, I hit Delete. It fills the whole entire layer. So, Command Z, make sure my off of my Alfa Transparency Channel here is locked. It also lead to fill that now. So now what I've done, I'm gonna delete these layers. Now What I've done is I've created kind of a shadow here. And to further make that look re Elikann bring my opacity down a little bit. Maybe change my blood node from normal to multiply. And I could even work backwards and start, you know, maybe erasing away some of the shadow because a true shadow wouldn't have said to go all the way crossed building. What I like to do is I'll add a mask, a layer mask here, but the letter g and get my grade Ian tool appear in painting from the foreground color too transparent with a linear Grady int. So what I'm gonna do is in a mask, Blackwell hide and white road reveal. So I'm gonna click from the head, come down to here and now it's going to paint with a Grady int from dark to light. So now I'm painting on this mask layer and this mask if I hold on shifting click all it's doing is masking that shadows on actually destroying it, but that I get a smooth transition from his shadow. So go ahead and bring in your subject into whatever image you have. Start getting your colors right. Start playing with the levels. So that was command L to bring up maybe the brightness or the whites and the blacks to darken it up or your levels here. So play with that affect a little bit. Play with your camera rock. I'm appear to filter camera and try and get your background in your foreground color to be closer so they feel like they're in the same scene. We're gonna do some more effects here in just a minute, but start there and then start painting in your shadows wherever you think there should be some shadow 18. Photoshop compositing pushing further: all right, Here's where the fun really begins on our Photoshopped composite image project, hopefully of taking the time to follow along. And you've got an image in place here with the background and maybe a cut out of yourself or the assets that have provided and get your colors looking kind of clothes. Here. We've got maybe some shadows in place just to reiterate here. My shadow was just to show you how to do this effect, but realistically, you know, it's coming from the side as far as lighting, so that wouldn't be a great solution here. But anyway, take the time to get it right where you want, and now we're gonna push it further. This is where the fun really begins, because you can do as much as you want as much time as you have. You can go for it. Here's another example of a project that I made for a client. This was an actual poster we had printed. That was their battle wagon. They called it. That's a real thing. And the before photo here, I'll move us to the side. Here's what I started with. So we actually had some bullet shells on the ground, but the background wasn't that compelling. The sky was kind of boring. The colors were a little muted, and this landscape isn't that impressive. So what we ended up doing was bringing in some new mountain ranges, did some coloring. Then I brought in some custom flames that I bought it creative market dot com So they were already isolated for me. I've got a little more visual interest in the sky going on here. Then I brought back in the battle waiting here, and you can see where selections really play a huge part in selling this. I actually had to cut through the glass. But you'll see now we've got this blue overshadow here or this is blue coloring and I had to cut out right here. The bumper is that was, see through. So the flames show through so that a lot of attention to detail and even the reflection on the roof to make it look kind of riel. And then I came back and created a window. Fake windows over the top did some or coloring added a flare layer here to kind of blend between the sky and even at a huge moon just because I could. So it was a lot of fun to make this project. So you can see, you know, don't Don't just stop here with a background in an image of yourself. Go ahead and add more elements in. In fact, if you wanted to, I will provide this isolated fire folder for you. So if you wanted to, you can just start bringing in maybe some fire or anything else you can imagine. And again, this has already been isolated for me. So it does a pretty good job of blending into the background. But there's some ways that we can make this look even more realistic. So one of the ways is dragging this layer behind him. Maybe duplicating it or bringing in another fighter object will just drag and drop right over the top. Here, I'll scale it down, and, uh, we'll bring this layer in front of him. I'm gonna hit command and the right bracket key just to move that up One step. So now it looks like exactly standing in the fire. We can play this even further if I zoom in now, I'm gonna come back to this flame layer and double click. And just to clarify here, I don't want to double click on the icon. This is a smart object. If I double click there, it'll take me to the flame in the open in a different file in a different tab. So what we want to do is double click right here and not in the name either, cause that'll make us rename the layer I want to click over here on this side, and that opens up my layer styles. So that's where we can add a lot of different things, especially if it was was a text layer or something else. But right now, what I'm really interested in this is blend if mode. So right now I'm working on this flame in front of his foot, and I can say anything that's bright on this top layer. This layer, meaning the one I'm working on. I can make it go away. I can hold on the altar key and split this to kind of make it a smoother transition. But that doesn't look quite like what I wanted to do, so I could try the dark layers, and there's really not much dark in this flame. It's Albright that again doesn't do what I wanted to. So let's try the underlying layer. Also start dragging this back. So now anything with a light tone will start to show through Some of those flames and the flame behind Now start to peek through a little bit. In that way, it looks like they're blending together and I'll drag hold on the altar. Keane. I'll drag right from the dark layers. And now shoe kind of starts to come back and just a subtle effect. Just enough to know that it's still there, but the flames air in front of it. So this is a really great trick to start blending layers together so it okay and come back . So you could really push this a lot further. Another thing that we can do to sell this again. Our light source is from the left so we could use the Dodge and burn tools. I'm gonna click once on this layer, and I'm gonna rename it so it's double clicking here and I'll call this original for now. Really, it's not the original. We've already done some coloring to it, but it's close to the originals. I have a minute command J to duplicate it and come over here and grab my dodge and burn tools. So the Dodge Tool and the burn Tool basically what they do. Let's look at that. Let's look at the Dodge Tool first. Right now I'm working on the mid tones range my exposures at 50%. And now, as I paint over this layer, it actually exposes. It makes it brighter so I could come along this left edge here or any highlights that I want to really make pop, whether it's on his face and I can paint with midtown exposure at 50% and basically brightening it up. So we're essentially painting with light, and that's one of the biggest fundamental keys when you're doing Photoshopped composite images and you see some was really extreme HDR merged types of things a lot of times, just painting with light or dark, and I can turn this off and see where I've painted. But another way to work is to I could turn that layer off. Let's duplicate this original air again, and I could grab my layers. I'm sorry, my levels command l and I could just come in here and really crank up the details this way and I'll use a layer mask. I'll click on this layer mask if I click right now, nothing happens. It just adds a mass to be filled. If I all to click, it actually fills that with black by default, so you can't see it. Everything's been hidden. So now I can hit the B to get my brush tool. And because black hides and white reveals I can swap this right here. I'll hit the letter X to swap my foreground and background colors. Well, I can get this tiny little double arrow to swap, which was in front, but I basically want to be painting with white. So as I come through here and I start painting, I'm actually unmasking. We're revealing the layer below it. Now, up here, I've got my capacity, said the 12%. So you're really not seeing any change? I'm just gonna scrub that back up to 100% so we can see when make sure I'm painting on my ah mask later here and then One other thing