Photoshop Accelerated - Photoshop Fundamentals (Part 1) | Brett Romero | Skillshare

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Photoshop Accelerated - Photoshop Fundamentals (Part 1)

teacher avatar Brett Romero, Bitesize Business School

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

Watch this class and thousands more

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

Lessons in This Class

12 Lessons (1h 40m)
    • 1. PhotoshopAcceleratedIntro

    • 2. Photoshop Basics Workspace1

    • 3. Photoshop Basics Workspace2

    • 4. Photoshop Basics Workspace3

    • 5. Photoshop Basics Image Resizing

    • 6. Photoshop Basics Layers

    • 7. Photoshop Curves

    • 8. Photoshop Basics Typography

    • 9. Photoshop Basics Grids Guides

    • 10. Photoshop Basics Rule of Thirds

    • 11. Photoshop Basics Smart Objects

    • 12. Photoshop locktransparentpixels

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About This Class

The Fastest Way To Go From Beginner To Photoshop Expert

In this part 1 of the series, we'll dig into Photoshop fundamentals and build a solid foundation for what's coming next in the series.

Part 2:

There's no doubt Photoshop is an awesome photo and image editing tool. But wielding it's full power can be an intimidating endeavor for any beginner.

No more! With Photoshop Accelerated For Beginners, you'll be turning those bland looking photos intocolor soaked, eye candy that looks good enough for framing and hanging on the wall.

We'll start off with some quick fundamentals and then transition into real world examples that you can begin using immediately.

If you have ever wanted to:

  • Remove a ring from someone's finger and make it appear like it was never there
  • Remove wrinkles and smooth out skin
  • Learn how gradients work
  • Gain control of Photoshop's complexity
  • and more!

than this course is for you. Just click the Enroll button to get started immediately and I'll see you in the first lesson.

If you're still here reading, ok, I'll give you some more details and hopefully convince you that this is the right course for you.

The first lessons in the fundamentals section starts you off with the workspace. Creating a layout specific to how you work will help you focus on what's important - design and editing. You don't want to constantly be guessing where everything else. Organize it once and forget about it.

Next we get a tour of Photoshop's tools and what they are used for. This gives you some insight and knowledge about each tool and when you might want to use them.

We then move on to the menu, which is full of options for nearly everything you could want to do in Photoshop. The trick is learning keyboard shorts and what's under each major menu section.

Once the menu is cleared, we look at what image and canvas resizing are all about. These are two different but equally important features.

Continuing with fundamentals, we dig deep into the engine of Photoshop - the curve tool. This is the tool behind many of Photoshop's tools that are hovering on the surface. The curves tool is pure power.

Who ever thought just text could turn so many heads? In the typography section, you'll become a master manipulator of text.

The last section provides several quick and easy real world examples that you can begin using immediately. You don't even need to go through the fundamentals section. Each of these examples are meant to stand on their own.

Meet Your Teacher

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Brett Romero

Bitesize Business School


Combining the skills of an #entrepreneur, #writer/#author and software engineer to deliver a unique perspective on creating profits.

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1. PhotoshopAcceleratedIntro: welcome to photo shop accelerated for beginners. My name is Brett Romero and I will be your instructor throughout this course photo shop accelerate for beginners is meant to take someone with no knowledge or very little knowledge of photo shop and bring them upto a novice level that they are very familiar with the photo shop environment, how to use its tools and how to manipulate images and photos. The course will start off with they weren't space. You'll see how to arrange it, how to get your layout the way you want it. Well, look at the different tolls on what what they do and how you can use them. Well, look at the menu, which is another way to access various different items inside of Photoshop. In the second section will start building your skill set, and this means learning different fundamentals and photo shop, including image and canvas re sizing, which are very important and also very different. Well, look at layers very powerful feature of Photoshopped that allows you to do different things to images and photos without actually damaging them. Well, look at the curves, Another powerful feature of Photoshopped, which is basically the engine behind a number of different tools and Photoshopped. It allows you to do contrast ing hue, saturation, a lot of different things that if you don't know what those are, don't worry. We'll look at those inside the course as well. We'll get into topography. You'll learn how to manipulate text spacing between letters, spacing between lines, scaling text. You don't all about that in the last section. Dramatic effects in minutes. This section allows you to jump right in to a short segment. Learn how to use this on your photos very quickly and easily, so that if you want to get started with something right away, you can begin the course and go straight to each of these little segments without having to go through the entire course. Of course, you won't want Teoh build your fundamentals at some point, but if you want a really quick payoff, that's what this section is all about. So we start with removing facial blemishes, which is a very popular method for getting rid of different things on faces and smoothing skin as well. Well, look around the corners, Another popular feature that adds a nice accent to images and photos alike. I'll show you how to do black and white, very easy and very fast. Then we'll look at how to remove things from photos. Make it look like they were never even there. And in the last one is radiance. Which again, is another really nice accent to add to your photos. So if you're ready to begin, just click. Take this course to your right and we'll get started and I will see you on the other side. Thank you. 2. Photoshop Basics Workspace1: we're gonna look at the photo shop workspace and how to customise and get the most use from it. And understanding a workspace will go a long way to helping you work more efficiently. This is a customised workspace that I put together. And, um, after I've laid everything out, what I can do is go toe window workspace and I can go save workspace, type in some name, and they usually do Penhall locations and menus, and it will save it. And you can see this is mine right here at the top. No. No matter what happens, I can go back to my workspace. So if I drag some of these around, which I'm doing by clicking on the black and empty area in the black title bore So down here on this one I mean, dry this up. For example, if I click right here on this empty area, the title bore. I can move that one around. Let's see, I could move up here now if I got things really, um, out of place. What I can do is go toe window, workspace, breads, workspace and everything goes back. So that way it really keeps things from getting out of a line, no matter what I do. Okay, So over here, let me go ahead and expand that and to this collapse and to expand it. There's too little arrows on all these little tiny windows. And if you click those arrows, you get this this hand here. If I click, I get the expansion of these little windows are boxes, and each time you see a title bore like there's one right here that means that that's another subset of features. And here's another at the bottom, and you can bring all these up a swell by going toe window, and they're all listed right here, and some of them are grouped. So if I close out one of these boxes over here on the right hand side, so I click the X this little small circle and the X comes up here, it's gone. Now, if I go back to a window, I can get it back, so I'll go. Navigator Navigator was attached in this section of these three windows, so when I selected Navigator, they all came back. So that's another way you can make some of these hide and come back and these windows have tabs of features on them. So here's my layers, panel and generals paths and use. Get to those by clicking to the different ones, and you can see these have different buttons at the bottom that you can click as well. If I wanted. If I started getting a lot more layers and I wanted to make this bigger vertically so I could see what was going on, I can drag and go down to the right corner of these windows and drag. I can drag down and it pushes the ones under it down as well. So I'm going to take characters that deal with text. I'm going to just hide it, and I'm gonna click on the text tour. Just start typing something. You know, if I wanted to edit this text, I don't have the appropriate window. So what I can do is go to the window and I could go get that window and bring it up. I'll bring up character, and then I'll just put character down here, and I can do the different kinds of manipulations on text that I'd like to do 3. Photoshop Basics Workspace2: So let's look at our tool bore with all the different tools we can manipulate with. And we just go through with ease or one by one. So at the top, we have the move tool so I can take my text, could move it around. And you can see this text is on a different layer. I got my background layer here, and the text is on this layer, which I Cantat go and hide. Then I got the marquee tool and I'm going to select my background so I can do this. Just drag. This will select this area on the background on the command. See for copy are I could go at it copy and I'm on a Mac. So any time I say command something, I think that's the all key on windows and then you can always go through the menu and you can see the shark cuts will be there on the right hand sites that you can start using your keyboard, which is a lot quicker as well. So I've got this copied and what I'm gonna do is I'll click my top player. I just want to paste it. Command V into this top layer. Now where is it at? There's nothing appearing up here. That's because I still have the marquee tool selected. You can see this cross. I need to do my move tool. So there it is. Not could move this over here wherever I might want to put it. Now we have Ah, before I moved down. There's cities. There's Little arrow at the bottom of these tools. Just about every one of these have it. The move told. Doesn't have one. The magnifying glass doesn't have one or the zoom tool. This means if you click and hold down, there's more tools so you can see them. Here, let me get this hint out of the way. So there you can see there's more of the length of this is the last total, these kind of free draw tools and you can see the different ones I have here. The play gone magnetic lasso. Here's a magnetic via magic one. So if I want to select something or say this building, I just click. Well, I'm on the wrong layer. Okay, now notice the marching ants around this selection. What the's air basically called toe outline. What the more key has selected. If you want to dislike something you could do command d that will stop it. Now I'm going to go back to the background, Got the background selected. I've got my magic wine. I'm going to select this building. I'm gonna hold down the shift key so it will do continuous selections. It's having a hard time with these lights in this building, so may not work so well, Yeah, this was a better selection. I mean, something that wasn't ah so different than I could make a better selection of it. But that's the magic one. And inside here we have other tools, like the quick select tour. Then we have cropping tools and that the ink dropper that you can select different areas and then there's multiple tools within it. Out of all, these will probably just be using the dropper, which allows you to sample different colors. And speaking of colors, I'll go ahead and bring up my colors. I'll go down to the bottom of the toolbar and click on the foreground color. Now, if I go and select some of these clouds with my ain't dropper, you could see it changes. I get hex values for this. I get the RGB values for what that is as well. And I can take that. Just click, OK? I'll grab a brush and I can just Let's see. Can't use the brush there. What I need is more rapacity. Let me de select. All right, there we go. So I can take my brush and use that color on here. And I'm doing this on my background image. Probably should have made just a copy of it, which I could do if I right, click on my layer duplicate layer and click. OK, so if I click the colors again down here where we were before and I'm still have my dropper still selected, I get water from just click over our hit, Okay? And I'm gonna change my brush. I got the brush is selected and I got the assortment up here. I'm gonna change to a smaller brush when the state's soft. That's what these fuzzy ones are. These hard ones are harder brushes. Someone to go down to about 13. And now when I draw got water and it's a little bit smaller footprint? No, ese. We skipped the healing tool. This is actually a Band Aid, and if I click it, there's a few more their spot healing their ceiling. There's patch red eye spot healing is good for, um, skin. For example, if you want to remove blemishes, things like that, I'm gonna make this little bigger go to about 10 diameter and the rest of this I'll leave along. And so if I use this ah, healing tool, watch what happens. I'm gonna trace along this this, ah, colors the gray color I made here. So I'm just gonna kind of trace it. You can see what it does. It tries to mimic its surrounding so that whatever you're tracing over basically will go away. And that's the healing tool. And like I said, it works really well with skin. And then, of course, we saw her brushes earlier. Here we have the stamp tool clone stamp, and it's got a selection of tools within and as well, I'll show you what this one does is similar to the healing tool. So I got it selected. I'm gonna go with a little bit bigger 13 and I'm gonna select the water. Hold down. Um, let's see right When I hold down my option key again, I think is probably all tone windows. All right, so option I'll click here in the water. I let up and I'll go up here and now it's basically marrying with what I've got, where the crosshairs are. This is really good for removing things from an image as well. And then we got the history brush, which I don't really use. There's actually a history over here I go, I've got Navigator ANFO. And in the middle was history. That's history, Graham. Sorry. Let me try something. History right here was the wrong place. I'm gonna expand history some so you can see all the different things that I've been doing . Now, if I back up, I'm gonna go to where we duplicated our layer. So it's gonna move all the cloning stamp cloning, all the spot healing that was done. I'm gonna click on duplicate layer so you can see all of that one away. And that kind of let you go back in time quite a bit using the history panel here and we've got our eraser. So you see, I'm gonna choose Ah, larger chooses 19 hard edge. I think I might need a switch. Right, so there you can see it's coming in now. I had my original background coming through, so when I was erasing it just a race to the background, which was showing, That's why you couldn't see anything. But no, I just make my original background go away and you can see I'm a racing through paint bucket. Um, I'm gonna do something here with that. I'm gonna take the sky color using the dropper. And basically, I'm gonna take the paint bucket which now has a sky color you can see down here. The foreground is blue. This other green went down. Here is the backgrounds, and you can switch those someone read the foreground on blue. I'm gonna take my bucket and pour it. It's basically what that does, and it just depends how much will get covered. Depends on the surface you're using are pouring onto. So if I take the CIA shape, I'll go down here toward the shapes are all grad. This rounded corner and, um, put it right here and you can see what happens. It fills in with my color smudge tool. Um, gonna go back to my background color. Get a bigger brush. Basically, 65 Use this much tool so you can see what it does. Basically, just smudges things in. This is good for refining. Um, I'm not doing a good job of it here, but you get a smaller brush. You can really start refining and blending things in quite well. Um, this is a tool that I don't use very much. The Dodge Tool has got kind of a similar effect. Used a lot with mask, and then the pinto, um, this one won't draw out past. This is, I would say, a little bit more in Advanced tool. Um, hold the tora could be dedicated to using the pen tool. And there's different ones in here is Well, you can see. Then, of course, the text tool, which you can click and type something. I'm gonna change our foreground, Carter, Toe white. So I'll go down here and what I'm gonna do instead of adjusting nous, which you can do here, you can adjust to get the color you want, or you can type in down here. I can do f f f f f f for the hex which gives me a white. Let me just change this back. But what I can also do is go up here to swatches. You don't have that. You can goto window swatches. I'm just going to select White right there. I'll hit Enter, and now I'm gonna click into my text, which is still here. Command a tow, highlight everything and override it. Let's see, I actually want to change colors to change the color of your tax checks. You have to go down here to the characters. I was on the foreground, said to go to the characters. Now I'll go. So like the white it enter now for highlight my text and I got white selected. There we go. Then I'll get all white text and then this is the past selection. We don't really have any pass to select right now, so don't worry about that one. There's different kinds of shapes you can draw rectangle, ellipse, polygon. Here's the line tool. In case you're wondering, how do you just draw simple line and you can change the wait here. I'm gonna go to 20. Gonna do another line at 20 so you can see that's a lot bigger. And then we've got three d rotate. So I'm not gonna really worry about those and three d orbit. Um, the hand tool. I don't really use that one much either. And there's a few others and here rotate view. It is the magnifying glass so you can click on your image and zoom in. I don't use this instead. What I do is, um, down here with us 3200 is that's what it zoom to you can. You can type into this double click you can type. I'll go back to 100% and hit Enter or what I like a lot is command plus our command minus. This is really quick, so I make a lot of use of the keyboard command plus minus minus. Plus, now you can see our image is a lot bigger than our window. So we get scroll bars. You can drag your window and make it bigger. We have to make your ah toolbar is out of the way. But also if if you just want to keep it the same size notice over here. The navigator. So you got window navigator, This red boxes, the viewable area. If I drag it, you can see it's tracking where I'm at in the overall picture and letting me know what's happening. And you can also do zooming over here by dragging. And when you do this right now, about 134.99 you can see over here we're also at 134.99 4. Photoshop Basics Workspace3: for the menu we have file. And this is where you can save for web. So you select PNG or selected different J pegs you can. You can also change the resolution here and save and notice That tells you the size right here. How big it ISS. So as you change the size, you can see that change over here. And you can open images from here open recent, um, safe save as you can save is a PST that Photoshopped document files. So this is very good. Whenever you wanna save all your layers, you're working content you want to save is a PST at it. Of course, you have cut paste things like that. Um image, image size and then canvas size. So canvas fight change the canvas size to something smaller. I got about 400 and 2 50 Yes, proceeded to say I'm going to clip my work area. My image is actually still bigger. The 800 by 400 we saw, but I have just shrunk the canvas, the viewing area. So I still have a big image. But I've just struck the view area by shrinking the canvas size and then here the different layers. Um, on the layers panel we can go to Our adjustments are mask. We can add layers, delete the layers. You can add folders, but you can do that up here as well. You see, can do new layer. Um later feels adjustment layer bright curves, Hugh saturation black and white And that's what we see down here is well, see, you still have curves, hue, saturation, black and white. So just another way of getting at those different kinds of selects. Um, select the whole image de select. So like I got the more key tool I draw. I don't want that and go up here in D Select or again, you could do command e filters. Um, let's say I want to apply to my background layer. Um, a bladder. So go here. Calcium blur. I'll go to blurs calcium blur, and I can see in my preview what it's gonna do. So there you have the different kinds of filters, Um, photo filters as well. Let's see, um, clicking on my adjustment layer. Got a photo filter, so this is like what you might put on the end of a camera. There's a whole bunch of those right here. Go back up here so I don't get you could get to the photo filters from this section, but he could certainly do it from here. The adjustments. The ah, circle. The half white and half black circle. Get you to the photo filters. Three D, Not something I use view. Um, rulers is a good one. Toggle that in turn a mall. See around my image, the rulers come up. They're very good for getting things fairly precise. I like to use that a lot and then grids. This also helps in getting things precise. And, um, you can adjust how big these squares are on your grid. And that would be in, um, the Photoshopped preferences, which would be here on windows. That might be the file menu. If I go to, um, grids and slices. This is where I would adjust right here for my grids 10. And in the subdivisions, I could make thes squares bigger or smaller. And another thing I find very useful. I'm gonna make thes squares. Go away is to use guides s so you can go up here in your ruler and drag down. You'll get a guide. And I'm gonna put that at 50 to conceal here 1 50 And I'm gonna want to take another and put it at 1 50 This helps me online things on my photo and, um, to tell where you are again. This is very helpful with the rulers. I got my cursor anywhere on my photo. I can look over here at the vertical wind. So right here around 200 I can know where I'm at. Maybe I'm measuring something. I can know where I'm at. If you want to get some horizontal, um, allying alignment boards like this Just go into the ruler and drag across income places, many as you want, and you can just click. Let's see who's under the move tour. Right. So I had the more key select. You need Teoh to manipulate thes guides. Just use the move tour, and you can just grab and drag them. You can drag them off, And, um, that little bit right there should get you a long ways to working really efficiently in photo shop. I'm gonna go back real quick. Uh, text type something here. You can see at the top. You've got Funt sizes and it stops it 72. But you can just click and type in whatever you want up here. And you got your fun faces, all the different ones and then, ah, the kind of bolding you may want While this is actually sharp, Chris strong This the Bolding areas depends on your font. What you'll get here and you can see they got previews of the actual funt listed on the right hand side as well. And then here's alignments Writer left alignment center. You can warp it so that it I don't have any shapes right now, so that wraps around some kind of shape. And again, here's the fun colors. You can use that. If I want to change this, I need to highlight all my, uh, letters, a new command all And then I'll click this. Now go to my swatch, actually, and select a light blue so that change of color can be done Appear These tools up here by the minibar are down here in the characters pain. You can see that got the blue right there and there's this is paragraph for adjusting lines of text as well eso. That's about it. Quick overview of a lot of the work space. And, um, I hope that helps and get you working a little more efficiently. And Photoshopped. Thank you. 5. Photoshop Basics Image Resizing: We're going to look at the basics of damage sizing. Someone create a new image first, and I can go to file new. Or I could do command new this. All right. And that's on a Mac. And you can find out your keyboard shark cut by going to file, and it will show you right here on the right side of the menu. What the keyboard shortcut is. So here I give this some name, I'm just gonna call a new image. And then here's where I set the sizing. So I'm gonna leave this at, ah, these sizes The resolution of 72 which is fine for the web that this was gonna be printed. You'd probably want to do a 300 said You have a higher resolution and the backgrounds gonna be white and you can select transparent if you want the background of whatever you're putting your image on to come through. But White's gonna work for this. I'll just drag my image over so I can see it. This in my image I'm going to drag my workspace for this image. My document out a little. Make it bigger if I want to change what I'm working in down here. The bottom. I can change that to whatever saw. Just 200 for example. And I zoom in or I can do command minus command, plus command minus command. Plus, and that will zoom out. I'm also doing that. You can go to view. You can see Zoom in, zoom out and you can see the keyboard shortcuts here. So I'm gonna click the text tool, and I'll just draw a box for this text in a row. Contain it and all type. This is just a quick test of damage sizing. And, um, let me go ahead and change my color to something darker. Have a go, and I am going to go ahead and do a few paragraphs, returns from some text at the bottom down here. All right, that's fine. Now I can resize this image as well by going to an image image size. If I go to 500 watch what happens toe height. It changes and keeps the ratio. I've got to some pixels which I find are very useful. And then if I want to change just one of these aspects I can attributes, I can just on check constraint proportions. Now, when I change this to 300 notice with doesn't change or if I change this to 600 height doesn't change. I can check that again. If I want those to remain, you can see the locks appearing. See that they are so that they lock and keep it in aspect. So let's see what happens to my image. Whenever I go ahead and change it, I'll go to 500 it goes down. Get smaller. I was gonna undo this by Command Z. Now, if I want to, I have this image remain the same. But I want the, um I want to clip off on edge. I don't want it is wide, but I don't want toe constrain the entire proportion. So let's see what I'm talking about here. If I go to image size, I want the with to be 500 just the with. So I'm gonna uncheck my constraint. The with its 500 watch what happens to the text, right? Everything is kind of squished up. Right? But go ahead and undo this. I don't want that. What I want instead is just a clip. Often edge and then I'll move my text over so it's still in the image. That's the canvas size. So I go to canvas size and I get my familiar haIf with I'm just gonna change it to 500 notice. The heist didn't change, so I changed it to 500. This is saying it's going to cut off a piece of the visible area, basically, so that's fine our way and proceed, and you can see that did happen. So now whatever I have, I need to readjust things and get them back onto the campus, and I've got a few options with this text. Could make it smaller, so let's just see what happens there. All bring this from 30 points down to 10. That'll mark. I'm gonna go ahead and get that little bit bigger and so I can do it like this. Just resize my text box, drag my text over what I can do. Also is just, um, basically squish it so that the scaling is a little different. I can adjust it that way, and then I'll just hit enter So the transform takes. And now if I look at my image size, it's reflecting the size of the canvas. So basically what happened is instead of doing an image sizing and making it smaller, which would just squash everything, I chose to go ahead and make the canvas smaller, which keeps everything on the canvass the same size. And then I went immediately figured out. What do what sizes do I want to Ah, how do I want to resize everything manually so that gives me more control versus everything just being compressed? I have the ability to go in there and compress what I want and resize what I want to fit particular ratios. Now there's another way to do that. Say we've got an image size now 504 33 I want to say this for the Web, but I want it to be only 100. I could go in here and do image size 100 right well, and I would want my constraint, my ratio to remain the same, and I would have 100 within an 87 haIf and then I click OK, but my master image is changed. I don't want my master image to be changed. I want it to be this size causes. There may be other times that I'm gonna want to use this 500 with, but there's one particular case I need it to be 100 with, and I'm going to do it just for the Web. So rather than modifying my master, I can go to save for Web and devices and you can see right here I've got image size. I'll change that to 100. And now when I save it, just this one instance will be say that my master remains and I can go up here and choose P and G is fine because it's an illustration. If it was a photo, I might go to one of these J pegs and, um, probably choose medium. And whenever you can see, I've got 12.5 K down here to let me know what the sizes. So if I go to the O. J pay glow, we go down to 11.28 So that way you could tell what's happening. And so if I click save it will tell. It'll ask. Where do I want to say that? And then I'll have my smaller image available and my master will be retained. So that is Ah, basically, how to do some imagery sizing how to do canvas re sizing and then how to retain your master size and then save us particular instance at a different size. Thank you for watching. 6. Photoshop Basics Layers: we're gonna look at layers, and this is just gonna be a quick overview of how they work and some of the key points that you should keep in mind when working with layers over here on the left. Um, I've got the layers tab right here. This represents all the different layers that are on the current image. Right now, I've got my main photo and what you should probably do each time you're working with the photos that you have, a backup copy is duplicate the layer. So you see, I right click and then just duplicate and click. OK, now I've got a layer that I can hide, which is my original. I've got a layer I can work with so that if it's damaged in any way, I can just go back to my original and create another duplicate, and that will save you lots of time. Actually, when working with layers and I can add a new layer down here by create new layer. So if I click that I've got this layer here Now, whenever I type in some text, this is just a test. I'm gonna change this toe white, so it's easier to see. All right? No, that is not on my original image. That is on its own layer. So I can hide this. And my image still has full integrity. There's nothing affecting it. I can bring this back by clicking the I. You see the eye all the way to the left here of each layer will hide that particular layer . I can hide my background as well, and that's transparent. Now, what I can also do is the right now minute document. Photoshopped causes documents. I'll click on this tab. I've got another completely different document. So this is another image. Okay, So if I do command a also like this entire image a new command, see to copy it and go back to my other document? No. When I paste this image from another document here, I get a new there automatically so that each of these layers are each of these. I guess you could say images are independent of each other. It can turn off these two images and you can see they're not affecting my background. My click the eye on each of these, they'll come back. No, I like my background image. My click. Let's see how I like my background image. I can still click and drag these around If I take my brush and I grab a white color and I've got my top layer which is the showed highlighted I make do something like this with my brush and I hide this top layer You can see all of that goes away So I didn't affect my background image. I only affected this top layer because that's the layer highlighted right now. So if I would have gone down here and done this now when I hide my top layer, I've actually written on my background image later because I've got it highlighted right here. So if I turned that off, you can see just to come Command z removed that. Okay, now I want to do something with this shield. Actually want my background to bleed through it a little bit. To do that, I'm gonna add what's called a mask. A layer mask. So this is another layer you can see. It's parallel with my shield layer. Now, when I take my brush and I color over it, you can see the background comes through, and if you look at the mask. You can see a little bit of black in there. I'm gonna go ahead and do this. Some more and more black will come in. You can see that if I hide this. See, it's it's just affecting the one layer. Now, another thing I can do is add an adjustment layer. And let's say I want to adjust this shilled. So what I can do there is I'm gonna add Hue saturation. I'm going down here to the circle with the half white and half black. This is where I'm gonna add what's called an adjustment layer. So there's a huge set in hue saturation, and I'm just going to take my saturation and drag it all the way to the left. And this is gonna create black and white, so that affects everything under it. What if I just want it to affect one layer? So I'm going to remove this. I'm gonna go to my history and remove the the adjustment layer. I'm gonna hold down the option key going to get right here in the middle. I wanted to actually effect the, um shield only. So let's see. I'm going to actually I'm gonna move this adjustment later. Completely. I might add a new layer. Now. I had the adjustment layer here. Hue, saturation. Let's see. I can remove later to I didn't need that. I just needed the hue saturation above my layer one, because that's the one I actually want to effect. So I hold down the option key. I get between the two layers that I want the adjustment layer to effect on two, which is the slayer one. My top layer. So now you can see this underlying When I go back to my adjustment later, I'll click and highlight it. My move, My slider. It's just affecting the one layer just affecting that top layer. So that's how you can get it to to affect just a target to layer someone remove this top layer and we're just gonna try that real quick again. So I've got my top layer. I add the hue saturation, which pops in as the above my later one about my shield layer. Hold down the option key. I get this weird icon in between these two layers and click so you can see later. One is highlighted, and when I highlight my hue saturation. I can slide saturation. I'm not gonna only affecting the one layer. Now, another thing you can do, um, because these layers, as you work with layers, will just grow and grow and grow. You may have layers that are very related so you can take those and highlight film and click the folder icon. And actually just the the one nearest will go into the photo. But I can drag this layer up into the photo, see what I'm doing there. I'm taking this one later, clicking and dragging it up into this folder. And now it's just in here. I see my hue saturation fell out of the photo, actually, and it's dragged that appear and then drag. Let's make sure it's in there. So those air both in there I'm gonna take this hue saturation and drag it back above layer one so it only effects later. One. Actually, what happened is the ah, link came on done. So I go between these two, go down my option key and click. I've now put a link that again so that just the shield layer is being affected by the hue saturation, and I can close this now, and I may just want to call this group shield, so I'll double click the name and I'll just say showed. And, um so this text right here, you can give it a name as well. And this background copy, I may just wanna click on that name and call it, um, main background, for example. Now, let's say I want to duplicate my, um right here. My showed layer. I can right click, and I can duplicate, but let's see what happens. It's saying, Do I want to put it in my current document are doing one a new in. Let's just say I want a new document for this one layer. Maybe I've done lots of work on this layer. I'll say new click OK and watch what happens. It opens up new document, and I've got everything that was in that layer, so I'm just gonna add it later here real quick. All right, I've got this new layer here. I'm gonna select my paint bucket, and I'm gonna choose Black and Phil. Now I'll drag this later down, So that way you can see everything that was on our later that we just paste it in. All right, let's go back to our original document we were working with you. See this lock icon? Um, the base layer is locked, so we can't do anything with it. Really? But if you double click here in this blue, you click. OK, watch what happens to the lock. So what goes away now? You could move this layer. You can do different things to it. So that's just a quick overview of various useful techniques you can use when working with layers. Um, help. That's helpful. And thank you for watching. 7. Photoshop Curves: in this video, we're gonna look at how to use curves and Photoshopped, and we're gonna first add an adjustment layer with the curves. And I'm gonna add that from our laters pain, I'm going to go down here to the half black, half white circle, which is for the adjustment layers. I'm gonna add Curves and curves encompass a lot of different things. Their brightness, um, there contrast. You can do a lot of different things with colors, but you have a lot of control over it, So some of these you can access through later. Such Aziz, we got brightness, contrast. Um, Hue, saturation, black, white. So there's a lot of things in here you can do separately, but cars, I believe, gives you lots more control over doing that. So we're just going to see real quick what these cars could do. I've got this image here. I'm just going to dragged down. You can see we're adding a lot of richness to the color. So what this is doing is contrast. Adding contrast, I'm gonna click this little, um, arrow down here that will reset. So we're just basically undo everything I did while I explain what's going on here? This is our history, Graham. And what we have down here in the bottom left, is the darkest sections of our photo. And in the top, right, we have the lightest sections of our photo. And whenever you go from this top down, it's taking the brightest parts are our photo and making them less bright basically is what's happening? And then over here, it takes the darkest points, makes them less dark. So again, this is contrast. Gonna reset that? So we go back to where we were, and over here we're in the doctor areas. So these are our darker pixels. So another thing you can do, and I'm gonna take this hand with the two arrows if I want to target particular areas that I wanna just, uh let's say the sky so I'll click and drag and you can see on my hissed a gram. It places a dot pretty much in the middle. And that shows where I'm at in the history. Graham. Ah, where I've clicked on this photo. See this start right here. So if I go here in this white, you can see where I'm Adam way up here on the history. Ram the top, right. If I go in the shadow, I'm down here in the bottom so you can see. Remember the bottom left. There's darker areas in the top, right? Or lighter areas. So I'm gonna go back to where it was. Click and drag down. So what I'm doing is making the sky darker, basically is, Would it? Amounts to are adding more contrast. And if I want to take this green and make it a little lighter so it comes out, I'll click in here, drag up, and that will help bring my greens out a little bit more. And, um, I got the water down here. I could make this little darker if I want. Or let's say I want to make that a little brighter so it will stand out some, okay? And maybe this yellow. You can see where I'm at with this yellow on the hissed a gram. I want to make that a little brighter. Not too bright. All right. And that is basically the curve we end up with. Then let's look, I'm gonna turn this adjustment layer off. You could see this top layer up here is the one that was added. If I turn it off so you can see the difference in these images and a few things to avoid I'm gonna reset this whenever I take this top peace and our bring it out like this. So let's see. Turn my later back on. I didn't have my later on. All right? Now, if I bring this out, I get this flat line up here and you can see everything is kind of There's a lot of areas that are blown out. What I mean by that is there just washed out with all this brightness. So I'll reset this. And if we do the same thing down here, we get a lot of areas that just go black. Basically, what you want to do is avoid having ah, those horizontal lines in your photo. So I'm gonna click, and I'm going to show how another develops. So I've got basically this horizontal line again, and it's actually one down almost so it's an S curve, but it's fairly warped. These are things you want to avoid. And there ah called flat spots or maybe downhills and what it does, is it it kills your contrast, it starts turning your photo into a negative. So if I reset this thing and I just do the extreme of it, we get a formal negative, basically, is what happens? So those air things you definitely want to avoid and, um let's see, I'm gonna go ahead and brighten the darks a little, and then I'll do a little bit less on the brights and I'll get this s curve. This is very common, and this is basically contrast. Things like I said, is taking the darks of making them a little brighter and taking the brights and making them a little less dark. And if I turn off this later, you can see the difference that it it has on it going to reset that again. And, um, if I pull this down back over here, this is This is I use this quite a bit where I'll just take and pull down into the ah, bottom right a little. And that usually does the trick. Let's see, go back a little bit more toe, add a lot of richness to a photo so you can see what's happening there and then I might go in, um, and take this right here and and bring it up a little bit so that those shadows come in. I'm clicking the I up here, so I Cantat go and see the difference between it. So going to reset this again. And I'm just taking in doing this. And then I had a lot of riches to your photo just dragging that down right here on this spot on portion. And then, of course, you can work with individual colors appear of God s O the Reds policy, the effect that has. And this is one you can use quite a bit with skin. You know, in this particular photo, it's actually gonna be the greens and the blues that I may want to work with more. So if you make this kind of adjustment to the green and then I take the blue, I make it darker. Now let's go back to our RGB. So there we got a completely different kind of photo and, um, these different colors whenever you're adjusting them, you're not really adjusting. Just read, because once you go back to your RGB, you'll see the effect it has on overall photo because it's to get out all these different couples. Obviously, there's lots more coders in the photo is taking these different colors of blending them together. And that's how you're getting all these different colors. And that's why whenever you're adjusting just one and refining it, so the reds, for example, you'll start noticing you'll have effects on many different areas. So that is just a quick overview of how to use curves to enhance photos, and I hope you've found that valuable, thank you. 8. Photoshop Basics Typography: I wouldn't look at how to manipulate text. I'm gonna start with heart text tool, which is this tea right here. And in here are other different kinds of ways to manipulate text. We're gonna work with the horizontal textile. It's gonna be the most common that you'll probably end up using. And if I click and I started typing, this is a test someone, a black background, And, um, my Texas, obviously black because of foreground selected here. I can change that to this gray color, which in fact, I'm going to just get a white change that to a white Let me move this over Click OK, And you notice the tech still has not changed. There's, um a couple of ways I can do this. I can click my move, which highlights all the text. And actually, I'm gonna go ahead and click into my text and click command A which I think is all today on windows, which whoa, highlight all the letters you can click up here in the top where the colors are and select white from your swatch. Or you can put in a hex value for white, which is six abs You can also select it down here in the color pain down here. So you have, um, a lot more options with your text down here in the character pain, which you can get from window character. And there's a few of the common options up here in in your menu. So that changes the text toe white. What I have here is basically just this I can do an endless stream of text unless I hit return, which all he returned. Now there's that way to start your text. I'm just gonna click, move the move tool and then I'm gonna start with some new text. I'll click the tea again. I'm gonna click and drag this time so I get this text box. So this is different. We don't We didn't start off just typing text. We first to ourselves a text box which you see has some boundaries. And when we'll see what happens here, this is another test using text. What happens with very long words. All right, You see, it wraps inside this box, and I've got these little arm boxes on the corners and in the middle of the vertical and horizontal lines, which are gonna allow me may not be able to see it too. Well, um are gonna allow me to resize this text box. So when I move my cursor over one of these box, I get this double edged arrow. If I drag it up, you can see what happens. Only get the visible part of the Texas had the boundaries, so it doesn't squash it and make it all go in there. So I'm just gonna drag this down so it can see our other texts. You notice we also have this hyphen? Um, particularly for if you're doing a print book, for example in and on the back matter of that you don't want hyphens to appear, but you'll probably want to be constraining your text using something like a text box for either back cover of the book. So when we would like to get rid of this hyphen and not have it do that, what you can do is go down to your paragraph tab and uncheck hyphenate. You can see we get rid of our hyphens. Now, if I click, um, just click my move tour and you can see the basically what's called the marching ants have gone away. If I click in here, you can see these These lines where they're not marching right now, The more key told L they'll be Cottam animating. But all these dotted lines are there now, if I click my move till they're gone. But I still have my handles. Now, if I dragged the same handles like I was doing earlier, notice the difference with the text. It scales this time. So rather than clipping text, it just scales it. So that's two different manipulations of it. Wouldn't work with this text box a little bit more going to go back to the character pain and you can see down here I've got I need a click inside here. So this is actually a transformation whenever I'm scaling it like that. And once you re size that, you need to just hit enter and that'll apply the transformation. If I go down here, um, I'm gonna choose a different front. I would like 48 you could see it resize is my text. Let me just bring that back to 24. Then we have this one here which is leading, and this is gonna change the spacing that we see in between our lines. So right now I've got 79.45 and our fun is 24. So we're almost three times are over three times what are fun sizes. And that's why we have this really big space in between each line of our text, remember, Were working with just this text box here. So if I change this to something closer to 50 now, we're basically double. And if I change it toe auto, we were, I guess you could say maybe a normal leading in between these. So that's what that does. Auto is very good are you may want to manually just type something in which you can do here like just above what your fun sizes. I'll go with the 30 give us, gives it a little more padding and then we have our tracking, which is going to be the space between characters. Right now it's on zero. I change this to 100. You can see what happens and it manipulates all our characters. And then I'm just gonna change this back to zero. This is ah, turning, which will affect individual characters. So basically two characters of spacing between two characters. So by clicking between these two peas and I changed this 200 you can see it only affects those two letters. So that's how you you can affect spacing between just two characters using that feature. And then over here, vertical scale. And another thing you can do. I'm typing in to these boxes and I'm clicking the drop down to change things. You can, uh, put your cursor over the character down here and then drag. You can see it's changing, so I'll just drag this out to 200 and we're not really having an effect. They're gonna highlight everything clearly, though, so you can see it's stretching the haIf of our words, and they're kind of running into each other. So if I'm in this back to zero, or actually it should be 100 and we go and then over here we have the horizontal scale. So this was vertical scale, and you can imagine what horizontal scale is gonna do is just gonna make our text thicker. So if I stretch this, you can see it is getting thicker. And then down here at the bottom baseline shift and color. Um, those air some, you probably will not use as much. But here's one that you probably will use. I'm gonna put a nine here. I'll just highlight that down here at the bottom. We have sub scripts, superscripts and sub scripts. So I'm gonna make this a superscript and you can see what happened with the nine. So if you want to do footnote type of things and then you have the strike through, for example what, you can't see it too much, but there is a vertical line going through it. So there are a number of different options with these teas down here that you can use to manipulate. And then, of course, you have your funds, and on the right side, it shows you what the fund actually looks like. And then this is the ah bolding. So if I highlight all of these, I can ah choose down here or appear the kind of boating on the I'll go with light that would change that paragraph Tab manipulates. I'm not really going to go into this one too much, but it manipulates, um, the first and Dant up here on the first line. Um, if you have another paragraph So this is the 2nd 1 you could manipulate. If this is indented here, you can manipulate if the lines below are indented and then this one up here maybe is not indented, but, ah, another common one is the alignment. So I've got a left the line if I do center to see what happens there or I can do right in line, So those are very common. And, um, the straight text we did up here where we just immediately started typing This is good for just one line of text may be just the word or two, particularly if your baby wanted to text on a, um, a button for a website. Maybe just one word is on the button. Push here or something like that. Click here, then you'll probably just use this where you're just straight. Type your text. Otherwise, if you're doing a paragraphs worth or maybe more, you'll you'll probably likely end up using this text down here. You'll just draw your text box. I'm gonna go ahead and hit enter to apply the transform and I was draw this text box again so you can see that this is another test of text and then I can return. This is the second mine of text. I'll just resize this to fit my text again. Since I'm clicked into here and I can manipulate the text whenever I drag indie, any of these boxes it's gonna clip. So, for example, I want to try and get some of these horizontal ones. It's not actually letting me get that. So I'll drag this over here and you can see some of my text is gone. Now. By doing that, I drag out the rest of it comes back, and then if I click my move tool, I can scale it to whatever I want and you could see whenever I dragged down it makes the text taller. If I want this text a lot closer again, we'll just go back to our it entered. To apply the transform. We'll go back to our leading all sex select auto, and now I can manipulate the height of this text I commit. Manipulate the width of it, make it thicker. I've got all this blank area down here, So one of our drag, um, that blank areas kind of being included. If I want to get rid of that and I'll go in and click in here, I'll drag this bottom square up. And now, whenever I drag, it's more accurate, I guess. More precise, because I don't have that blank space in there and I hit, enter, apply that transform. And that's Ah, basically the ins and outs of manipulating texts, so help you found that valuable and thank you for watching. 9. Photoshop Basics Grids Guides: when I look at grids and rulers and photo shop and learn how to use them and also what makes them very useful hero got a new image, and I am gonna go to view and show grid. And here's our grid, and this is useful for when you're wanting to be very precise in what you're doing. So, for example, this is a more key tool, and I can take, for example, a shape just gonna change the color. And I might wanna do something like this where I'm staying on each of these grid lines and the more complex the image you're creating, more helpful, these grids can be. And you can set what this grid looks like in photo shopped preferences in guides, grid and slices. And I've got mine set to display a line every 10 pixels. And here are the colors, so you can change any of that. If I go back into view show I've got smart grid selected as well. I'm gonna just look at what that does someone a draw bring up a new layer and draw a new shape? I'm gonna turn off these small grid lines so you can see what's gonna happen here. So if I take this shape and I move it, you can see this little line coming into view. So this helps me align the edges. This smart grid, it just appears whenever it thinks there's a good alignment with another object. So if I move in close to the center, it tells me where my center is. And then again, here's where my edge would be. So if we go back to snap to, I've got snapped two guides and snap toe layers, I'll show you what this means. So, for example, snapped toe layers thes air two different layers you'll notice as I get right there on the edge. It kind of snaps to that edge. Or if I get over here to the center, see that it kind of snaps into the center are on this age. It'll kind of snapped to that edge, and the smart grid lines that are appearing kind of helps, um, enforce our better animate. What's going on there kind of enhanced that snapping effect that's going on there. Now we're gonna look at rulers and rulers, air view and show ruler. So I had the rulers are had them shown. Click that again. They come back so these rulers run across the left in the top. If you click into this ruler bar and drag you get a ruler or it's actually a guide. You get a guide that could drag another one out. So now I've got two of these. And if you want to move them, just put your cursor over them and you could move them. And remember, these colors were set in the photo shopped preferences. I go to kill grids and guides. You can see smart guides. Those were the ones that were appearing earlier. And here's the Cy. Inform my guys that I have now. And so if you want to take one off, you can just click it, drag it off and it will disappear to get one from the top. You can just click and drag down just like that. Earlier, we saw how the smart guides and snap to helps us align objects. This also works with these guides. These guys will go for the center of your image. So as I dragged down closer to the center, see how this guy's kind of popping in there like that. And if I take this guide and drag it, there's a center. So it finds the center. See how I just pops over. And it's not the center of these objects is actually a center of the image is where they're gonna end up at. And if you want to quickly hide your grids or guides, you can do command H and that will hide them or make them come back. And if you have the grids showing, I've got the grades and the guides, it'll do it, both of them. So whatever you have on there, between grids and guides is what will hide if they're both on there and they're all gonna hide. So that's just quick overview demonstration of how to use grids and guides and Photoshopped and thank you for watching. 10. Photoshop Basics Rule of Thirds: number one. Look at the rule of thirds you might notice on, for example, the iPhone. Whenever you take a picture, you can pull up a grid, and it has to vertical lines and two horizontal lines that intersect and it divides the screen up in 2/3. And this is the rule of thirds. And you try to align things against these lines and usually gives a better looking picture . We're gonna see how to do that in photo shop with grid lines. So here I have an image. I'm just gonna go ahead and blurt this out so it it doesn't dominate the photos so much. I'll just do a Gaussian blur. Man, that looks fine. Um, I might faded a little bit. Go and change the opacity. Not that much. That's good. And we're going to set up our grid lines, so I'm gonna do view. I want to show grid there's our grid and now we're gonna go to Preferences, Photoshopped preferences, gonna goto guides, grids. I'm gonna change this to 33.3. I'm gonna go percent, and you can see we've divided it up into the same kind of grid that you would see on the iPhone camera, for example, when you turn red lines on and you'll notice how this flag is actually following that same pattern, they've got their red up here in the top third. Then they got the brown in the middle third and blue down here in the bottom third. So let's ah say I want to put some text on here and maybe I'll do a logo. How would I do that? Um, this text might be, uh, the name of a course. So I am going to change this toe white in great photo shop. Of course, I'm going to go ahead to a carriage return here. So there's our text, and I'm gonna go ahead and do another. Let's see the great thirds course. How about let's just change this a little bit. The great thirds course. And I actually want to bring that back up now for a little bit better symmetry. And now I'm gonna add a new layer, and I'm just going to say photo shop, and then I'll do something like another later by me. And I'm gonna make this smaller. Mr. Neo, um, normally, the text would need a change for this to look a little bit better, but I'm gonna go ahead and just leave it like that for No, I mean, the fund would need to change a little bit, so this might look a little better. And now I'm going to start doing a little bit of re sizing on this text. I won the text to take up 2/3 to the right so the text can be in all of this area, but I wanted to take up 2/3 of the right and 2/3 to the top. So just these four squares is the only place I want the text to play in. So I'm gonna resize my Photoshopped text so it takes up most of this. Brown. I'm gonna let this text down here. My name. Stay in the bottom part. All right. So I'm gonna go ahead and resize this a little bit. I'm gonna leave a little margin on the edge, The right edge, because sometimes, um, logos will appear right. Here are the minutes that the courses will appear right here, so it'll cut off, and then sometimes the images gets cropped. Anyway, a little bit, you know, if you're hosting with. You didn't hear someone like that that might crop it a little bit more than what you were anticipating. So I leave a little bit of padding there. I'm just going to shrink that a little bit. Now, what I want to do is turn on smart grid, someone to view, and I'm going to show. And smart grids know why. Smart grids. So let's see here. I'm gonna make photo shop a little bit bigger, and, uh, we'll look at why Smart grids now. So when I grabbed this one up here, I wanted to align the e and the peas toe a line so you can see that smart grid appearing right there. Now, I know that there are aligned, so it's just right there when I'm right in the vicinity. I'm jittering a little bit is white, but I know I'm right on it. Now. I need this side over here toe in line with the edge of the P, and you can see the smart grids coming in the play there to help me align. It's That's what's really good about these smart grids. Okay, now I just need to fix the bottom one. I'll slide this over right about there. That's fine. So we're making use of the rule of thirds. See how everything is nicely unlined. We're staying not were not directly against this line here. Probably doesn't really matter. I'm just leaving a little bit of Patty because I want to put a logo over here and I'm going to make this the great thirds. Course, I'm gonna make that a little bit bigger. So I'm just going to make that a little toller like this. And what I want to do is a mine. It So it's vertically in the middle of this thirds. So But I want basically the same amount of red down here as up here so it will be aligned. And there it ISS that's pretty lined up there. And then our letters are aligned with each other. So all of our words, or align vertically as well. And now I'm gonna take a logo. Let's see, it's gonna use the bite size business School shield now, Just tried that up here. Actually, I dragging into my, uh, doc into Photoshopped and there, that is and I'm gonna copy it, bring it into our image course all need to resize it. You know, I'm gonna turn this into a smart object so that I don't mess it up as I'm resize again and doing things to it. All right, that's good. And now I'll need to resize it. And how do I know what I need to resize it to? I'm going to use my guys that are the thirds here as a general kind of role. I don't want the showed proportions to be lost, some holding the shift key down as I do any kind of re sizing so you can see it keeps it in proportion. And because this shield is basically square, I'm not gonna put it up here, and I'm not gonna put it down here. I'm gonna put it right in the middle. And I could just kind of eyeball that to see if I am actually in the middle. And this right here is pretty good. It's gonna shrink a little bit, so that means I need to drag it over a little, getting a line back up, and I'm gonna do a little bit with the opacity here, so it doesn't stand out quite so much That right there is good, except that transform. And that's basically yet I could do a little bit more polishing up on this here, so it doesn't look so new. And everything else is so Grandi. But I'm gonna go ahead and turn off. My guides undo command age. They go away. And that's basically what are Yeah, men jewel look like with everything proportionate. So that's how the rule of thirds can help you. Um, you can see things here are more appealing to the eye than maybe if I would have tried to just very much eyeball this and I had things not as well aligned. So I might wanna have put this in the middle, for example. Maybe this photo shop, I would have wanted it in the middle. And this Maybe I would have wanted to try and put it down here. That's a completely different look than what we had over here. I think that one probably looks a lot better, But to achieve this particular look, we did make use of the rule of thirds by setting our grid 2/3 in Photoshopped preferences in the guise ingrates. And all we did was this right here 33.3 percent so that we get a guide. Our sorry oo grid. Every third Turner agrees about gone. There they are. So when we started out, they were very small. We had a lot of little grid lines in here, and then we changed it, and we got these very large ones, and I would just try this. Um, if you don't need a tiny little grid boxes to put it like this so that you do have the thirds, I think, um, you could do a lot of design with this without and without the little boxes, the little the tinier grid boxes. Because the thirds, I believe, had the higher impact to make more dramatic effects that are really gonna maybe subliminally even a pill to people viewing your images and your photos as well, because things were gonna be lined up. And it's the rule of thirds. Is the Fibonacci role where things were divided up into, ah, natural numbers, three being one of them. So it really helps when users look at your photos and there it is. There might be something about it that they like. They can't quite put their finger on it, but that's what's coming into play there. I think it will really enhance just about any photo or image. So I hope that you found that helpful and thank you for watching. 11. Photoshop Basics Smart Objects: we're gonna look at smart objects and the benefits of using them here. I've got the bite size been school logo, and I'm going to add another logo. I'm just gonna increase the canvas size to accommodate the additional logo, so I'll just duplicate this layer. Now we have to locals so that we can see what happens to both. So if I take, um, this logo, I do this to it, I transform it really small. Maybe I stretch it out, I'll apply that transform. No. When I transform back to the size it was Look what happens. So we lose a lot of data whenever we just transform a regular object. Now, I've got my other showed here. I'm gonna go up to the layers and select smart objects convert to smart object. And now, whenever I transform this smart object, basically, I'm gonna do the same as what happened earlier. Okay, that is done. No one any. Bring it back. Look what happens. No loss of integrity. So the smart objects retain their data. Basically, is what that means. And you? It's none destructive as well. So there are a few other things we can do that we're gonna look at here, which smart objects are very good for. This is 1/3 party PSD and is composed of several smart objects, and some I didn't mention earlier when we were looking at the shields. If you look at this later here in the bottom right of its icon, you can see this modification to its layer, which represents a smart object. And this one also has this in the bottom right of its icon as well. That's another smart object. If I open up this photo, you can see there are a lot of them. All of these are smart objects now. This looks like a complex set up, and a lot of this kind of set up is composed of many layers, as you can see and smart objects. It's doing that so that you can edit the text. You can edit the colors, and it's not so easy to do that in this transforms state that they have it here. By that I mean, it's it's at this. It's laying down and said a particular angle. It's three dimensional. So how do you edit the original contents? Well, on this particular file they're using mostly images and these Orent text layers. So you can't actually change this 21 toe A 22. But this is still OK for the example that I want to show you if I double click this top small object much what happens here? So it brings me into this image, and you can replace it with your own image. You can add text to it. So, for example, um, I may want to add something here, and I'm gonna choose a little bit larger funds. This is a test, and I'm going to save Well, actually, I'm gonna take my paintbrush and I'll click this layer. Don't just do something like that. I'll save it like I would save any file done. Now I go back over here and look, we'll have our text, right? They're gonna scribbling marked down here. And if I open this up again, I could go back in here. I've got my text layer so I can click my text tool. I can change this if I want. This is another test. Probably What I should have done here is create another layers so that I could have deleted it or edited the color or whatever I wanted to do. But this looks like we're working in just a regular PSD file. Actually, it's a PSB file, and it's not Ah, standard long file. It's embedded inside of this PSD No, you'll notice our text has not updated, so we always need to save our smart objects. So I'm going to say this again like we did before. That's done. And when I go back over here, notice our text has now updated. So those are some really good benefits of smart objects. And if we build one from scratch will be ableto get a little bit better idea of how these air useful. So here I've got a texture, and then I've got this wine bottle. What I want to do is create a label and stick it on this wine bottle using this texture. So I'm going to go ahead and add in some text. This text might be too big. I'm gonna crank that down. All right? And then I'm going to add another layer for the year. Okay? No, just make this little bigger. Put it right there. Make this one up here a little bigger. That looks fine. Okay, that's good enough. Now what I wanna do is highlight all my layers so I'll click the top one. I'll click the bottom one while holding down my shift key and I'll go to layers. Smart objects convert to smart object. You can see here we get our icon is modified Look at the bottom right now you might be wondering. Well, weird. All those layers go. How am I gonna add up my text whenever everything has basically been merged together? So if we look at this, we got a PSB file again. So this is our smart object. If I double click it, it opens up and oller layers expand out. So I'll go ahead and close this. There's no modifications. There's no reason to save. What I want to do is basically take this morning object and put it over into this image. So I'm gonna drag this drag it up here and we get this square outlining on top of our image label, and then I'll just drop it. And there it is. Now hold my shift key down as I drag these corners so that keeps the proportions and I'm gonna do a little resize ing here in a bit. I'm just zoom in command. Plus drag this down. You can see our bottle. It gets a little skinnier as we go down. So I need to make sure this down here is is dragged out enough to match the with of the bottle down here. And then I'll adjust it. So that matches the top. And also so that it wraps with the bottle. Now go to add it. Free transform and war. What I need to do now I'll just drag these edges to the edge of the bottle a little bit more over here. I think so. Then I'll drag down these in the middle, which will create a curve effect. So it looks as though it is matching the curvature of the bottle. And I'll have to do the same down here. All right, Hit, enter. Apply that and we'll zoom out and there we go. Brandon label. So then what happens if we discover over? This is not a 1987. It is a 1988. How do we fix that problem? So we have our smart object here. It's a new layer, and we have you can see that our icon has modified the bottom right. We can tell it's a smart object. So what we do is we just double click this icon. It opens up are smart object file and here's our text layer. Want to modify? So I'll just click on the text tool. Change this to an eight. Now I'll save it like we would save any file. Now it's saved and look at that. It's been updated on our bottle. So again, a smart object over here that we just edited. It's a PSB file, but it's actually embedded now in our image. So when we save this are smart object. All the data for our smart object will be in here, and we can edit it whenever we want to. So I hope that was helpful. And thank you for watching 12. Photoshop locktransparentpixels: we're going to see what transparency lock is and why we would want to use it. I'm going to start off with a new image and I'm just going to We're gonna go to go ahead and create a background color here and I'll give this some size 1000 by 1000 is fine. And then I am going to do a shape. All do a red and then I'm going to do another shape hand for this. I'll just do a blue. So there's blue. Okay, now we have actually, well, two shapes on top of the background. If you think of the background, is the shape then would have three of these. But let me go ahead and get the move toll. And now I'm going to select my brush so I'll click this brush. And right now I can't do anything on this shape layer must be rast arised, which is fine. I'll rest. Arise that and I'll go ahead and rest. Arise this one as well. And now if I take my brush, I give it a different color. So let's try yellow and you could see my foreground over here is yellow, and I brush. So I've got the red layer clicked and you can see we're brushing on the red, also into the green. So let's click on the blue and try the same kind of thing. Now we're brushing the blue, brushing into the red and brushing into the green. Okay, let me just back up a little bit. Let's say I wanted to color into the red, and I didn't want it to spill over. So if I click this icon here next to lock, this is lock transparent pixels because you can see we've drawn a shape on this layer and all around that shape or a transparent pixels. Now, if I take my brush and I color, you can see I'm not coloring into any of the transparent pixels. Let's back that out. And now if I click the blue and I lock it as well, you can see a guard lock here. I've got transparent pixels all around the blue, so as before, when we would color on the blue would color the blue but called the red and the green. Everything got colored. Now, if I call her the blue, just the blue is getting colored were not spilling onto the red, and we're certainly not spilling onto the green. That's what lock transparent pixels does, so it restricts you into your shape. Whatever it might be. Let's try something a little bit different. I am going to let's see, Although I didn't keep these layers separate for now. And I am going to go to the calcium blurry right now. I've got my red later selected and I'll go to Filter Blur, and I'm gonna do Gaussian Blur. And 6.4 is fine and you can see nothing happens here. Okay, let me back that out and I'll go to my blue. I'll do filter also like calcium blur. Nothing happens there. So we're applying Gaussian Blur. But you can see visually there's nothing going on. So let me try something here. I'm gonna merge these two layers hand is gonna be emerged. Laters. And now, if I have this selected now, if I go up here to filter calcium blur now, you can see we're getting some kind of effect going on and that everything is now blurring . That's because we've created edges on the shapes. Before, they were just standalone shapes. That was it anything that could get blurred. Now the shapes have edges, so there's something around the shape that allows the blurring effect to occur. Because the blur I actually only occurs, at least for these shapes because they're solid shapes. It only really occurs when we go from one color to another. Let me kind of explain this by copying the middle here. So if I copy this blue and I create a new image out of it, I'm just paste my blue. You can see we've got galaxy, um, blur attached to this color this shape. But there's no blur. Well, there actually is. But because there's no edge here and which means there's no other color for the blur to spill out onto, we don't see the blur effect or we don't see it very good. But it's there, and we can see it better here with how these shapes have blurred on the outsides. Now we've got our pixels are transparent, pixels unlocked. So let me back out of our galaxy, Ambler. Now we're back to regular, and I'm gonna lock these transparent pixels. All right, let's apply our blur now and see what happens. So you can see, the Blur is still having an effect. But just on the blue, not on the red. And why is that? Well, remember earlier, when we were coloring these shapes weeks, for example, we colored the red when it was on its own layer, and we could color in the red, but not out of the red, because around the red were transparent pixels, which is what we have now. So just like our blue color, there's nothing around it. So we don't see the effect of the calcium blur occurring on these edges. And that's the same thing happening to the red. There's nothing around the red except transparent pixels, which you can see them all around. This don't get confused by the screen background layer. You can see here if I just turn it off for a little bit. There's nothing going on around this, so there's no effect on the Blur. But what about this blue in? We can certainly see that there's a blur going on here, and it's on the same layer. But why? Why doesn't it do the same thing the red is doing in which we have just our regular hard edges? and straight lines. So the reason there is because we did merged these two layers and around the blue is red. There's actually something around it. There's non transparent pixels around it, so we're only locking transparent pixels, and this allows our galaxy and blur to spill over out into the red. Now, if we go back over here to our Blue Square when we make our campus a little bit bigger than what it is now, so I'll just go to pixels here and, um, let's go with 300 by 300 that should be plenty. And let's see, you were gonna merge these two layers, our canvas defaulted to a green background. So I'm gonna go ahead and just merge layers. And now you can kind of see the calcium blur coming into effect. So if I go to my navigator, you can see a little bit of it coming into effect, and that's because of how we copied it out. But there's a little bit of blurred going on right there. So that's how transparent pixels work. If you have transparent pixels around your shape or whatever it might be, and you lock your transparent pixels. It's not going to spill out whatever you're doing. Is it going to spill out all into the transparent pixels? But when they're unlocked, it will spill out onto the transparent pixels. And if I lock, you can see it's not going to in this case, and that's just a quick overview of transparent pixels.