Photoshop Fundamentals: Class #2 Layers & Blending Modes | Michael Lemma | Skillshare

Photoshop Fundamentals: Class #2 Layers & Blending Modes

Michael Lemma, Designer & Photographer

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13 Lessons (1h 40m)
    • 1. Intro

      0:40
    • 2. Layer Basics

      12:30
    • 3. Basics with Mask

      5:24
    • 4. Blend Modes

      13:40
    • 5. Adjustment layer

      10:54
    • 6. Blend Mode Colors

      5:20
    • 7. Blend Modes Multiply

      4:04
    • 8. Most used Blend Modes

      8:22
    • 9. Layer Type Tool

      7:28
    • 10. Layers Curves

      4:25
    • 11. End

      0:17
    • 12. Basic Layercomps

      14:50
    • 13. Advanced Layer comps

      11:54

About This Class

Learn a introduction to photoshop with simple techniques to really make your photos pop. Learn how to use photoshop layers, and different Blending Modes to get cool techniques applied to your photos.

Transcripts

1. Intro: Hey, everyone. My name is Michael. Emma. I am a professional photo shop or as well as a photographer and designer. Over the course of my career, I have worked with big companies such as for Horizon, Amazon, Apple, Bacardi and Sony Pictures. In this Siris of classes, I'm gonna be teaching you how to use photo shop. And in this first class, we're gonna be learning the basics of layers and blend modes. From then on out, you'll be progressing on and on and on to become a advanced photo shop user. So we would be going from beginner to advance in a series of classes. So stick around and I'll take you through. See you guys there. 2. Layer Basics: Hey, everyone, welcome to the next lecture and the sexual when talking about layer basics. Ah, basically, just the very basics of the layer panel, which we see right here on a great insight. Um, we will not be covering channels pass or three D because those are part of the layers panel . They're just different tabs. I guess we could talk about channels because it's somewhat linked to the layers. So let's dive right in so pretty much when you open up your project or create a project, whatever it may be, whether you're retouching a photo or photo manipulation are creating something of scratch are always gonna be working in the layers panel layers, panels Very, very, very powerful if you know how to use it properly. So over here I have an image that I opened up in photo shop and automatically we have a locked layer that's called back. ERM this is by default. What photo shop will do now? Depending on the type of photo shop you have? Ah, you can unlock this layer by clicking on Ah, the lock icon. Now, if you have C s six, I believe the way to do that is to just double click it. And then we'll say, Would you like to unlock the Slayer? And then you say yes. Um, so that's something you can dio. Ah, but generally, what I like to do is I like to leave the bottom layer, lock my like to duplicate my liar by hitting command J on the keyboard. Um, no, I just wanted to go over basically what? These buttons are what everything is, so you can have a general overview of everything. So I duplicated my layer. Just, you can see are all the effects are going to be applying with it. Let's start over here. This is called the Blending Modes. This is something that will be using a lot when it comes to working in ah, Photoshopped. You can base your entire manipulation or project just on blend modes. Ah, and just to give you a quick example, I can blend mode this and I can add different variations of blood modes while adding masks on them, which you'll see me cover in the mask section. Um And then what I can do is I You know what I can paint in what I want. Um and just work purely with blending modes to make an image really, really pop. Ah, without really doing anything to the actual photo. So, for example, we see year and painting in the clouds on this one. Very sloppy, but ah, and then in this one, I'm going to actually drop the pricing in my bush Pain in the beach would say the water, I think that darker the mountains darker. And there we go, you know, just with blood moons. I added a few cool elements in because he before then the after a little messy. But you get the idea so blend modes air really, really cool. You could do many different things with them, so we have ah different sections that are on them. So the first section from dark into dark colored pretty much darkens everything. Ah, in the photo Ah, The next section, from lightened to light color pretty much makes everything lighter in the photo. Ah, in the next section Ah, with overlay and saw flights. This as contrast to the photo. You could also do other cool things as well. With the blend modes, you can even take um logos and put them on regular, uh, posters or brochures or the case may be and use a multiply mode to make it look realistic. Like as if it was on the wall or on the brochure. These were just special effects ones. I generally don't, um, use them, so I tend to ignore him. You really don't worry about those, and the bottom section pretty much deals with color. Ah, you know, this is a good example. If you want to paint a room unless you take a picture of a wall, you paint the wall the color you want. I Let's say I couldn't even give you example here. Let's say if I wanted to paint these clouds, put a new layer at these clubs blue, I would go here, I would go to color and then it would make it that color. Obviously, it's not the best color to choose, but it gives you the general idea. Um, I just adds, ah, more realistic color to it. Same with you. He will give it the color Ah, of that particular color. And then saturation just makes you really saturated. Luminosity makes it bright. Um, so that's pretty much the blending modes you can definitely do a lot with them. We'll get into that more later on in this section. Next we have here is the opacity in the fill layer. Now, just you could see the difference of what each does. I'm just gonna put that on, multiply along. Just one drop. The opacity of the capacity is making this layer very opaque. And if we can see it without the bottom layer, we could see how it will pick. It is so the effect that I have on top of it ah, is very, very minimum. Um, now the fill. Basically, someone does the same thing, but it takes out, Hmm, more of, ah, the color of the image. I mean, it doesn't really make a black and white, but it just takes out pretty much the call. But you can use either or in a scenario, they both tend to do the same thing. Um, so you it's not really ah, a difference to use either one. Um, so that's pretty much what those options dio what we have here up here. Or buttons thes. Basically lock your layer for what your particular doing. So, for example, this locks the transparency. So I believe please. Not that one. Rather. Um So if we click the brush icon, we basically locked at meaning we can't use any paintbrush tools on it. So if you need to specifically work on a specific layer, you can lock something Just so you know, you're not going to be working on the wrong layer. Ah, this really comes in handy. If you're working with, like, 30 or 40 different layers, this basically locks its position. You cannot move. Ah, this layer around, for example, in this layer groups, I want to take it and move it. You know, I can move it. However I please. Ah, but not top on. I can't touch it will not let me because it is locked. And then finally, we have a, uh, locking layer. Meaning it's pretty much doing everything is gonna lock all things on aware you cannot do anything to it. So these pretty much lock specific things, and then this one blocks everything. Um, I usually don't pay attention to the locking unless if I'm working multiple layers. So if I don't want do anything to that layer and I get confused if I'm working like with the 100 layers are lock particular layers. I know I can't do anything to them. Um, so that's what those dio Let's go down here. This is our effects panel. So pretty much these two Russians, they too. But this section as different effects to your image. Now there two ways to access this menu. You can choose it from here and pick whatever you need or you can double click your layer, and then your layer style will pop up with the effects that are needed. Ah, so if I were to select, let's a stroke that would pop up. So there two ways to, uh, do it either choosing it from here or double clicking your layer that you want to apply your effects, too. And once you apply your effect, you get OK and they need your affects. Uh, little drop down will show up here, and it will have the FX icon showing that has an effect on that layer. Could double click it, go into the section just whatever you need, and then it will apply to the image. Um, cool tip, By the way, if you ever need to duplicate in effect. Ah, you would hover your mouse over the FX icon or the effect I can't hold the option key and click and drag to the layer that you want to apply to. Animal. Copy. All those effects on that layer to the next layer are to the layer that you want to apply to are really cool thing that you can dio instead of going back and re typing everything in . So you have all these different types that in fact, you can apply. You could definitely go check those out. You'll see me use some of these later on in the course. Ah, here we have a masking, um, icon. You saw me added before, but again, just to show you Ah, if I were to add, let's say multiply again I would add a mask and basically I can paint out the mask because the mask is and white. I will paint in black and we can adjust our brush to you. All right, be low opacity or high capacity. What? We can do the opposite. We can invert the mask by hitting command I or instead of doing that, we can also I just believe that we can. We can hold the auction key and click the layer, and then it will add a black one as well. In this case, we would paint in the mask by using a white brush and just painting into the image. I personally like to do this. It's a lot easier. Sometimes I do the opposite to depends on the situation in scenario, and you'll see me use masks a lot in this course. Um, and I actually have a section on Mass. It will go go more into detail about that in that section. This is your layer adjustments, various layer adjustments that you can apply to the image. So, for example, I just pick one. We could pick you saturation and anything I do in here and the Hughes panel I can. It will change in the actual photo. Uh, no. If I wanted to lock into a layer, I just hold my old option key and clicking. It will only apply to that top layer. If I wanted to select a particular color, I can choose a particular color. For example, greens just those screens or I can just the blues and, you know, go from there or if I wanted you, I can select the color picker. Picked a particular color than adjusted has needed Ah, justice saturation. And then the lightness where darkness of that particular color. Now I go into using this hue saturation panel, actually, in a lecture called Making a Winter Wonderland. So definitely go check that out. If you want to see me use that more in detail, I'm not gonna go over every single different, um, adjustment layer. But I will be talking about them in detail. Uh, in a couple of lectures from now, Just look for the adjustment layers section. Ah, but you should actually watches in order, just to you know, everything. Finally, we have a folder. Ah, Icon. We can pretty much group things into a folder, which is pretty good, Teoh due to get a good workflow going if you haven't seen it. Um, I talk about organization workflow, So I talk about that, and finally, we have a new layer, but in where we can add new layers to our layer by doing that very straightforward. Very simple. Um, that's pretty much it for the layers panel. Don't worry so much about thes. I'll talk about these in the next couple of sections. So you guys there 3. Basics with Mask: everyone. We're gonna be talking about basics with masking, since I'll be using that a lot in this Siri's Ah, different types of masks. I want to go over them in the basics of them. So you understand how to use them. So right here, What you see is we have an eye. This eye is pretty cool of the way it looks, but we're gonna make it look cooler. We haven't. I hear that is really, really green, like hold green. But I want to kind of blend the two together to make it look a little bit more interesting . And by doing that, I'm gonna be adding a mask. And the mask icon is down here with the little circle. We're gonna go ahead and click on it, and it's going to show up to Fort Lee as white. Now, in order to use a mask, you must pain in with black or white. If the mask is white, you'll be playing painting in with black. The mask is black. You'll be painting in with white pretty simple concept. Now you have to have, um, a brush. In order to do this, it could be any type of rush could be a crazy looking brush. It could be a soft brush would be a hard brush. I generally like to use a soft brush because of the blending aspects of a soft brush. So I'm gonna go ahead and paint in with the white. I'm sorry, the black on white, and I'm actually gonna go ahead and zoom in. Just do that little really quickly. Just lower my size of my brush and I'm gonna drop my A pass. It e probably to about 60%. I don't want it to be too intense, because the whole idea is to blend these together. I'm gonna go ahead and draw a little circle around here, and that looks pretty interesting. And now what I'm gonna do is I'm going to invert my, um, color from black to white by hitting X cause Now I wanna blend the edges together by painting away the mask and then again and bringing it back to paint back in the mask. Kind of like a push and pull type of effect. And there we have it. That looks pretty cool, because I'm painting at 60%. It's gonna be a low passing enough to go ahead and hit. This little icon here is our before, and here is our after looks pretty interesting. Let's take this from a different approach. Let's go ahead and delete this mask and hit the lead. And now let's make the mask black by holding option or Ault on your Mac or PC and clicking on the mask. And now we're showing the actual effect that we want to paint away now. So with our brush, we want to go ahead and make it white, and they start painting away so you can do the reverse of what we just did. If you want to paint away the effect to reveal the original so you can kind of go that route. If that's how you'd like toe work, whatever works best for you again, I'm gonna invert it and pain back in a little bit, just to see how that looks and, you know, there we have it. There is our I. Generally I like to paint in with black and go that route. That's just me. And there we have it, a cool looking I, and that's really basics with masks. It's pretty simplistic again. If we're going with whites. If you're going with a white mask, you're going to be painting it with black. And if you're going at the black master painting in white and you want to use a soft brush and again, remember, you must be painting in with black or white. You can use neutrals like Grey's, but I wouldn't recommend it. Generally, masks work best with painting in with just a black or white color. So that is everything on Mass. And you can get really, really technical with masks if you want and good a little bit more in depth of how to make them even cooler. But we'll talk about that in another Siri's. That's gonna be purely unmasking for now. Here are some basics just to show and hide what you're doing on this layer beneath you can get really technical and complicated. Few make multiple different layers with multiple different masks, but we'll go over that another time. So there you have it. That is how to show and hide things with masks. The best part of all it is nondestructive, so anything I do to this layer on this mask will not affect the layer itself. or the layer below it. It on Lee affects the mask, so we're not damaging the original image by painting on top of it. We're just painting on a layer that is hidden that is going to reveal the layer below it or push away stuff on the larry that you're working on. Or, in other words, hide it. There you have it. That's everything on masks. Here's our cool effect. We just did. We just paid it in that colorful I beneath it. And there you have it. Cool mask, and you can see we're progress right here. If you want to hide your mask, you can hit shift. Click it and you can see what's. Ah, the original image. If you hold shift and click it again, you'll see your progress. That is masks. I'll see you guys in the next lecture, talking about blend modes. See there 4. Blend Modes: everyone and welcome to the next section in this section, we give me talking more in depth about blend modes This panel over here, pretty much you're gonna manipulate this photo and use different, ah blend modes to show you different techniques to apply to an image how you can enhance an image just from using blend modes and also be applying it to this image that we talked about last class as well. So I'm going to duplicate my layer. I just deleted it. But just toe go from Step One, Hit Command Jr. All J and P. C. And I'm going to start using my blend modes. So I'm gonna pretty much click the blend mode or the normal button, and they're gonna have ah, different options when it drops down. So what a usually like to do is a usually like to play with three different types and kind of start that as my base my first time. I usually start with his multiply, then screen, then overlay or soft light. It's technically for um first, I like to do overlay just to see how that looks. Looks okay. I just want to go to screen, see how that looks looks nice and then multiply. Looks interesting. Now there's particular things that I like about this photo of this girl that I want to enhance. For example, the eyes. Those are always the first things I look at when I'm enhancing photography of people on. And you don't necessarily have to apply this technique. Are these blend modes to just people photography? You can apply it to you. Um, any type of photography. Ah, are any type of photo manipulation from that point s So what I'm gonna do is I'm gonna go to blend, and I'm gonna go to screen. And they added a blend mode there. So I'm going to call this mode screen. I'm sorry, this layer screen that I'm going to add a layer mask on it, and I'm going to do command click, and I'm gonna hide it because I want to show on Lee a portion of the image with the, um, effect or blend mode on it. So I'm gonna go ahead and zoom in and zoom in to the eyes would go ahead and select my brush. I'm just gonna pain in the eyes of it so they can lighten up. Really, really nice. So those eyes popped a lot better than what they were before received before, and the after looks really, really nice. So next gonna add another blend mode, I'm going to duplicate the bottom layer, or it could duplicate the top later. Later, Hood over. The case may be going to go to multiply, and then I'm going to do again. Option click. It is human. Now, what I'm gonna do is I'm going to focus on the Dark's is going to focus on the outer edges of the I here and then eyelashes a woman again, This one Iris here. And keep in mind my brushes at 50% opacity. Try not to do it at 100%. You want to kind of do it in layering it up when I say layering it up, I mean, like, 25%. You click a few times 50% and whatnot. Go ahead and zoom out. And then now we can see we have a light of those human, the late version of the eyes. And then we added some top to them. So there's a before there's after, uh, now because we did screen. We can go back and late in other parts of this image of we wish. For example, we're gonna drop down our capacity to 30%. It's gonna paint in these leaves, just toe. Make him pop a bit. Doesn't have to be perfect. It's good. Preview it before after and she want to see what that looks like it just doing anything and what money doesn't go to My multiply layer Forgot to name and I'm going to paint in this hat. Make sure working on the mask layer and I'm going to paint in the layer and make it darker . It's good. Looks nice. If I wanted to, I could do the whole thing just as quick thing. There we go. OK, so here's our before there's our after so our before and our after looks a lot better. Um, so that's pretty much one version of blend modes you can do. I could definitely add a whole lot more, but I really don't need to for this particular image. Uh, another example is the beach photo. Now in this photo weaken do many different things to it. So a good example for sunset photography is if you go to your blend mood. Um, a good way to make your colors pop is to go to overlay. And because there's really no colors in this in terms of the sunset itself, I would kind of have to trick it a bit. So I'm gonna play with two different versions over late and softly make softly, But I'm also going to go ahead and go play with a few more different versions just to see what it looks like before I make my final decision. Okay. Okay. So now that that's done, I'm going to hide it again with a layer mask. And I'm going to again go in and paint pieces of it up in the clouds. I'm gonna paint the terrain, and then I'm gonna add another layer, a blend mode. What I saw that I like before it was hard, late, vivid, vivid. And I'm going to add the layer mask on it. And I'm going to actually at about 15% of going to paint in now, the clouds again. And that looks okay. Um, I'm going to add a new layer going to try something else. See, when selecting these Grady INTs, we're gonna play with something go over. I'm gonna use a blend mode. Now I'm gonna go toe overlay, So that looks OK. A soft place. Yeah, that looks looks pretty nice. Try different versions, my green, and I'll show you why in a second, actually, like that one a lot, we're going to hide it, going to drop its capacity to about 50%. Go to the layers. And now we're gonna select our ingredient tool, and we're going to add in that color Excuse me, that color and actually going to you, you transmitting else looks getting going to pain in for paint out a mask. I'm gonna go back to my greedy int, maybe kill it of it. We could play around with their mask. Just paint in portions of this. Let's go back to softly CEO. That looks looks actually better. So we have our before and after from before and after or before or after that. We could definitely play with this a lot more if we wish. Go duplicate the layer again, bring it to the top. And this time I'm going to go to my drop now and I'm going to go play with more options I'm gonna focus on lighter tones this time I gotta focus on the sand. Make that pop clear the sky a bit. Pass it, e It's good. So we have our before and layering and I was heart are after before and after just using blend modes. Now it's not the best photo in the world, but just to show you the general idea. That's pretty much it really cool. Really easy to dio. There are a lot of fun. We didn't do anything destructive. Toothy original image s So this was a non destructive workflow, which is some two dio. Now if I need to change anything, we can always go change or blend modes. See what other things look like. This is what's great about blend modes weaken. Play around with them, see what they look like and kind of adjusting from there. We can kind of do the same thing done with this one. If we wish to add, let's say, um, greedy int you can go to normal multiply Mr. Since able to play overlay. No, we just, uh, Addison pop to this photo. Kind of dark in the edges with that over layer could you softly do the same thing? Can go toe overlay and then drop the opacity to 50%. We wish for 75 so a lot of different things weaken Dio Or better yet, another way to do it is we can put our entire greedy in on there. Put the mask in this case will do that mask. No paint away her personal pain away the girl. So there's a little halo around here, and then I'll do normal softly or even. Is it overlay? Drop the opacity. That's another way to do it. That's a lot of different ways to use blood moves very, very cool techniques that we can apply it to you. You got really cool, really. Simple, non destructive methods hopefully gives you clear idea of what they dio again. This covers the darks. This covers the lights Sorry darks from darker, darker color. Lights light into lighter color contrasts. Egg tend to ignore these, and then anything that has to do with color, just so you can remember dark in starts with darks for the darks light. And that's how you know it's light on an overlaying soft lates. Think of those as contrast ones. No, really any, um, word for contrast in there. But that's pretty much the general idea, so that's pretty much it for this lecture. Hopefully, it's been helpful, and I'll see you guys in the next Ah, lectures two guys there. 5. Adjustment layer: Hey, everyone. And welcome to the next lecture the sexual going, talking about adjustment layers and how we can use in in our projects. So pretty much I have a couple adjustment layers. I added to this photo just to show you there's the before and there's the after I'm gonna show you how to use all of them. So what I'm gonna do is I'm going to Well, what I ready to? Because I opened up a photo in photo shop. So go ahead and open photo and sort of shop, and I'm going to go down to this little circle icon and I'm gonna click it, and then you're gonna have a drop down with all these different effects that you can apply or adjustment layers. Um, another sweet. To see them is go to adjustments and you have all your adjustment icons right here that we can add. You can do it Either way. It does not matter. Personally, I'd just like to go down here. They're right here. Anyways, this just adds more to the screen and makes him working, fusing so God, it's like this and one of the most popular ones that people use our curves. So I'm gonna select that and you're gonna get a little properties mantle that pops up. Now we can have different presets that we can add to this image that will affect it. Or we can adjust it, Um, individually. So I'm gonna go back to default. And actually, what we can do is we can do one of a couple of things. One, we can click on this little hand tool and click different parts of the image, and it's you can see over here, have little dots that show up on the line, and you can adjust the overall colors of photo. So if I click on the way and I dragged down and will make the photo a little bit darker, have you clicked on here almost the darkest point and dragged that up? It'll make a little bit brighter. And then if I drag right around here, which is the middle dragged down, it will kind of give me a nice little s Schapelle troll. Balance it out. You don't necessarily have to do this. Um, you can use one of these effects where you can create your own and then apply it, which you'll see me actually talk about later on in the curves panel. I'm sorry. In the curves lecture. Um, another thing we could do is we can select a portion of the image and then it will adjust the colors for us if we just just like all the right tone INGE's um But we don't actually have to do that in this case, so I'm going to go back. I'm just going to select this and just play with it a bit. Darks it up in the Midtown. Bring it down. You kind of want to get a little s shape going. If you don't don't worry about it. Can always play with it later. Good. Okay about there. So that is one adjustment layer that we added The next one that we can add now is the color balance. Um, this one adjusting overall tone ege of the photo so we can go toe scion And if we dragon capital at Red's if we drag it down blues to play with that a bit just to give the overall atmosphere a certain color feel you play with it a bit. I took this around. I want to say sunset. So I want to get those colors to come out a little bit in the clouds and get the atmosphere to have a bit of a pink tone to it. No, I got too crazy. Um, because when you address these, you can adjust him pretty. Ah, yeah. One slight thing will, you know, make it have the effect. Apply a lot to it. I guess what I'm looking to say. So, you know, if you do that, it's gonna really kill the overall mood of the photo, which you don't want. So it kind of stay within, you know, 1 to 10 or 12 negative 10 around there, if you can. For each individual section, so looks pretty good. So now we have our curves. We have our balance. We're going to go now. We're gonna adjust our levels saying good or levels. And we're gonna just we can go from the precepts of we wish. Um, I recommend probably to use them in the beginning. But personally, I just always a Justin and see what looks like to my eye. Um, someone good default. She just wants him. One more thing. Good folk. So I'm just gonna justice slightly just to play with the overall brightness of the image and the levels will adjust, adjust the brightness of the oral image. So now that we've done that, I just made very, very minor adjustments Gonna go now I'm gonna add another layers and then go to Hue saturation Now and we're going to go to our blues. We're going to select our color picker Gonna select the sky I'm gonna wear huge When you just bumped this to the right a bit Pump of the saturation slightly live with lightness of it and that looks good. Now we're going to go to our greens, select the greens and we're gonna pretty much bump that up, Pump up the saturation lightness Good. And that's pretty much it's those goods, just yellows. Okay, so next what we're going to do because we're gonna add a photo filter. It's kind of gives an overall tone ege the whole image. There's a lot of different presets that we can use, and we can use her solid color presets or we can use, um, different toning. So I like to use the warming ones because again, I took this in the summer time during Sunset Cell. Choose that warming tone. I can add density to it. Bumped that up a bit, and that looks pretty good. So we've added a photo filter. We added a color bounce. We had a hue saturation. Um, we've added levels and curves. We don't need to adjust the brightness and contrast yet. Um, we don't need to do any others. See, I guess you could use selective color. Selective color is a little bit fun. It takes a particular color in the image, and then you can adjusted. So they're not many red in the image. But, for example, we just the greens, just the yellow portions of the greens. You can see that it changes slightly. Don't make it more green or dark, more light. You can't a little bit of pop in there go to the blues. Definitely will lose will adjust just that. And then any blacks which are in the tree line. Just those college to them. Anything neutral the overall image. But I want to add more yellows and anything else because we took the stage at sunset. The blacks of it don't really have focused on the whites should check out anything in magenta. Nothing's really changing kind of leave that, as is so so far we've added select a color, a photo filter, a hue, saturation levels, color balance and curves. If I shut that all office to before as I'm walking you through, there is the after we just put this all in a folder, you see our before and after. It looks pretty nice. Believe that. So our before and our after is your mouth get before and after. So we darkened up the photo slightly to the left side. Ah, we've made the clouds pop a bit with made the colors pop a bit, but that's pretty much with overall adjustment layers, Um, where you can do with them. You can also do other things like add blend modes to them if you wish. Um, again, I don't normally do this so kind of leave it as is. If you want, you could drop to your passing and some of them you can paint back in in the original image in it. If you wish so bad that 100% campaign in Sweet Better campaign in pieces of the original image. If I wish example, if I wanted to paint the clouds back in, could do that, but I'm not going to. So that's pretty much it for the adjustment. Layers again are before and after. Looks pretty nice, and that's pretty much it. Those are what you're Justin's layers are. That's what they do, their non destructive. So, you know, it just applies. An adjustment to the overall image doesn't affect it. It just think of it as like, ah, and adjustment that sits on top of your image to make it, um, brighter, darker, whatever the fact. Maybe think of those laminated Ah, visible papers. You see, you know that teachers run on in school, Um, that projected on the wall. Think of that something like that on top of a photo. So that's pretty much it. You don't necessarily have to apply these adjustment layers just to photos again. This is just as an example, um, so you can use he's adjustment layers for anything related to your projects. There, really, they really come in handy when you need to, um, photo manipulate and add things to a particular scene. Or, um, if you're putting an object into a scene or whatever the case may be really blends in that object to make it feel like it's part of the scene. So I highly recommend using adjustment layers for those purposes. That's it. I will see you guys in the next lecture. Do you guys there? 6. Blend Mode Colors: Hey, everyone. And in this lecture, we're gonna be talking about how to use a specific blend mode to get this type of in effect . We want this guy to look like the whole with the whole green skin, and I'm gonna show you how to do that just by using blend modes. It actually takes about a minute or two, but I'm gonna walk you through it. So it'll take a couple of minutes just to get through this lecture. So I'm gonna go ahead and delete all my layers and we'll start from the beginning. I'm actually gonna keep this top one because there is a piece in there that I want to use. Something is going to make that back to normal, and there we go. All right, so here we have a photo of a bodybuilder. Ah, but I want his skin to look like hoc green. So what I'm gonna do is I'm gonna go ahead and select, uh, this icon right here and click it and we'll have a new layer. I'm gonna name this layer green skin. Always name your layers Just so you know what's what. Otherwise and we'll get confusing after you have good 20 or 30 of them. And then I'm gonna go to my paintbrush. I'm gonna double click on here, And I have a green set here that I'm pretty happy with, and I'm going to just go ahead and start painting. So I'm gonna pain on a skin. I'm gonna paint around the weight, and I'm not really going to care so much about where these strokes go. It can go outside his skin. That's fine, because what we're gonna do won't really matter. In terms of it being outside the lines or inside the lines. I'm gonna go ahead and do that. All right, so now we have a big blob, which isn't really much of Ah, Hulk. But if we go here to our blood mode and we go when we select color his screen, his skin's gonna turn green. We could also select Q and will make it slightly brighter. But I'm gonna go ahead and stick with colleges so could stay as the color as we made it that I'm gonna go ahead and just zoom in a bit and just kind of finalize it out. And this color all the rest of his skin and and not get any of the other pieces in the shop . Don't get his fingers and the rest of his waist a swell where a Mr couple spots for smaller and a quick trick to make your brush smaller. The left in right brackets next to the peaky will make a brush bigger or smaller if you hit them. So that is a quick tip instead of going up to the brushes panel and trying to do it manually, which could take a lot of time, because when you're doing this type of work, you want to just flow through it relatively quickly. So there we go. Just gonna convert that and get the rest of his jeans back to normal. And for the six of this devil, I'm not going to make it completely perfect. But there you have it. Hope Green. Now, on top of this, what I'm gonna do is I'm gonna add some veins. I went ahead and I found ah, image of veins on Google, and I'm gonna go ahead and select multiply because the veins or black only the black will show in multiply, and it will take all the white And then if it's reversed that the veins were white and a hit screen, it would take out all the black. So here we have the veins. My fill is at 40% under. Just bumped 200. You can see what it looks like. Ah, but I liked it where it was that I might make it 50. And then I'm gonna add a layer mask on top of this and just paint away these edges, so don't bleed into the pectoral areas. This do men of it kind of get that effect? Go on, Hit him a couple times. There we go. And then I'm gonna go ahead and add a nice little blur just so they look a little bit more realistic. Okay. And there we have it. We have the Holck working out, and there we go. And you can even dio more to this as much as making into an ad. Um, by using your type tool like we talked about and then making it big enough so we can see it was changing its color. There you have it. A really nice piece to show your friends. You're bulking out. All right, so there you haven't really easy way to change the color of the skin to make it look. Hold green and just here's the before, and here is a process for after Boom. All right, so it's really easy, really simple to do. You don't have to necessarily do with skin tone colors, but you can change other colors such as, ah, walls. If you want a paint in your house and you have a specific color, you want to see what it looks like. This is a great way to do that. You want to change the color of a car. You want to change the color of flower, so it's a great way to take something and see what it looked like with another color on it or be created. So there you have it. That's how you make it. Hope green. I'll see you guys in the next one 7. Blend Modes Multiply: everyone in this lecture, we're gonna be talking about how to get some cracks in the skin as we see here on her model . So I'm gonna go ahead and delete all my layers except for one and start with a base. I have a texture that I found on Google and find one easily just by searching crack textures. Make sure that your textures is ah, high res photo. Otherwise, the technique won't look as realistic as we want it to be. Okay, so now we have our texture on our image. Really cool texture. And we're gonna make it look like her face is cracked. So I'm gonna go ahead and start with the base of different types of blend modes. I'm gonna go ahead and cycle through to see which one I like best caliber and looks like it's the one that works the most in this case. Maybe linear burn actually gonna go with Linda. Your burn. Now, what I'm gonna do is I'm gonna select the mask icon down here and they're gonna hold option . Salt is gonna hide the mask. And what we're gonna do in this lecture pretty much is focused on Lee on the multiplies and work with multiple different blood modes on top of each other. So I'm gonna go ahead and select my brush. Make sure I'm painting with white, zoom in a bit and start to paint in the cracks. No, as you could see, because this photos not high rez, it's a little blurry, so it might not look as realistic as we want them to be. But that's OK. Just a tutorial. All right, so there we have it, Have some cracks in the skin, but it doesn't look as realistic isn't wanted to be. So let's go ahead and take this a step further. Let's duplicate it by hitting command J and start cycling through again with our blend modes. Really color burn someone. Oh, cycle. I'm going to duplicate it one more time, and I like to multiply Now. What I'm gonna do is I'm gonna go to my fill and start playing with the fills and dropping them down dramatically because this obviously doesn't look realistic. Sui want it to look as realistic as possible. And I'm gonna go in the low to mid fifties just to make the realistic portion of the texture come out of it. There we go. Now I'm gonna go ahead and go back and just start painting away at the cracks because I have to money in here. And I wanted to look a little bit more realistic as possible. And remember, less is always more. It's nice, and we got a nice fade going just so It looks like she's kind of blended thes blemishes away, and there we have it cracked skin. Now there's a lot more that we could do in more of an advanced format by taking it a step for a bear to make it look like she has cracks under the skin. But that's for another lecture. All right, so that's it. That's when you get cracked skin. Really simple to do. It took a couple minutes only with blend modes. I did not affect the original image, as you can see. And this is it built all up? No, you have it cracked skin. All right, I'll see you guys in the next lecture. 8. Most used Blend Modes: Hey, everyone. And welcome to the next section in this section, we were talking about blend modes that you probably used the most. Ah, these in the most common ones. And, uh, each blood mode can be used for a particular technique or ah, trick, depending on what you're trying to do. So in this case, we have a sunset, and what I'm going to do is I'm gonna duplicate the player and generally for sunsets. What you want to do is you want to make the colors really, really pop. Um, now there are a couple of blood modes we can use, but the most common are overlay and softly, depending on your color of your sun said, you know, one could be a little bit more powerful than the other. So let's try overlay and see how that looks really, really makes the color. Really. Pops was try softly and kind of see a little bit more to the image. But that's OK. More good news. They're dropping a passing about 50% and we're going to add a layer mask. And what we're going to do is gonna grab ingredient tool. We're gonna click right about the middle and dragged down about half way. Make sure that you're on a white, um, color instead of black. Because right now we're in a black layer, click and drag, and there we go. It ready? Added the effect to it, but because I want a little bit more, um, I could even click and drag some more just to get that in there. So we have the top half of the portion that already looks a lot better. Whips in, um, this photo on that would definitely do a lot more to this. So want to do is I'm gonna duplicate bottom layer. Gonna shut this off, and what I'm gonna do is I'm going to actually, I'm gonna leave it on. I'm going to see what other blend modes look like. So, for example, screen, uh, Layton Color Dodge looks interesting. And your dodge color, your dad's looks interesting. So I'm gonna hide that. And what I'm gonna do now isn't going to grab the greeting tool again and go from the bottom to the top and see how that looks. Looks interesting. No, it's all subjective. Um, depending on what you're doing. So depending on your image, You know it's all upon your eye and see how it looks to you. No, What I did here was I grab my paintbrush and I'm on my layer over here. I'm at 55% opacity and basically gonna paint in the rest of the details that I want in the photo on this top portion, I'm gonna drop my capacity a little bit more about 30% and just paint in some details on the horizon. So, again, this is our original photo before and after we already got it. Toe look really, really, really nice. Um, no, what I can do If I wanted to play around, I can go to my blend modes and just play with different looks and feels look and feel of them to see what it would look like. I'm kind of happy with that. Um, what I could do is I can duplicate that and just for the heck of it, See how different blend modes look, This type of space even duplicate our efforts if we wish pain in so more detail, but I kind of like in the late nous of it, what I'm going to do, though it's just really quickly gonna add an adjustment layer. And because I'm not gonna, um, clip it to any particular layer, it's gonna affect the overall image. And that's what I'm looking for. So I'm gonna go to my Hughes and play with the collars. I'm kind of liking the purple that I had. I'm not gonna adjusted too much like the pink and purple, but I'm going to ever play with saturation, Pump it up What I like Maybe by one, you know, that looks, you got a zero and then I could now see if I want to focus on any particular colors. This case magenta, as so the purples in the image. So what? It looks like it zero my books. I couldn't bring it up like in that I can pump up the saturation if I wish, or even clear with lightness. So already this looks really, really good. I can even apply a blend mode to the adjustment layer if I wish. Ah, but I'm not going to because it looks good as it's so there's a before that there after didn't add too much of a difference, but it just made it slightly better. However, we're going to paint in this bottom section only because I wanted to blend nicely. You know what? It's actually this back in that way. Just Sunset books. Nice. And finally, what I could do is taking out a nice and yet give it a name past me. You can even add again a softly or a overlay mass to it Wish actually going to do this. So here's your before after, I'll drop the opacity on it heavily. So we went from doing this Teoh, adding that and then adding an adjustment layer and just adding a sleep. Ah, layer on top of it, that is a been getting type. In effect. So would adding all these blood modes. These air pretty much the most common ones that you'll be using softly. Um, next one would be, well, technically, not linear Dodge. It would actually be screen, but in this case it was linear dodge, the other one, that you would use his multiply. But in this case, we didn't need to use it. Um, so there's technically three multiply screen and overlay softly. It would actually come second. Um, and you really wouldn't use any of the others maybe color burden may be linear burn. It really depends upon you. Um, but generally you would focus on multiplies, screen or overlay. Those would be your first go twos, and then you kind of expand from there. Well, depends upon your eye and your look and feel, So that's pretty much it for this lecture. Hopefully, that was very informative. Um, I used one of the most common blend modes that you'll use when you're editing. Ah, in this case, we did something for a sunset, and we use the most common one, which is, uh, technically overlay. And, you know, there it is. But in this case, I chose to go with softly, just the second option. So that's pretty much it. Hopefully, that was helpful, and I'll see you guys in the next election. 9. Layer Type Tool : everyone in this lecture, we're gonna be talking about the type layer. Now, what is the type player? If you go on your little panel over here to the left, we'll see a little T icon, and this is your type tool that you'll be using if you click on it. There different types of types toe tools to use. But right now, will this be using the horrors until title. Now, when you go ahead and click inside your canvas, a layer will pop up automatically with a T on it and seeing layer one. Now we are typing in it. We can start typing whatever we want. It's gonna show a really small depending what type of, um, document you're working with. And I'm gonna go ahead and just fix up by hating command T and making that bigger. And then if I double click on this layer over here, we can edit the type on this image. Obviously, black on this eyes not really working out. So I'm gonna go ahead and make it. Um, we were told that they see what it looks like a little bit better, and I'm gonna just make it the width of the campus. I just said that the tea and the E are kind of going on edge. So this is a type player now that we can, uh, now that it's big enough, we can actually type it and type whatever you want. Like one. I s o as if you were typing in word or mine seem so it's pretty cool. Now, if you want to get back into the layer to type into what you can also click your type tool and clicking here and then your little flashing type, uh, toe come up and you could start typing in it. Or, if you want, just double click on this layer, and then it will highlight the whole thing. You could type whatever you want. They hear some tools that are up here that are related to this type player. You can change your type font over here, toe different type of font style that you want. I can change it to that. I could change it being bowled a regular, depending on the family that it's on. I can also change its size 500 could make it 450. So you know, a lot of different things that you can do with it. Once you click outside the type tool, that menu of options will be going away. Once you're in it, they show back up again. Now, over here, we have different types of sharpness. It could be sharp, crisp. And I don't know if you can teach difference here and the typography usually for really, really big pieces. If you're gonna be doing stuff that's like print for billboards I really wouldn't worry about this. This will change the, um, the structure of it. So everything is left line by double click on it. I hate the middle one. It'll center everything or something like that. I never got that center. And then we can hit this to make it right. Aligned writes aligned R E or we can do again, Back to defaulted left align different types of ways to make a piece look really interesting. Uh, so this is the menu for the tight tools going on that a bit. It's got back into it. We could also then this to an ark for it to look, uh, interesting. If you're typing on a circle, um, you can also goto windows should be a paragraphs right here. Progress. And then you can play around with more typography by changing. It's, um, indentation. Well, some other things to it. You could change the characters. You can make everything kind of a little bit bigger. Spread out. It's basing between the type and it quickly. Did you do this? Just hold the all our options changers. You're locking, right arrow. You want to make it tighter, hold the same key and hit up or down to make it closer together. See? And then are there other types of options you can work with here by making it, um, interesting by adding like number three and then you get superscript for sub script. Even underlined a lot of different tools that you can use with play player. I'm just gonna leave it like this, and I'm gonna go ahead and select this black up here and just change color, and I'm gonna make it back to you. Stand bold. And there you have it. And I could do some interesting things by dragging like duplicating this layer, putting it on top. And I'm asking it inside this or you could see like are inside of it. You can even go ahead to move this to make it interesting. I see it cleared. Um, there different things that you can dio as well. But those are pretty much the basics. Really, really, really. Basics. Um, you'll be using this a lot if you would be working in web or application designed print design. Um, but if you want to just throw some type on your image No, this is how to do it. This is how to use it. If you want to convert it to being a j peg, you right quick the layer. And then you say rast arised type. And this will make it non creditable. Once it's rast arised. I cannot change it. I cannot do anything. Do it. Certain techniques I could do to change the color again, selecting the whole thing if I wanted to. You, um, want it is in this state. There's no going back. I must have hit the undo button and then you're back to your type player. So that's pretty much the type player. Other ones you can take vertically. You can type on a mask you can tape on the line. Um so there different types. But don't worry about thes. Just worry about this one. For now, Um, that is a tight tool for layers. Really simple, really basic. Again. If you're gonna be doing some advanced stuff, go to the paragraphs panel, pop up for this little backwards p over here, and then you complain with characters or paragraph. And here are all the different types that you can dio again. You could change its color from within here, and you can change sizing, indentation things like that as well Is different types of languages, if you wish. All right, so that's pretty much it. I'll see you guys in the next lecture. 10. Layers Curves: Hey, everybody, in this lecture, we're gonna be talking about how to take a sunset photo and make it really pop with a layer style apply. Tow it, particularly the curves panel. We're going to be doing something that only take a couple of minutes, maybe even a little bit less. Maybe a minute or two to make your sunset photos really pop. Now, as you can see here, this is the finished one. And here is the original. It looked a lot better than how I took it. Um, so we're gonna make it look like as if we saw it with her own eyes, which was exactly like this made it really, really pop. So what I'm gonna do is I'm just gonna delete my layers here and start from scratch so you guys can see what I'm gonna dio. So what I'm gonna do first is duplicate this layer by heating command J next, my go to my blood moods, and I'm gonna go down to the contrast section with the overlays and soft lights. And I'm gonna go ahead and play between overlay and soft light. See which one I like the most. I'm really digging soft light. But I'm gonna go ahead and make this about 75% just cause it's a little bit harsh, then wanna continue? Next is I'm gonna go to this circle icon and I'm gonna go down and select curves the curse panels gonna pop up. And then what I'm gonna do is I'm gonna go ahead and select RGB and then I'm going to select Red. That you can do this on your mobile device is well, if you do take photos on your android or iPhone, there are a lot of APS that do allow you that do allow you to have the curves panel and adjust curves manually inside their applications. So what I'm gonna do is I'm gonna start playing around with this line. I'm gonna push it up. What's it going to do? It's gonna make everything kind of in the red spectrum of oranges and reds and make it really, really bright. Then I'm going to go to my greens and I'm going to just play around with this a bit by pushing this down. So I'm kind of doing the opposite and now it's bringing out little bit more reds and now purples and I can start moving this up here, make the tops cry a little bit more purple or I could bring it down here and make it really purple. So I'm gonna leave it about here, and that looks really good now on Windows. I'm going to go to the blues and I'm going to now push this up because it's going to make the purples really, really pop and start bringing in those blues. If I go the other way, it's going to make it more yellow. You could technically do that, but in this case, I want a mixture of both colors in this factual photo. So I'm gonna push it to about here, which looks really, really good. And then I'm just gonna close out and that's it. That's how you get a really nice looking photo and I didn't do anything destructed to the original image. All I did was duplicated. I'm change the blend mode and then added a layer style which doesn't affect the original photo. It's just basically putting a nice piece of paper on top of it. That's see through, and it's just making the colors pop a bit more now If I wanted to take this a step further , I could add even more by playing around with different types of effects, such as levels. I can bring the levels up and make the sense a little bit darker and make some brights bright part of it brighter. Or I can even go as crazy as bringing up the hue and saturation section and even changing specific colors in this actual photo by you by moving it on the spectrum could even bump up the saturation as well as the lightness of the photos I don't want to do. That looks pretty good. So there you go. There you have it added a couple more different layer styles. It makes it look really, really nice. Here's the breakdown of it all clips Original 23 and four. And there you have a really cool sunset photo that went from block toe. Oh, my God, That looks awesome. How did you get that shot? All right, so there you have it. Really, really nice photo. You can even take it a step further by using some tools on the side here to get rid of this streak. If you wanted to um There you go. That's how you get some nice sons that shots. All right, I'll see you guys in the next lecture. 11. End: Hey, everyone, thank you so much for taking my class. You would like to continue to Siri's. Go ahead and sign up for Class two Photoshopped fundamentals, shapes and smart objects. This will be a continuation of what we've learned in Photoshopped taking your skills to the next level. So go on, sign up and I'll see you there. 12. Basic Layercomps: Hey, everyone, and welcome to another lecture in this lecture, we're gonna be talking about the basics of layer calms and what is a layer? Com? Well, to explain what a layer camp is in the most basic and simplistic way for you to understand . Layer coms are pretty much something that allows you to turn on and off a layer when you want to show something or hide something instead of going in and, uh, painstakingly turn on and off each layer and then go to file and save out everything. So layer comes come in handy, especially when it comes to Web design work. If you want to turn on and off button or show it's state or show hover state or clicking state. Or if you want to show in a Web page how the page will look when it gets longer and when it's shorter, you can kind of simulate motion in a way, in the most basic sense. Um, not so much movement, but you know what the particular assets would look like if you were to click on them or if you were to scroll down on a Web page. Now this doesn't necessarily need to be made. Arms are used for Web design. You can use it for other things. For example, if you were to make an application game Ah, and you were to design the assets and photo shop. Whether it's a dude running across the screen, you can show technically the basic movements of him run running across the screen. She could have 10 layer Compton. Position him 10 times across the screen so you can show he's moving across the screen. Um, so that's kind of what layer comes are basically turning on and off layers, hiding things, showing things you want to be shown that want to be shown and then hiding things you want to hide. So let's go ahead and start making some layer comes. I'm gonna close this window here. I'm gonna goto windows and we're gonna go to layer calm and you get a blank box that will open up. Now What we're gonna do is we're going to add a new layer, come by clicking, create new layer comp with this icon down here, and we're going to label it one. Now. I have visibility check, and I'll explain all these actually later on, eh? So go ahead and just hit, OK? And if you want to follow along, just name your document the way I have it with 12 and three and just follow along. Very simple. So now what we're gonna do is we're going to turn off the layers two and three, and we're going to click this little cycle icon. This will apply the effect, Um, that we want for our particular layer. Calm now. I could have had them off and then created the layer comp and do it that way. But you could do it either, or there's no right or wrong way. So now what we're gonna do is recreate our second layer cops. We're going to click the icon more. Name it to it. Okay. And now what we're gonna do is we're turn onto and shut off one, and we're going to click this little cycle icon. We're gonna repeat that step again for three. Okay, We're going to shut off too, and turn on three and hit the cycle button. So now I have all my layer calms set up. Very simple. So now what I'm gonna do is I'm gonna click one and only one will show if I click to only tool show. And if they cook three, only three will show s So that's really the basic basic way of showing how layer comes work . Now, I said before that there were other things in these menus that I wanted to talk about. Now we're access that menu that popped up. Just go to your layer club, Come and double click it and it will pop up. So visibility basically shows you how, um, the state is gonna be on our off. So, for example, if I click it hit, OK, and I update my layer and I'll go to two and do the same thing just to show you what they dio three. And now I'm gonna go back to one. C one does not show like like to To does not show number click 33 does not show. So, basically, village visibility, if you have a check, will show what you want on. If you have it often you start clicking the states. Um, I'm sorry your layer calms, they will not show, so make sure that they're all turned on to visibility. That's what you want, So one, we'll go to two. Okay, Go to three. Hit. Okay. Now, if you notice I did not go down and hit my little psych like on Here's a little quick tip. Adobe Photoshop CC now automatically up states updates your layer comes from after creating them. You don't have to go and keep cycling. I keep clicking the button on Lee because it's just a force of habit, cause I've been doing it since CS five CS six. So in CS six and CS five, you actually have to hit this button toe update all the layer comes. Otherwise you will get a little triangle within exclamation point, saying, Um, like a little warning signs saying Please update your layer comp so you just have to click on it and just keep updating each one. Every time you make a change, it's a little annoying, but in the long run, it saves you a lot of time. So let me go back now, toe one double click on it and let me explain now positioning. So if I click positioning and hit OK, I can let's say move that there now If I go to to two will move if I go to 331 looks so because I've click positioning. Oh, wait, Hold on. It's weird. That works. There we go. Ok, sorry about that. Okay, So now because I've clicked positioning the positioning now has changed on the actual one cop. And for two, if I click positioning, they moved here, update it. Like I said, Force of habit. Now you could see the positioning has changed, so I've told it. Okay, I want you to remember my positioning because I moved it with one over to the right. So I'm telling it to remember that I placed it there for two. A zoo saw before was to the right. So I told it to please remember that I have it at the left and then for three. I'm going to double click on that, and it's not selected. And I'm going to Okay, I'm gonna move it to the middle. I'm going to just update my layer comp. And then if we see you wants to the right to choose to the left, three is smack in the center. That's because I told it to remember the exact positioning of where it is Now, if you just want everything to stay in the exact same place, you don't have to have positioning. Turn on. You can shut it off and move it back to its original place. And there we go. It's remembered where the layer comp originally it was, and we just have it in its original spot. Um, so that is basically what positioning does. Now Appearance is talking about the layer style of the actual layer. So to show you the example, I'm just going to invert this. I'm gonna click on my one. These changes color really quick. You can just see the effect. Same for two. I'll just ignore three. For now. I'm gonna go to my one layer click little on my layer comp. It will highlight it for me. I don't need to turn it on and off. Let me just add a outer glow to it. Make it green. Really ugly green. Okay, so to do that and then for two, Sure. That's turned on for two to, and I'm just gonna copy this effect to that one and apply that there Effect. Okay, so if I go back to one, it's saying appearance layer style now, it obviously did not remember it. Now, why is that the case? Well, I probably didn't recycle it, so sometimes it doesn't work with the recycle. So sometimes you actually have toe. Make sure that your cycle is on. So if I go back to my one, I make sure that the style is put in place again. This is good. You could see what happens when Sometimes you don't do it. I go to spread, I mean out cycle that you go to and there we go. It's remembered. It remembered my layer style. And there it is. My layer style is de glow. Now, if I didn't have it turn on as you saw before, it doesn't remember it. Um, so that's pretty much those air. The basics of layer calms and very straightforward. Very simple. Um, that is how they work. You can use them for, like I said, Web designing or even in this case Ah, a good way to to do a little test is to do Ah, stoplight, maybe in due red, yellow and green, you know, to symbolize the colors of a light transitioning. Um, so that's a really good example of doing that as well. So those air layer calms. They're very simple to use their very easy to use, and they really come in handy when you have a good, like 50 or 100 layers, you're working it. Not that you would normally would. But, you know, when you start putting all these effects together and making folders, it starts getting a little confusing. Even after you label them correctly and called a organizing correctly, it'll circuit and confusing and the layer comes come in handy now before I sign off and, um, say I do I just want to explain and I probably explain this earlier, but the benefits of layer calms is we go to file, we can export them with our where is it scripts. So if you go to file scripts, Layer comes to files you can now make your layer calms in a different file types so we can make each individual layer that's highlighted into its own PST. We can make it into a J peg. We can make him into PDS. Ah, we can make it been to tiffs or pings or even bit maps. Uh, personally, I've always just used J pegs I've rarely used PSD is unless I really needed to. Um, actually, sometimes we'll use PSD is a little bit more even when it comes to Web designing, because if I'm designing everything on one in one document, five pages and one document, all this hit that and then it'll export all five. So just to give you an example, let's do, um, j Peg all just leave it blink because it'll go. 00010002 and so on and so forth. And let me just make a folder on my desktop folder. We call this layer comes. Okay, it open, hit, run and then it will run. The layer comes for me. It will say Layer comes to files with successful. I go to my folder that I just created. Here they are. We have 12 and three just like we have here in your document. 12 and three. If I wanted to export it to a PSD, I go to scripts, Layer comes to files. I make sure my PSD is selected and then, uh, make sure my folders selecting the right place it is it run. It will take a little bit longer because it's PST is in this case, we don't have much information in them, so it was quicker. And here they are PSD. So if I opened one psd Onley, the layer one will open that is highlighted. Ah, for that particular layer. Comment. This will obviously come in handy if let's say I just want to work with that one particular Aiken. Delete the other two and just have that one. Um, well, not the one layer, depending what you're working on. But that one project, whatever it may be, whether it's a home page or, um about page or a contact us page on again, don't use Web design as strictly for this. It's other things as well. And when I was talking about earlier about the little symbols, these are the symbols you would get there saying that they can't find the layers. So I would just go ahead and delete these. Yes, update that. And there you go. That symbol is gone, and that's pretty much it. Now we can get into the, um, more detail on it with the rollover states and what not, but just to a little quick tip if you didn't notice. Over here we have all our checks for a positioning there, over here as well. The I represents visibility. The effects represents appearance of the effects, and positioning represents the little cross with the arrows on it. So you, instead of double clicking, you can even click these little icons and make sure you cycle through. So remembers them, and then you can do it that way instead of double clicking on them. That's pretty much it. Those air layer calms really basic, really simple, really easy to use. Hopefully, this was very informative for you. I talked about it a little bit more in the smart objects lectures. If I remember correctly, I go into an application and assure the rollover states and kind of explain it a little bit more in there. But this is just the very basics of layer comes just You can understand how it works with three simple words and the three basics of turning all not the three basics, but the basics of it turning on and off and showing you how it works. Um, so if you want to see how it really works in an application or in a project. Go to one of those lectures. I talk about it in there. I believe it's called saving with Layer calms. Go check it out and that's pretty much it. Hopefully, this has been informative. I'll see you guys at the next lecture to you guys there. 13. Advanced Layer comps: everyone. And welcome to the next lecture and this lecture getting talking at layer comping and how we can see that with layer comping on multiple, um, with multiple different projects in one application and basically last election, we talked about saving, and this takes it a step further with saving many different things in the span of a short amount of time. And so basically, we're gonna be doing with layer cops and layer cops is a great way to do this. Now, if you want to find the layer cop window, just got windows layer camps and it will bring up the window right here and then you can add your layer comes so right. You know, I have a template that I've purchased for an application. Now, you don't have to use this particular technique for applications that can be applied across the board. Whether it's Web prints, it's based upon you and how you want apply the techniques. So let's go ahead and create our first layer comp, and basically, we're gonna do in normal state, meaning that, um, we're just going to show the visibility of this screen. Nothing else is going to change on it. We can change the prodigious Excuse me, the positioning later on. But I'll go over that later on in lecture. So right now we just want to have visibility shown. We hit. Okay, so now we have created our first layer calm. Nothing much has changed, but right now we're gonna pretty much show the highlight version of this button here of the camera. But if it were to be clicked on, um, so we're gonna create a new layer, copper gonna name it, camera con, same visibility. And nothing's really changed between the two. Now, if we go and click the caravan and I've already created America really already created, um, a separate layer for the camera icon. Now, I've actually, um, had the wrong later on. So I just made that switch. But now we're gonna go back to the camera layer here, and I want to pretty much have this layer off because these are both on. I want to shut this off. I am going to leave this layer on. I'm going to change its color, and this will make sense in a minute. So now we see the color has been changed. I'm going to go back to my layer. Com. I'm going to select this and I'm going to hit this button here to update it. Now, that doesn't really seem like it's done much. But if I go back to normal, see how it went white and now went to blue. So now I want to basically shut this off and turn this on. So now I'm gonna create a new layer compound and call it male on. I basically are normal. State is everything that's normal. And then we're going to be pretty much ta going through. Click mail on. We're gonna go back to our camera. We're going to switch the layer back to white. We're going to update it by hitting this update icon. But in here, we're going to hit the male icon. And obviously, as we can see, it's just one I'm going to do pick up layer by hitting command J. I'm gonna call it Icon on. I'm going to change the color to the blue again. Forgot the blue. It was Just do that and then I'm going to go back to mail update it. And now if I go to normal, its normal camera on cameras on. And now, as you could see, it's now showing movement as if it was actually being selected. Now, let's do the highlight of the dude. Um, right here. But before I do that, I just want to copy this color code. So it's consistent across the board. I'm gonna add a new layer icon again. I'm gonna call it, uh, man, whatever you want to call it, actually, man on gonna make sure none of these air selected it, okay. And basically, I'm gonna go back to my ah icon here. I'm gonna shut it off. Leave the white one on. Usually, both of the one is supposed to be on one. Supposed to be off. In this case, it's not, So I'm just gonna update that. And now I'm gonna go back to the man, gonna shut you off, turn you on updated case. Anything happens if there's crashing, I'm going. Teoh pretty much duplicate the man on con. Call it man on. Shut this one off, using the eyes t turn it on and off. You won't see a difference until I actually do something. So, for example, the on and off. So now I'm going to update it. And then now if we go back normal camera on nail on, man on lips Actually, one. It is good to go through these because then you could see you know what works. And if you missed anything so normal. Camera on, male on, man on. Damn! Sometimes if you don't hit the update button, it won't update so normal. Camera on, nail on, man on. There we go. So pretty much. We just showed movement throughout the or, I guess, highlighted throughout the application. I want to take it a step further and show movement in it. So now I'm going to shut all my layers off. Alright, Closed on my layers. I'm gonna go back to normal, and then I'm going to hit a new layer and I'm gonna call this motion and I'm going to click on positioning. Now. This one, the positioning will move. So if I move something and I jump back between the two, it should move. I'm going to select all these layers and move this up. Should be good right about there. A little bit more. I'm gonna reload it. So now for go to normal, we normally should have positioning on did that. But emotion, it should move. I have to actually move it again. This is kind of a back and forth process to make sure that everything gets updated in Africa. Normal. That moves motion. There you go. So if I'm gonna normal door layers, camera on, male on, man on do motion, it shows the rest of the application. Now, let's say I want to save these all out. Well, now that those are all done, I want to say about each one. Right? So basically want to goto normal Oliver State to their make sure we savor document. Save it to call it application. You won, or it's called apathy one. We want to save it in a photo shop document. Do examples when you go into PSD s, save it. Okay. Now we're gonna go to file scripts. Layer calms to files. Click that. So basically, now, with this window, we can pretty much so lacked where all these cops are going to go. They're going received out. Individuals were hit. Browse. We're going to go to the folder that we created. We're gonna go to J pegs hit open. She's fine. opening the folder. And now we can name a preset prefects for these documents so we can call it app, and then it will save it out and pretty much stages. 123456 We could also choose to file type JPEG pdf PSD stiffs, PNG Eights being pretty much all the most common ones that you use. If you had 10 different documents and you wanted to edit them differently, wanted to see them out differently. You can see in the mountains PM PST is basically be separate PSC's and then you can edit between individually instead of going back. I mean, Master PSD. That's how you want. But in this case will do J pegs and I'll show you. The PSD is in the second we call APP. We hit run! It takes it through the layer comes, It says it was successful. Let's go check our folder desktop project J pegs And there we go. It is named after 000001 And there it is, all of our, um, different states. Let's I wanted them all individually into different PST is if you go to file again scripts . Layer comes to files. We choose PS D's. You go back to browse Good. Our example. Folder hit PS D's and then we hit open. We can call Hit, Run, and it will save them all out. Going a lot quicker than I thought it would says it's done. Check it out. Go back and it will compete ST's There they are with the normal one highlighted one with the male one that we have that now Because that was all in one document. You really wouldn't need to do that unless you had different screens if you wanted to show different screens. For example, if you had a home screen, a message screen and a edit screen and they're all different versions, then I would use that to save it out as separate things and edit them as is. And then I can go in them and edit them, saying that that's normal. Then I'll call this one. It opened. I call this one camera PTSD camera on PSD version one, and then I would rename all of them just so they would be, um, appropriate. Uh, so I can understand which is which. For the J pegs. I would probably leave them as is. And then, if I wanted a papa Minto a PFD pdf, I could just drag and drop them in there, and they should be good. All right, so that's pretty much it for layer cramps. Now, let's see if I make let's go over some things that would happen if you mess up. So let's say if I changed the color of this and that was it and then I went back. Well, oh, it looks like he carried through. Well, it looks like a photo shop is updated that what I was gonna say was, usually you get a little triangle with an exclamation mark in there and you actually saw it when I was going through it. Basically, if you make a change to a layer comp and you don't update it, it won't carry out across the board. And then basically, you'll have to go back and do it again. And then you'll have a little here. I constant air. You know, all you updated one layer comp. The other ones have not been updated. Please update them so they could be all updated. That's what that triangle usually means. But because photo shop is now updated. Two cc 2014. Um, it looks like when you make a change, it will keep that change without alerting the other layers, which is pretty cool. So I don't have to go back and and do that, which is really, really nice. Um, so that's pretty much it for layer comes very straightforward. Really cool to use. Save you a lot of time. Um, again, You know, if you save out them as PSD as you can get rid of this whole dueling, um, on all states. Uh, but they're good to have, you know, because it keeps track of everything. It shuts them on and off based upon how you do it. And basically, that's everything about layer comes very straightforward, very simple. And if you have any questions, please don't hesitate. Lets me know. See you guys in the next lecture