Photoshop Parts 2 & 3 - The Complete Photoshop Mastery Course for Beginners - Tools and Layers | Steve McDonald | Skillshare

Photoshop Parts 2 & 3 - The Complete Photoshop Mastery Course for Beginners - Tools and Layers

Steve McDonald, Excel and Photoshop Geek

Photoshop Parts 2 & 3 - The Complete Photoshop Mastery Course for Beginners - Tools and Layers

Steve McDonald, Excel and Photoshop Geek

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20 Lessons (2h 47m)
    • 1. The 5 Most Important Tools in Photoshop

      5:35
    • 2. How to Use the Downloads in Skillshare

      2:23
    • 3. Assignment # 3 - Cut Out a Coffee Cup and Place it in a Landscape Using the Selection, Brush and Mov

      13:11
    • 4. Overview of the Brush Tool

      18:50
    • 5. Assignment # 4 - Cropping a Social Media Profile Picture

      5:59
    • 6. Assignment #5 - Crop and Brush a Rose, Plus Tips, Tricks, and Keyboard Practice

      8:28
    • 7. Using the TEXT Tool

      17:58
    • 8. The GRADIENT Tool

      15:55
    • 9. Introduction to Part 3 of The Complete Photshop Mastery Course

      1:25
    • 10. Intro to Layers

      9:59
    • 11. What Can Layers Do? Working Non-Destructively

      12:27
    • 12. Intro to Using Adjustment Layers

      11:29
    • 13. Black and White Adjustment Layer

      9:23
    • 14. Hue Saturation Adjustment Layer

      7:22
    • 15. Navigating Layers - Part 1

      6:40
    • 16. Navigating Layers - Part 2

      7:26
    • 17. Using the Layers Panel Menu

      9:07
    • 18. Assignment 6 - Which Adjustment Layer Will Fix This Image

      1:02
    • 19. Assignment 6 - Solution

      2:01
    • 20. Conclusion

      0:34
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About This Class

Welcome to Parts 2 and 3 of The Complete Adobe Photoshop Mastery Course for Beginners, where you'll learn the basics of Adobe Photoshop in a fun, hands-on way. This course is designed to teach you the most important elements of beginning Photoshop without the frustration or stress that often comes with learning new software.

If you are brand new to Photoshop or have tried to learn Photoshop and struggled with it, this course is for you.

The course is recorded using Photoshop CC on a PC, but it works fine if you have an older CS version of Photoshop, too. I also include tips for using a Mac, so that's no problem either.

Here's how the course is broken down:

First, we get familiar with the Photoshop program and interface. We learn to open and save images, and learn where the most frequently used tools are located.

Second, we start using the most important tools, like the move tool, the crop tool, the brush tool, and the healing brush tool. We also learn how to use layers so that we can work non-destructively on our photos. (In the course, I'll explain what that means and why it makes your life easier).

Finally, we do a bunch of hands-on projects in Photoshop.

  • We whiten a subjects teeth.

  • We crop an image bigger (did you know you could do that? It's pretty cool).

  • We create a square social media profile picture that would work on YouTube, Instagram or Facebook.

  • We brighten up dull, dark images.

  • We learn how to add or reduce redness in a subject's face (so they don't look like a ghost or a cherry).

  • We make an image black and white.

  • We switch out the sky in a mountain scene (we can choose clouds, blue sky, or even the northern lights).

  • Finally, we combine two images into one (we take a cappuccino mug and set it in a field of flowers, just for fun!).

The course is broken into sections. This is sections 2 and 3. After this section, you'll return to Skillshare for part 4 to complete the course.

When you are finished with this course, I promise you'll feel confident using the program and the many tools and options that it offers. You'll be able to do valuable work in Photoshop, and have fun while doing it.

Jump in and watch some lectures and see how easy it can be to learn.

Meet Your Teacher

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Steve McDonald

Excel and Photoshop Geek

Teacher

Learning is easier if you are given the right tools and instruction. In every one of my courses I take you step-by-step through the tools and knowledge you need to accomplish your goals. 

My talent is taking complex subjects (like Exce... See full profile

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Transcripts

1. The 5 Most Important Tools in Photoshop: Okay, This lecture is where the fun starts. You've been very patient so far, and now we can really dive into things. This lecture is where we start to talk about the tools in the tool bar and how they work. And specifically, we're gonna talk about the five most important tools in the tool bar. So the toolbar, if you recall, is this guy over here and there are so many valuable uses for this toolbar. But we're going to talk about five specific tools. The 1st 1 is the move tool right here. This allows you to grab objects within your image and move them, dragged them out of your image in in tow. Other images, rearrange them, etcetera. We're gonna talk about the selection tools which these air actually all selection tools. But specifically, we're going to talk about the quick selection tool, which is just sort of the crown jewel of the selection tools. We'll talk about more selection tools later, but selection tools allow you to actually select or highlight part of your image so that you can then work specifically on that part of the image. So if I wanted to say brighten or darken this blue sky. I could select this sky, work on Lee on it without affecting the rest of my image. And I'm able to do that because of these selection tools. We're going to look at the crop tool. It's a really simple but hugely valuable tool that just allows you to change the size and shape of your image like that. Not gonna crop that today, so I'm gonna do that. But the crop tool is awesome and valuable, especially if you're doing like social media images. If you need to say like a square profile picture for YouTube or Facebook or Instagram cropped Will makes that really easy. We're gonna learn about the brush tool just right here, and the brush tool is just what it sounds like. It's a brush, and it allows you to do brushing on your image. But it's so much more than that. To be honest, I don't use it like this very often, just to like brush and make a mess of my image. But you can use it for changing the color of things. You can use it for lightening and darkening different areas. You can use it for adding shadows and you can use it with layer masks, which we'll talk about later for basically just highlighting a certain part of your image that you want to work on similar to selections. But the brush could be very valuable, and this law makes sense later. But the brushes super valuable in so many ways. Now, before I go into the next tool I'm gonna hit. Here's your shortcut key for the day control Ault Z that allows me to step backward in my work and go back and undo what I've done. That's control all TSI on a PC command Option Z on a Mac. And if you have an older version, it might just be control Z for you on newer versions, Control Z will toggle between the last two actions like this. If you want to keep going back, you have to hit control all too easy to continue to go back like that. Okay, And then the final tool, which we've actually already talked about, is the healing brush tool. And this one, as you saw in the blemish lecture, just allows you to go in and simply click on things. And you know what? I'll do is I'll practice our keystrokes from the last lecture. All press Zaeef, resume click a few times a zoom in the healing brush tool, as you can see because the hand is h. The healing brush tool is Jay So Jay, to practice my key strokes and then I could work in this area. One additional keystroke will teach you. See how my tool is too big for this area. If you had the square brackets there, right next to the P key on your keyboard to square brackets that face each other to separate keys, get the left square bracket. It will make you to a smaller. If you had the right square bracket, it will make your tool bigger. And this works for every tool, like the brush tool, the clone stamp tool, etcetera. But you make this smaller so it kind of fits. And then you can just go click by horse ease or cows or sheep, whatever you are all right. And then I could want I want to get back to full screen control zero. That puts me full screen. All those animals, except for that one lonely guy in the back, are gone Okay, so that's just a brief overview of the tools I encourage you to go in and click on them or , better yet, hover over them. See what the shortcut is. The move tools of V C hit V on your keyboard. The move tool. You won't be able to do anything with yet until we get into subsequent lectures. But you can go in with the quick selection tool. It's like that. That's W or you can click it and then go in and click and see what it does. Okay, so play around with those just to get familiar. And in the next few lectures I'm going to go into each one of these tools in detail. OK, I'll see you in the next lecture. 2. How to Use the Downloads in Skillshare: Hi and welcome back in this lecture. I want to just show you how to use the downloads in the course so that you can practice and follow along with these lectures. So if you're in the course, dash word here and you scroll down just a little bit. You'll see a couple of tabs down here about reviews, community and projects. So you want to click on projects and resource is, and if you scroll down even a little bit further, it'll have a description of the project, and the most important part is right over here. Where it's his resource is, and in this section will have various images that you can use to download and use to practice on and photo shop on your own. The trick is downloading. These isn't the most straightforward thing, because when you click on one of these like this coffee and doughnuts image, it's basically going to bring up the image in a pre viewer in most computers rather than bringing it into Photoshopped. So what you have to do then, is you have to right click on it and say, Save picture as now it's gonna ask you, save it And unless you have a folder created, you could just go save it on your desktop and you'll also notice, In this case, it's naming it funny. So you might want to go in and just clean up this name and I'm just gonna, you know, make it look a little more readable. Coffee and donuts, and then we'll have to save. And then you can either go to your desktop, find that image where you can actually just open photo shop and then search for this image . Okay, we'll just right click this and say Open with and then hopefully as Photoshopped in your list. Then we can click that, and it will open it into photo shop just like that. And if that doesn't work, that you could just open up photo shop, go to file open, go to your desktop or wherever you saved it and get it from there. Okay, so that's how you use the downloads. I highly encourage you to do that so that you can follow along in the course and practice. And if you do, you're gonna learn a whole lot more. Thanks for watching, and I'll see in the next lecture 3. Assignment # 3 - Cut Out a Coffee Cup and Place it in a Landscape Using the Selection, Brush and Mov: Hi and welcome back. I'm really excited about this lecture because we finally get to take some of the things that we're learning and put them together in a just fun and funky project. So what we're gonna do is take these two images, this background of this barn and this coffee mug, and we're going to put them together like this, just for fun. And so we can practice some skills in a real hands on way. Okay, so I'm gonna close out of this and we will start from scratch. What I want you to dio is go ahead and open up the two images that are attached to this lecture. You can either download them and then open them in Photoshop or just click them in the lecture and open, um, straight into Photoshopped. I already have them saved on my computer, so I'm gonna click control. Oh, or command O on your Mac. I'm gonna grab those images, open him up. Gonna do that again for the second image, have the coffee mug. If you get this pop up, just ignore it and click. OK, We'll talk more about color management down the road. And now that we have are two images open. You'll notice something different that you haven't seen before. We have two tabs up here. One is our cappuccino dot jpeg image, and the other one is called Barn Edits dot j pick. And if I click on this icon, toggle back and forth between the two images, and you can have quite a number of images open at the same time and be working back and forth with, um within the limits of what your computer can handle. But we have these two images we're going to start out in this cappuccino image, and we're gonna press the letter W to change to our quick selection tool. And then we're going to select this cappuccino muck and the size of cursor than I have right now is pretty good for the Remember. You can adjust it by pressing the left square bracket key to the left to make it smaller, the right square bracket key on the right to make it bigger. Those were located next to the P, so make it a little bit smaller, and what I can do is either click once and let it select what it wants you could see it did a pretty darn good job. It just is looking for all the white, basically. And then if it missed anything, I can click some or Or you can also click and just kind of drag around your image and you'll see I messed up a little bit there so I might zoom into that and fix it will go Z for Zoom. Click a couple of times, go back to my quick selection tool, which is W make my cursor smaller. And then, to fix this little mess, I'll hit the Ault Key, which gives me a minus. That means I'm subtracting from my selection, and I could just gently work along this edge. Couldn't go right there, too. I definitely don't want that brown in there kind of feather along the edge like that, if you like, and then maybe even you can kind of work back and forth. Okay, It's not a bad idea to hold down the space bar to get the move tool. You can move around the edge and just check your little marching ants here. That's what the started Lime is and make sure it's clean and it goes right along your edge , which does. Now I'm gonna go back to full screen. So I'm gonna hit control zero command zero on a Mac. And now I have the cappuccino mug selected, and this is where it gets fun. Now, we're gonna go to our move tool, which, if you remember, is the letter V. And now I'm selected on the move tool. And now you get actually practice. Using the move toe I'm gonna do is gonna left click onto this mug, and I'm going to get a hold of it. Now, this is the fun slash tricky part. You're gonna hold the mouse down as you drag this cappuccino mug up to this tab where it says, Barnett, it's notice it now flips to the next tab, which is my other image. Now I'm still holding the left mouse button. I'm going to bring it into this and you see, now there's this little plus sign with an arrow Gonna drag it into the middle and I'm just gonna let go and it drops it into my image. Awesome. Right. So we've just combined one part of one image with another image. Now we can just tweak this a little bit toe help it to fit this image a little bit better. So what we can do is now weaken, grab it and move it where we want it to. I'd say right there is about good. And now I'll show you one other cool trick. If you hit control T or command T on your Mac, that's going to bring up these little controls. This is the transform controls, which means you can now transform this chunk of this image and you congrats this corner with a left mouse click and you can drag it bigger or smaller on some versions. If you grab it and just start to stretch, you'll notice that if you don't stretch it just right, you'll distort it. And we don't want to do that. So I'm gonna release the mouse and I'm gonna hit control or command Z toe, undo what I just did. And now I'm going to hold down the shift key while I hover my mouse over that little box. And now if I click and pull even if I go off to the side, it's going to keep the same proportions, and that's very important. Okay, so I'm gonna shrink this down just a little bit. Probably like that. So it doesn't look quite so surreal, And then you can either just hit enter, or you can go click this little check mark up here. Okay? I'll just hit Enter. And that basically completes the transformation and places that where I wanted it in the size that I wanted it. So again, that's control or command on the Mac and T to give you the little transform controls and then some versions, you'll need to just click and drag and other, and you'll just have to experiment with this to see which one works for your version. But in most versions that you're gonna have, you're gonna hold down, shift and drag, okay, and then hit Enter to complete that transformation. Or you can click here. Okay, Now, we've placed our coffee cup in this field, but you can see it looks I mean, it looks a little unnatural anyway, but it looks extra unnatural because it looks like it's just floating here because we don't have a shadow. So now we're gonna put a shadow in with our brush tool and to explain how we're gonna do this? I want to bring your attention over here to our panel's. Remember when we started talking about these panels and how you could customise them? But we didn't really go into too much detail. Well, in the next few lectures, we're going to talk a lot about layers. So I want you to look at this layers panel for a moment. And if this doesn't show up like this, make sure you go appear to essentials and click on essentials. If you already have it on essentials, click reset essentials. And that should bring it like this. If for any reason that doesn't work for you, you can go toe window and grab the layers panel and just click on it and it will open up for you. Okay, but down in the layers panel and we'll talk about all of these things up here later. But I want you to just notice these two things right here. We have two layers. One is our background and one is called layer one, and you can see these tiny little icons down here. And in fact, I can make those bigger so you can see him better. You can see the background has our barn and field image, and the layer one has this little cappuccino mug. If you can see that, and the cool thing about layers is, I can hide these and show them by clicking on this little eyeball so I can hide the background layer and you see Onley, our coffee cup and these little checkerboards in the background. Just show that there's nothing there or that's transparent and that I could bring that back by clicking on the eyeball and I can hide the cappuccino mug, okay, and I'm going to go into layers a lot more in depth because they're super important. But for now, just know that if we click on Layer one, then we're going to do work on Layer one. If we click on the background, then we're going to do the work on the background, and later one will sit on top of it. So we're gonna grab our brush tool by pushing the letter B on our keyboard, and you can see it's now turned to a brush, and that's a pretty good size. We could go a little smaller or a little bigger. We'll go into more details with the brush to a later too. But this is just some hands on experience for you to set your brush to. What? The right setting. I want you to come up here and look at the opacity, and you can change that to 30%. You can use this drop down. If you have a newer version, you can hover your cursor right here and you'll notice you can click and drag an as these little arrows that allow you to change it. Or if you want to use a shortcut key while you have the brush tool, you have just hit the number three zero and hit Enter. If you're not selected in that square, you can also just hit the number three for 30% or four for 40% or five for 50% and so on. But we're gonna do 30% opacity. That just means it's not gonna be completely black. And then you're gonna go up here and make sure that your hardness right here is all the way down and again, you don't need to understand. All of this will go into more detail later, and then finally make sure that This shows a black little square on top here. And if it doesn't, you can click right here. And this will just reset it for you. Okay, Now, what we're gonna do is we're gonna go hover over the edge of this cappuccino mug and were selected on the background. So you just click on this and we're just gonna paint on this background. But this this is gonna be on top, so it's not gonna be affected. And you'll see, I just I'm gonna click and hold on, Drag. You see, it's painting a little bit of a shadow there. I'm gonna do that again. Click and hold in, drag a little bit more of a shadow. And you can do this as many times as you want. If you do it too many times you can hit control. Zito do one. But we just click and holding drag and try not to get up here because it will paint up above the mug. And then it looks like you have a shadow up there. So we try and stay down here. If you need to make your tool little bit smaller, you can do that. But we're just painting with a soft brush and putting a little bit of shadow in there, Maybe a little darker, this ride along the edge here. But every time you release the mouse and click again, it's gonna just make it a little bit darker. So you do it like that, and that looks pretty good. Then I'm gonna have you go do this on your own. And if you really want to get the most out of this poster image to the question and answer section so that we can see how you did. And if you want an extra challenge, I would challenge you to take another image like this, some kind of landscape and a different object. It could be a soccer ball, a coffee cup, a guitar or something. You want to make sure that it's sitting on a flat surface or will be really hard to match up, but then use the techniques that we just used to cut it out and place it on that image and put a brushstroke underneath it to put a little shadow. Okay, One thing I should have mentioned is that we actually want to do You are brushing on a new layer not directly on the background, so you really should go to this background layer and make sure it's selected. And it control J on a PC or command J on a Mac to make a new copy so that you're working non destructively. Another thing I want to mention is when you go to your cappuccino mug to cut it out. If the click and drag method doesn't work for you, there's another way you can do it. Once you have it selected, you can hit control C or command Seattle Mac to copy it and then go over to your barn and hit Control V or command the to paste it. That's if the click and drag method doesn't work. You can even save this if you want for practice by clicking control Cult s to save as rename it Save it is something else, and you're done. At this point, you're starting to learn a lot, so go for it. Don't forget to stand up and walk around. If you get stuck or frustrated, ask questions and I'll see you in the next lecture 4. Overview of the Brush Tool: OK, in this video, I'm gonna teach you about the brush tool. And there is a surprising amount to know about the brush tool. But we're just going to cover the basics so that you have ah, general sense of how to use it. So the first thing you need to know is where the brush tool is, and it is right here, and you could left click it to select it. Also, if you selected on something else and you're out here working and you want to just use a shortcut, you just hit the beaky on your keyboard and you'll see I've now changed to the brush and you see this little circle here that is your brush. And of course, when were selected on it. Here we have a new option bar up here, which has a whole bunch of things, and we're going to cover a few of these things. So the first thing is that you have this little drop down menu here, and this allows you to adjust the size of your brush and the hardness of your brush. These are probably two of the most important things the size you can see the size right here. It's a 25 pixels, but if I slide this slide her way up, you'll see I now have a giant brush at 306 pixels, and the hardness is how hard the edge will be. So if I'm all the way the left and I have a very soft brush, you can see it's going to paint very soft edges. And if I'm all the way up to the right and I have a very hard edged brush, you'll see that it paints very sharp edges or hard edges. Okay, I'm gonna go ahead and hit Control Ault Z twice to get rid of those and one more time back to here and then down below. In this menu, you can select different types of brushes, and you can play with some of these different brush effects and whatnot if you want. We're not going to get into that. The main thing right now is we need to know the size and the hardness, okay, and I'm gonna dial these back down for now, and I'll close that menu, and if you click this one, you'll get a bunch of brush. Settings were also not going to worry about that. But you can select different sizes and textures of brushes in here, and one of the other very important things to look at is your opacity and your flow and these air fairly similar to each other. But I'll explain the difference if you have them both turned up all the way and you notice I just hover over the word. It gives me these double arrows and I can make adjustments. You also have a drop down here. But if we're on 100% for both of them and I go to make a line, make a little smaller brush using my left bracket and I make a line, you can see that that's completely opaque, meaning that you can't see through it. Now. If I dial down the opacity to 10% then when I make that line, it's only 10% opaque. Now, if I do alarm over that again, that it will be moral pick and I could continue building this up, see how it builds in layers. But each stroke that I do is only 10% capacity, okay? And if I'm working out here, you see, it's just 10%. And then each layer that I put on is gonna make it more and more of the color that I have selected. OK, but one thing to notice is that if I hold down the brush and I go over the same spot over and over and over, notice how it's not getting any lighter. It's just staying at that 10%. I have to release the mouse or release the pressure on my pen and then press or click again to get more opacity. Now that's where the difference between a pass ITI and flow exists. Because if I go to full of passing 100% and I reduced the flow to 10% now, I'm going to have a similar effect. But now, if I hold the mouse button down and I continue to go over, you'll see that it continues to make it more opaque with flow. You also get more of a feathery effect. It just has kind of a different blending, whereas Europe ass ity is sort of like a computer generated effect. But both could be valuable in the right circumstances, and then one final thing I'll show you right here is smoothing. And if we start with smoothing at zero and I'll make my brush smaller so this is easier to see and I draw. Let me get rid of some of these. There we go. And if I put my flow up to 100% in my capacity to 100% smoothing 0% is going to do no smoothing of my line. So if I'm trying to draw zigzag and I'm doing a poor job of it, you'll see these little kind of handshakes in here. Now if I dial up with smoothing to, ah, high percentage like 75% and then I go and try and draw almost the same pattern notice it's going a lot slower. But it's also smoothing out all of my handshake and giggles. See the difference in those two lines? Okay, so that's what smoothing does. We'll get rid of those two, and then the final thing I want to introduce to you is you're a little color palette over here, and this is your foreground and background culture. And by default, if you click this button right here, your foreground color will be black and your background color will be white, and this is going to come in really useful later on down the road for a lot of different things, like when you're doing layer masks and things like that. But for the moment, what you need to know is that you click on this, it will reset everything. And if you click on this one, it will give you an option to set this color to something other than black will cancel that for now. And if you click on this one, it will give you the option to set it to some color other than black. And then if you hit this little button, it will switch them. So right now, we have black as the foreground color, which is going to be our brush color. But if we hit this little button, it will switch them so that we now have white. You can also do that by pushing the X key on your keyboard. See, I'm pushing the X key and it's switching those back and forth. So let's see what happens when we have black as the foreground color and we go to brush, we get black. If we had the X or we click here. We're gonna have white is the foreground color. Now our brush is going to be white, okay? And I'm going to turn off the smoothing. So when we have white is the foreground Color white, Switch them black is now the foreground Color paint with block. Okay, so let me show you a couple of quick examples of what you can dio, and that will be it for our tutorial on brushes. First of all, notice in our layers. I am selected on the background Right now. You almost never wanna work directly on your background. So if I wanted to do some work on this image, I would want to create a new layer. And you do that by hovering over this icon right here and clicking it, and it creates a new layer. Now, anything that I do will be on that layer and not destroying my original image here. So one thing that you could do with a brush just as an example is we could create a little vignette around here. And there are other ways to do this and arguably better ways to do this like with radiance and things But I'm just showing you this so you can learn about. So what we're going to do is just kind of brush in some dark little halos around this image to kind of give it a little vignette. And the first thing you would want to do is bump up your brush. Us. I'm going to use my right bracket. Nice, big brush. You can also do that up here by changing the size, and then we're gonna make sure the hardness is all the way down. So it's nice and soft, and then we can close that, and now we're going to dial down the opacity to 10%. You can go pretty conservative with these numbers, and we're going to do the same with the flow and I'll that down to 10% and we make sure were selected as black as our foreground color. And then we're just going to brush in around this. Give it a little bit of it Yet then you can check if it's working, but toddling your layer on enough with little eyeball on. See, there's a subtle change will do some more and then you'll see more changed. So I unclipped my mouse and I'm gonna click again. And I'm just gonna do some smooth strokes here and around the edges that I'm gonna unclip one more time because again, remember, if I don't continue clicking, the capacity is going to keep it from getting darker, Click one more time and go around this, and we're just kind of darkening the edges here. We might do one more down here because it's so bright. Okay, And now when we unclipped that, do you see, I was sort of starting to take on a little vignette and I'll just draw your focus into the center of the photo. Okay, so that's one thing you can do with a brush. The other thing that I could do is if I wanted to just make a solid layer. And there are a ton of reasons why you might want just one solid layer of color is I can go in here and let's just to keep it simple. Let's make a new layer for this. Okay, so that was the layer that we're doing. The been getting on this layer has nothing on it. But we're gonna select it, and we're gonna do a new layer, and we're just gonna make a solid fill color. And this would be if you wanted to do a background for some lettering or a poster or something like that. Or if you want to blend layers together and you needed to blend the color into this, and here's how you would create that layer. So you going to go to your foreground color and click on it. And then it's gonna ask you to pick a color, and you can click through here or drag through here to get into the different hues reds, blues, greens, etcetera. And then, if you go up toward the top of this area, you're going to pick lighter colors, and as you go down, they're gonna get darker all the way to black. So if I click down here, it's gonna be black. If I click up way up here, it's gonna be very light, and then you're saturation or the intensity of your color over the left will be lighter. We're less saturated and over to the right will be more saturated, so more intense or bright of a color so you can see when I click down this side there really rich, intense colors. When I click down this side, they're really pale. In fact, gray colors is almost no saturation. When I click across the top there very light because that's the white scale. And when I click across the bottom well, I should go a little higher so you can see they're mostly black. Okay, so you can pick any color and you could change the huge goto a blue We could pick like, kind of a light, grayish blue, maybe a little lighter even. Okay, and we could click OK, and that selects that color, and that's now our foreground color. There's one other thing I can dio change. This color is. I can just go click on this and then you'll notice the tool changes. I now have a color picker, and if I want to go and pick a color out of this image, I just click on it. So So I just click the sky here and it became blue. If I click, the light color here will become a light blue. I could pick this vibrant green. I'll get that so you can pick any colors out of your image as well to go into here and then when I click, OK, that's my new foreground color. Okay. And now, since I'm selected on a new layer and I have this big brush now, if I don't do any changes, I leave the a passage and flow low. It's not gonna do what I want to do. I mean, it will start to cover over a little bit, but that's not what we're looking for. What we want is full coverage. So we need a dial up or opacity and flow. And you can you can use the slider. But you can also just hit numbers on your keyboard to change these. So, Francis, if I had a two, it's gonna change. 20 three is 30 for, uh, six. See how that percentage is air changing. Although up to nine gives you 90 and then zero gives you 100%. Okay, so that just is a keystroke for adjusting your opacity. And then if I hit the shift key, I could do the same thing with the flow ago shift And 23 for five, etcetera. And then if I jump up to zero, that will make it 10 and one cool thing to is if you want a smaller percentage like 55% if you just hit the five, it'll go 50%. And again, I'm still holding this shift key for the flow. But if I quickly hit the five twice, then it will go to 55%. Or if I want 59% I can quickly hit 59 and I will go to 59%. But if I slowly hit them, I hit the five minute takes me a while to find the nine. Then when I hit the nine, it's gonna go to 90%. But we want full flow and full opacity, so we're gonna have zero for 100%. Now, I can let go of the shift key, and now I have a full intensity brush here, and I'm just gonna brush over this with that new bright green and see how it's just covering the entire thing. This is best to use a very big brush so that you can get everything filled in and then kind of go around the edges. Make sure you got it really good. Okay, well, I'll dial back the size of the brushes says, not so distracting. And now we have this full color layer and you can see the color right there. And it's its own separate layer. And if I wanted to do things like mask off part of this image and have some of this color show through or a 1,000,000 other reasons than now I have that Phil later. And if I want to turn that off, I was tuggle it off, and I can tuggle it back on, okay? And just to give you a really quick example of how you might use this layer So this layer is on top of the background, right? And we have what are called blending modes. And right now the blending mode is a normal, and you'll notice these are they're blending modes up here as well for your brushes. But right now, when it's normal, that's gonna make this just behave just like a brush, right? So I brushed over everything, and it just has this full color of paint. But if I change the blending mode, I can make this layer interact differently with these other layers. Okay, so the best example I want to share with you is multiply and you'll find yourself using this From time to time. I click, multiply, watch what happens. See how you can still see the original image. But it's sort of tinted with this color, and what it's doing is this layer is basically working with this layer and blending some of the colors. And Hughes okay, if I toggle this off when we get that bright original image, if I talk about back on, you see that this is basically tinting that okay, but that's giving off the subject. Really. We're talking about brushes and again. If you want to use your brush, you click there where you hit the be on your keyboard and that will select your brush. You can change your sizes and your hardness Here. Hard edge, soft edge, small, large. You can change your lips. You can change your opacity and your flow. And remember, you could use just numbers on your keyboard to change the opacity. And if you want to change the flow, you can just hit shift and these the same numbers on your keyboard, and then you can select your colors down here. And if I want to put this back to normal. I don't like that yellow color. I don't want to use it for my next brush. I could just reset thes by clicking right there. Now I'm back to a black brush, and if I wanted to brush on here, There we go. So again, that's just a really basic introduction to brush is so that, you know, kind of where the tool is, how to make some adjustments to it and how it works. And later you'll see some examples of how to actually use it in a functional way. Get an image. 5. Assignment # 4 - Cropping a Social Media Profile Picture: Hi and welcome back. While we're on the subject of tools, we've talked about the five most important tools the move tool, the quick selection tool right there. The brush tool, the healing brush tool which we used in a previous lecture to fix blemishes. And the one we haven't really talked much about is the crop tool. So that's what we're gonna learn about in this lecture and then in the following lectures will get into layers in detail because layers are awesome. So to demonstrate the crop tool in a practical hands on way, we're going to create a social media profile picture. And if you're on social media a lot, I'm sure you already know that these are square images. They're square on Twitter, Facebook, instagram, YouTube and a bunch more that I'm not gonna list. So I'm gonna show you how to create on instagram image, and then I want you to go and try this on your own to. And as usual, I have included a download. So you're gonna download that and open it in Photoshopped? I'm gonna click control Oh, Commando on your Mac. I love it every time I said commando So I come in the Army or something? Scroll down to this picture of this gal And let's just say that, you know, this is her favorite picture of herself. Her friend took it while she was on vacation, and she feels like she's never gonna be able to recreate it. Well, if you loaded into instagram this big, then when you shrink it down and I'll just go ahead and hit Zoom Key Z for Zoom and then I will hit Halt to zoom out. It's gonna look about like that. We don't want that. So let's go ahead and press control zero to go full screen, and we're gonna crop it close and around her face so that you can actually see her face. And we need to go to our crop tool. And the shortcut struck for the crop tool is C. If you forget that it's right here and when you press the sea or select the crop tool, it's gonna bring up these crop handles all the way around. And we can just go ahead and corrupt, thes by left clicking and weaken drag women, or you can grab the corner and they'll drag two sides and notice. I'm not holding down the shift on my computer, so it allows me to change the shape like that and we can crop it in and you can even see here next to my cursor. There's a W and an H, and it shows how many pixels, the width and the height are. And you would just have to crop that in and then go to the top and drag it down. Actually, we need to go to one of the corners and make sure that those numbers match up. But as you can see, it's kind of a pain in the butt if you're trying to get those to match up perfectly well there, I got lucky. Okay, so that matches it up perfectly on. Easier way to do that. I could just say, undo and say, I don't want to do that crop is to go up to this little thing, and we haven't talked much about the option bar yet. But as you may remember, what I was telling you way early in the course that if you select one of these tools, this option bar will connect to that tool and you'll have more options for that tool. And that's the case here. So we can do is go to the ratio and we have a 1 to 1 ratio. That means the width and height are the same and you even see off to the side. It's a square click square, and it will create a square. And now we can just scale it to the size that we want. So now I'm gonna hold in the corner click shift to keep this, the ratios gonna go down a small as I want it to be Let go and then I'm gonna grab it in the middle. Actually, I'm driving the picture and I'm gonna drag picture over underneath it into the box and let go. And if that looks good that I can hit, enter with my keyboard or click the check mark. And now we have a nice square profile image for this girl. Now, a couple of details that I didn't mention are some of the additional options up here. Let's go ahead and click controls the or, in this case control cult Z toe uncross this and look up here. One thing you want to be careful of is that this doesn't say delete cropped pixels. If it does that, I would not have been able to undo that because all of those tree pixels or parts of the image that I cropped out would be gone, so usually want to make sure that that's unsolicited. But again, to do our crop, we click on the crop tool. If we want to get those exact proportions, we can just go up here, cook the square, hit the shift key and click on the corner. If your version is different than mine, you may have to not hold the shift key to keep the same proportions. Another trick is that you can press shift and Ault and it will scale from the middle of where the photo is. And then you well, center your image check and then you can click control ELT s on a Mac. It's command option s to save this, rename it and save it as something else. You could call it instagram profile picture, and then you've got it ready to upload. So your assignment is to go and you can either download this image or better yet, open one of your own images in Photoshop practice, cropping it and saving it. And then you can upload it into the Q and A in the course, and everybody can see how you did, and I'll see in the next lecture. 6. Assignment #5 - Crop and Brush a Rose, Plus Tips, Tricks, and Keyboard Practice: hi and welcome back. Did you do the last assignment? Did you crop a square social media profile picture for yourself? I did. It looks pretty awesome, right? I wanted to show my smart side, but seriously, if you haven't done it already, please go do that. Just practice, even if you want, do something silly or goofy or interesting. You know whatever do something unique that's great and shared in the Q and A for the course , because this practice is what's going to really solidify Photoshopped for you and get you rocking and rolling at it. And speaking of practice, let's do some keyboard practice. If you do anything in photo shop, you have to have an image open. So let's go to control Oh, or command O on the Mac. Gotta love those commandos on the Mac and we're into our opening dialogue box and let's just grab a picture. Let's just do this Rose and let's practice some of the tools that we've learned. The 1st 1 we learned was the crop tool, which see, and that brings up the crop. And did you notice that this brought up a square crop because that was the last shape that we used and you'll notice up in our option menu. It's defaulting to the square, and this is something that you'll see in photo shopped a lot. If you set a brush size to a certain size or you set the dimensions of a crop, photo shop will remember that. And it will generally continue to do that. And sometimes that's really nice. Other times it will catch you by surprise. So just keep an eye out for that when you're doing different tasks. But we're gonna go and get rid of that and just go back to the regular ratio, and then next time it will default to just the full shape. Then we can go do some re sizing. Oh, I forgot. It's still set on a ratio of one toe, one, which is a square. So if you want to just build freely, move this shape. Then you have to go hit clear. Okay, now pop these down like this these time, like, uh, and we can just get whatever shape with long that looks pretty good. When you're done, you can it enter. Now we've cropped it. Let's do a little brush tool practice, Hit the B for the brush tool. Make sure your little color palette over here has the black on top and the white on the bottom. And if it's not, you can hit the D key to reset the default. Or you can click on this little guy here. You should have a brush and then remember to resize the brush the little square bracket keys next to your P key on the keyboard. You can push the left keys to make it smaller, and sometimes my computer is kind of slow, and it doesn't show up on the video right away. But at the right bracket to make it bigger, let's make a pretty big brush. And then let's also go up and take a look at our options menu that briefly mentioned that you also can adjust the A pass ITI, which is basically how transparent your brush is gonna be like how heavy it goes on. So if you have a capacity of 10% you'll barely see the brushstrokes, and if you have an opacity of 100% then it will completely cover over anything underneath it, and to adjust your capacity, you can just hit the numbers on your keyboard. So if you want 10% you hit one. You want 20% hit, too? If you want 90% yet nine. And if you want 100% you hit zero. So practice those keyboard shortcuts and then we're gonna set it at 30%. So we'll hit a three and then we can go over here and make sure that the hardness is all the way down. So have a nice soft brush stroke, and we're just gonna create a little vignette around the outside. So I'm gonna left, click and just go gently brushing not on the red, around the edges without letting go of the mouse. And then, if I wanted it small, do what? More pass. Staying right toward the corners. And then maybe even one more all the way on the outside just to create a little, well, vignette like that. Okay, so that's the beaky in the bracket keys To make it bigger and smaller, we looked at the crop, which just see the move tool is a little less intuitive. It's a V so heavy on your keyboard and now we're in the move to us. We could grab this and move it around if you move it and say you move it over here and you don't like what you just did or you dio accident. Remember, you've got control Z undo or command Z on a Mac. And if you need a reminder, you could go to the edit tab and you can look right here. You've got control Z toe, undo or redo your move. I just undid it. So now it's gonna say redo to basically move it back to where I didn't want it. And then you have these options to, and this is probably the most important one. Stepping backwards. It's the same as undue. But now you have to use the step backwards if you want to go back multiple steps. So for step backward, Ault control Z or on a Mac option, Command Z and again, your your version might be different. You just have to play with it to get used, because some versions will just use Control Z and controls the multiple times and it'll keep going backward. But on most versions you have to sit hit control cult Z and I could look, I can go back several steps. See, I'm gonna undo all of them. Been getting that I did and the crop. And if I wanted to go forward, I could hit shift control Z. So control all easy to go backwards control shift, see, to go forward and on a Mac, that would be command shift Z. So you have control shift Z, and that's gonna bring back the things I just undid. And you could go until it doesn't do anything anymore. And now I'm back to my vignette ID Rose and then real quick, we'll do a little zoom practice so it z key to get zoom and you can click with your left mouse or hit all to put the minus sign in there and click to zoom out. If we want to go to 100% weaken, go control one. Get you all the way in there. If you want to move around in your image, you press the space bar to create the hanky and then you can click and drag to wherever you want. You can also click while still holding the space where you can click and drag and count. Throw it just and it'll slide. So if you want slide all the way across, it's kind of weird, actually. But it's okay. It works. So we got that. And then if you want to go to full screen, you go control. Zero fills your screen and the final one. If you have a scroll wheel on your mouse, you can hit Ault and you can scroll up or scroll down to zoom like that. If you don't no big deal, you can just use the regular Sam Ki and that's it. That's our keyboard shortcut Practice for the day. If you weren't following along, I recommend that you just rewind the video and go into Photoshopped Now that you've kind of watched what I did and just listen to my voice as what we go through the different keyboard shortcuts and practice on your own. I can't emphasize how much difference this will make for you, and if at any point it feels overwhelming or frustrating or even if it doesn't, I recommend standing up going and looking out the window, getting a drink. Maybe by this point you need a stiff drink, but get some different perspective. Go pet the cat whatever you have to do to kind of refocus your energies and then come back and practice these things. You're doing great. So far, you've learned a ton already and we still have a ton more to learn. And it's gonna start getting more and more interesting, more and more challenging. But we're gonna be able to accomplish Mawr and Mawr with Photoshopped as we go. The next lecture is really excited. Can't wait to see in there. See you there. 7. Using the TEXT Tool: okay. And this lecture, we're gonna learn how to use the text tool. And this is a very involved tool. There are a 1,000,000 things you can do with it. And for somebody who wants to be a graphic designer where you're doing business cards, advertisements, posters, etcetera, you're going to use the textual a ton. So I would be remiss if I did not show you at least a solid introduction of how to use it. So, first of all, I'm going to get rid of this text that I have here. I'm just gonna hide this layer so we just have our basic background layer. It will start adding some text from scratch. The text tool is located right over here. It's the tea, and fortunately, the shortcut is t. So when we're out in the middle of our image panel, we can just press the T key and you'll see a different little cursor comes up. And to add text to an image you just left click on the image somewhere. This Laura MIPs, um, placeholder text is new. It used to just give you a cursor. So if you're in an older version of photo shop If I remember right, you'll just have a cursor, which was actually better, in my opinion. But that's okay with this is here, and it's highlighted. You could just start to type. I'll just type in how to use the text tool. Okay, And before we get too far, let's talk about a few things that are happening. You'll first notice that it started typing in blue. The reason that it did that is because I have the color blue selected up here. Remember how this is the options bar? Whatever tool your selected over here is going to give you its own option bar appear. The text tool is no different. One of the most important features is the color. So when you click on this, it brings up a color picker and you can select various colors. Let's just say we want to go to Red. It'll show you the current color, which is blue, and it will show you the new color that you've selected, going to get a better read. Not that marine. There we go. That's a little better if I click OK, it's going to change the color that I'm using. You'll notice when I click. OK, it didn't change the text. The reason is because I've already typed that text in blue And now my cursor is over here. But if I continue typing stone in some letters here that is going to make those letters the color that I've selected okay was gonna hit the back space key to go back. Now, if I want this to be all red, that I'm going to have to select that. So first you make sure you have your text tool selected. That's one thing that you'll notice gets confusing. Because if I go to the move tool, I'm doing something else. And then I want to go in and edit this text. It's very important that you re select the text tool or press the tiki so that you have the cursor, and then I can highlight all of this or select all of this text. You could do it by clicking and dragging. You can do it by double clicking for one word, triple clicking for everything, or you can click into here and right click and say, Select all to select all of your text and then you go back into the color picker. Select the color that you want, and this is even previewing it for me. So as I move around here, I can see how it looks on my screen, kind of like that dark color. So let's just go with that. We go ahead and click, OK, and now it's changed it, but it has this weird purple around it and blue text. The reason for that is because when it's highlighted, it shows you basically like the inverse of the colors before anything will be finalized. You have to go here and accept the changes with this little check mark. It's sort of like when you use the transform controls to stretch or shrink an image, you have to go confirm your changes. See click here to confirm it, and now that text is officially red. Okay, it's worth noting that when I created this text layer by clicking with the text tool, it created its own new text layer, and it names according to what you type. You can, of course, change this but double clicking here to make it more relevant, but that's usually pretty helpful. And then, if I'm selected on something else like the background and I want to get back to my text. Then I just click on the text. And if you want to put your cursor right in there than double click on it and it will highlight the entire text and then you're right in there and ready to work, Keep in mind. If you want to add text to the end, you have to click your cursor at the end. If I had enter, it will take me to a new line. And let's just put in a couple of filler things here. So I have a couple of rows of text so I can show you some examples. Okay, we've done our typing. I'm gonna, of course, except the changes. Click check. If you don't want to do that, you can click on the Don't accept changes, and it will revert back to what you had before. But we do want to keep it. So we cook the check mark. Now we have some rows of tax here, and we can change the way it's justified right now. It's left justified. Weaken. Center it. So now all the Texas lined up down the middle or we can write, justify it. So it's all lined up down the right. Now this is pushing my text around, which is OK. I'm just showing you the example but centered, left justified, we could go with centered, and then we could actually move this back into the center by hitting V or the move too long moved to all right there. And then we can grab or text and pull it into the center. If you watch the little pink guides as I moved toward the center, it will snap to that pig guide. See it in the center, and it'll kind of hold it to that center line. Great way to center your text, and we release the mouse to let it stay. One thing that trips a lot of people up is if we go back to our text tool heading the tiki and I go over here. Or sometimes you might be even close to this and you click the text tool. My intention was to click into this and edit it more, but I accidentally created a new text box because remember, that's how we originally created this text was by just clicking with the textile and you'll notice it's also created a new layer. If that was a mistake and you didn't want to do that, you can either just grab this layer and delete it, dragon, bleed it, or you can just hit the reject button up here, and that will go away. In order to get back into this text, you have to make sure you're right on the text and click into. If you're too far outside of the range, it will create its own new text box, so make sure you're hovering right over the text to click into it, and then you're ready to edit your text again. If we wanted to make this a headline and make it bigger, we can highlight that by clicking and dragging. And then we can go to our option menu again and you'll see some more options. The most obvious one is the size of the text here. This is the little text size icon, and you can use this drop down to change it to a bigger size. You can also change the font type and you have tons of options here. And the nice thing is on newer versions with Sisi as you hover over them, it automatically shows you a preview, and you can just cruise through those. So let's go with something small, so I don't extend past my background. Let's just get with this and then oftentimes will have options. Here you can go with regular condensed metallic, bold etcetera. So we'll call this one bold. No, except that made it too big. So now we need to probably reduce our font size just a little bit. Let's say you want a font size between 36 48. You could either just click here and type of him. Like, say, I want 44. You have to enter to make it actually go into effect. It doesn't do a regular preview, or you can hover your cursor over this textile and click on it and then drag and go in one point increments, which is kind of nice. And then again, when you're ready to confirm those changes, click on the confirm button. Before I do that, though, I'm gonna go ahead and go down here and delete all these just by hitting the delete key, and then I'm gonna show you how to distort the text a little bit, which is kind of fun. You go into here and just click on that and it has. A warped text box was moved that into a convenience spot, and the first thing you'll see is your style. So you click the drop down and you have all these different shapes that you can distort your text into probably the simplest and most straightforward. It's just an ark notice. It just immediately blew it off the screen into a big ark. That's OK. We'll fix that a little bit. You could change the percentage by which it's being bent and notice how I still stays in the textile shape. It doesn't go toe a pointer. That's fine. You just can still use it. You click and then it becomes a pointer, and then you just distort it or undistorted to reduce the band. Something like that. And then you can change the horizontal and vertical distortions while I'll just show you what this looks like. So it stretches it on one end or the other end. Put that back to zero. You can also just go here and type zero, and then the vertical disorder distortion looks like this so it stretches the bottom or it compresses the top. As you go this way it stretches the top. OK, so we'll leave. This one is here as well and just use the the banding to distort it. You can also do a negative band. So it's swoops like that. We'll go back to just a little bit of a narc and one thing to notice. If you want a bigger arch and you're gonna go like this and for now it's off the screen, right? That's OK. You can just select okay? And then you go back in here three clicks to get selected, and then you can reduce the size of your fault a little bit to make it fit and then confirm your selection or your changes. And then you go back to your move tool by hitting the wiki. And you can just, of course, make sure you're still selected on the text, and then you could just grab it and drag it. Or you can use the arrow keys pushing down with the arrows are up with the arrows. If you hold the shift key, it'll jump. I think it jumps 10 pixels at a time so you could do a little quicker. Or you can hold the key down and it will jump a whole bunch, so they're good ways to move it a little bit more precisely. And then one more group of tools that you can use to edit your text is the character panel over here, and I'm going to just left Click and drag that out here and plop it right here. So it's a little easier to see, and this gives you the same color picker you conflict colors and a whole bunch of other tools, and I'll quickly go through these and then you can play with, um, you can again select your thought. Whether you want bold or regular etcetera. This is your font size again. You can adjust the size of your front like that. This is Kern ing, which is the space you get between two characters. So if I go to my text tool and if I see two characters that air spaced weird like let's see , I wanted a little more space from the X and the tea. Then you can click and drag on the current ing, and if you watch closely notice as I dragged to the left. The space gets shorter as a director, the right space gets bigger, and this is something you don't want to mess with a lot. But sometimes they're instances where you get a really weird spacing like one letter is spaced bigger than another, and it just looks wrong when you're doing graphic design. So by selecting between two characters, you can adjust the turning note that if I'm selected on the entire thing, the turning does not work, okay, because it's looking at individual spacing between two characters. Okay, this is the vertical scale. So if I'm selected on just one letter and I changed this, it's going to make that letter taller and a better example. Let's control Z and let's say I just want to do the first letter really big. So I select highlight that letter and then I click here and I'm going to increase the percentage. So if we go to 150% approximately and release, you can see that now we have a really tall letter at the beginning. You could do that with the letter at the end and kind of make like and kind of book, and your headline will do it. Let's highlight that one real quick and you can also go in a type in percentages. So 150% click outside of it or I mean hit, enter. And it made that one bigger to not necessarily something I would use in this case, but you can see how to use it. Baseline shift. I won't go over. Leading is actually very useful. And I'll just give you a quick example if we g o and make two lines out of this but hitting the enter key, get this out of the way. Letting is the space between the two lines. So if we want to change the leading between the space between these two lines and I go to the left, it's gonna shrink up the space between the two lines. I go to the right, it's gonna increase the space between the two lines, and this could be again really important when you're doing, um, graphic design, because if we leave this at the default, I'm gonna have control Z and just click so you could see it. The spacings. Not bad, but if we wanted that to be tighter. Then we can just drag it up a little bit and tighten it up, and I could be really helpful. One other thing. You want to be careful of us when you're doing stuff like this and it's centered. If you have extra spaces like here, you want to make sure you clean those up. Otherwise you get uneven, centering, and then this one is the tracking. So let's get another selection here, and we can change the tracking and tracking work similar to Kern Ing, except that it's for multiple characters or a whole string of characters rather than just the space between two. And then finally, we can adjust the horizontal scale. So if we're gonna just like the vertical scale, which is this one or exceeding, which is this one, this is the horizontal scale. So if we reduce it, we're gonna make a skinnier letter. And if we increase it, we're gonna fatter letter again. Not something you're going to use very often unless you have a really good reason for it because you don't want toe compromised the integrity of the original font. But that's the tool. If you need to use it. So those are a bunch of tools for modifying your text. Of course, Always remember, after you do your edits, you have to click confirm to accept your changes. And also remember that if you were selected somewhere else, let's get rid of this and you want to go in and edit your text. The quickest, easiest way is to double click on that text layer right on the icon, and then you can just click in wherever you want at it. So what I recommend is go find an image that you want to add some text to and play around with it and please share your image in the Q and A. I would love to see what you come up with if you want to create a MIM Funny joke late over an image to practice for Facebook or whatever, that would be awesome. You make my day by entertaining me a little bit while you practice, and I'll look forward to seeing you in the next lecture. We've got some more really exciting stuff coming up, so I can't wait to see in there 8. The GRADIENT Tool: Hi. And welcome back in this lecture, we're gonna learn about the Grady int tool. And this is not a tool that you'll use a town by itself. But it's amazing for using with other things backgrounds for lettering, adding light and color transitions to images and things like that. Okay, so I'm gonna show you how the tool works on a couple of ways that you can use it. Let's start out by making a copy of our background. So we're not working directly on our background. You know, left, click this drag to new layer, make a copy, then we're working non destructively, and the first thing I'm gonna do is just make this black so that I can show you the basics of what ingredient tool does. And by the way, this is a great trick to know if you want to make a whole image or surface one color, this is an easy way to do it. You hit the be key for the brush. You got your brush here and your selected on black. If you're not, you can click here to reset it or if they're switched, you can flip it like that and remember, you can also do that with the X key. Just make sure that's black and you've got your brush tool. And another aside is that you notice that my brush is very small and it's just ah, cross hairs. Normally, I can use the left bracket key to make it smaller or the right bracket key to make it bigger. But you see, when I do that, it's not changing. That's because I have the caps lock key pressed on my keyboard. So if I press to turn off the caps lock thing you see it comes back and it shows the circle . Now, when I adjust the size using the square brackets on my keyboard, it actually responds. The reason you can press the caps lock toe have this little target is if you need to see exactly where the center of your brushes like I needed to paint right on this cow or sheep out here, Then I could see it. But generally speaking, you want to be able to see the size of your brush so you want a big brush and a soft brush , so we're gonna turn the hardest all the way down and we'll just start painting and make sure you're opacity is on 100. If it's set on something like 50 then you press the zero key to reset it to 100. Of course, make sure flow is, ah, 100 as well. And that's by doing this shift key and then pressing zero and then we can brush, and I'm just going to cover right over this. This is a copy of our image, so it doesn't matter. We're not losing anything. Make sure you get all the corners and everything, and presto, you have a black background. Now let's look at how to use the radiant tool on the Grady. It tool is right over here and conveniently. The shortcut for it is G. So you just click here. Or if you're in another tool, you hit the G key, and you'll then be highlighted on the Grady it tool. And you'll have a new list of options up here and similar to the brush. You haven't opacity. So to get started. Let's set this on zero, and by zero I mean press zero key on your keyboard so that it goes to 100% and we'll look at what the great tool does. Basically, what it does is it creates a transition from one color to another color. So in my color swatches, I'm set on the standard default colors, black and white. And if you look up here in this little ribbon here, you can see it fades from black to white, and that's the result that I'm going to get. So I'm just going to show you what it does. And then we'll talk more about some options to do different things if I So I have this little cross hairs here. If I click in the center and drag in any direction, I'm going to get this little line, and this line is telling you that you're starting your Grady it in the center and you're moving in the direction of the line. So if I start in the center, I go all the way to the edge right here and release. I've created a black to white Grady int or transition, and the transition starts right where I started and it ends where I ended. So you'll notice that I have quite a bit of black in this Grady in Let's say that I wanted Mawr of the white. Then I'm going to start further down the page or down the image, I should say, and I'm gonna do the same thing. We have Click and drag up to the middle and release. So you see, now the Grady in the transition starts where I started down here, and it becomes pure white where I ended. So I got a lot more white and you can play with this a lot. You can start off the image and dragged into the image for a very subtle shift. Or you could go all the way across the image for more gradual transition where I can even zoom out a bit and go even further for extra gradual. Okay, very subtle. Okay, so that's the very basics of how to use the Grady in tool. Let's get into a couple of more details and then I'll just let you play with it. The first thing we'll talk about real quick is opacity. So if I dial down the opacity to very low, let's just say 30% and I do the same thing we did originally. Actually, let's do this 100%. I'll show you what? It looks like we're going from the center to the edge, right? That creates a pretty dark transition. I'm going to do something a little different here. I'm gonna create another layer so we can do this on a fresh new layer. And I'm gonna hide the lay we're working with. So we haven't image here that we're working on top of Okay, if I do 100% opacity with a black toe white Grady int and I start in the center this is like the very 1st 1 I showed you and I go up to the edge of the image and release. It's gonna cover it over. Very intense. Lots of black. OK, now I'm going to control Z to undo that. So we get original image back and I'm gonna dial down the A pass iti. And remember, we can click and drag here, or we can just hit numbers. I'm gonna hit the three to get 30% and I'm going to start in the middle again and we got a drug to the edge and release. Now you notice there's a little haze over this image, right? I'm not working with this layer up here. I'm working right over the image, which is destructive editing. But I'm just showing you for an example we could We could easily also do this on a new layer. In fact, you know, let's do that. Let's let's do good practices. We'll get rid of this example. Delete. I just clicked on the new layer, created new blank layer on top of this layer. Now let's do that same Grady in with 30%. If I do it at 100% it's gonna look like this is gonna be totally covered. But if I do it at 30% from the center to the edge, it's gonna create that grading on a new blank layer. But it's going to cover this with a haze. Okay, now let's go Control Z to get rid of that, and we'll do it a little bit higher. Let's go 70% or again, you hit the seven key for 70 click in the center and drag. We get a darker Hey, so it's like 70% opacity. Okay, so you can start to see where if I'm playing with this and let's say I start down here and go up to always. Sorry, I have toe go controls. He have to undo what I've done. That's a start off of the image and go into the image. I'm going to get a lot more white in the great int. Now, I've got a much different feel in the image, okay? And again, I'm gonna control Z and let's dial it back down to 30. We could do that. Same thing. I just had the three key to do the capacity of 30 and go ahead and do that a settler effect . But it kind of lightens up the sky and leaves kind of the weight at the bottom. Or we could do it like this and start way up here. We'll just do the darkness and a little bit of light. Really subtle. Josie, go way down to the bottom just for a tiny bit of radiant like that. So that's the basics of using the radiant tool. Let me get rid of this layer, and we're going to go back to this just blank play ingredient layer and will select on that . So let me show you some other things that you could do with radiance. One of them is that you can use different colors so we can go into our color picker. And I'm just gonna pick totally random colors red and blue. Okay, now I'm gonna do the same Grady int, but with different colors. So I click here, dragged to the edge and now we have a red to blue radiant. If I start down here and drag up this way, it's red to blue. Oh, you know what I did? I haven't said on 30% capacity. So some of the white is showing through. So that's a good thing to remember. Make sure you click it to full opacity. Had zero. In fact, you could if you watch up here. If I hit the one key for 10% you can barely see it. If I hit the five key for 50% it's at 50% capacity. If I hit the eight key and change the opacity toe 80% you see it's getting a little darker . And finally, if I have the zero key, it's fully opaque. So now if I go back and do my Grady and it will look like what I expected. There we go read transitioning to blue. And again, if I start wait out here, the transition from red blue will start off the screen and it will become fully blue right here so I can adjust that Grady in, however, I like. Okay, one really important trick that you will walk to know is that if you click here in the center and your lines off, you don't get it straight up, you come over to the side here, it's going to give you a diagonal line, which sometimes is what you want, but a lot of times isn't what you want. Okay, So the secret, the shortcut key to fixing that is, as you click and drag notice that I'm I could move this, I decide. But if you hit the shift key as soon as you hit that shift key, it's going to constrain your angles to 45 or 90 degree angles. Okay? So even though I'm moving to side to side, it's holding it straight, and that's the way to get a very straight even. Grady and then you release You've got a nice straight grading. Okay, So if I want to make a huge, subtle Grady in like click down here. Hold the shift Key. Go all the way up across the image. You've got a nice, subtle radiant from red to blue which leaves you with purple. So that's called a linear grading. It just goes in one direction. But you have other options. For greetings to you have a circular grated or sorry, it's a radial, Grady int. This one goes like this and again I'm gonna hold the shift key Now that you know to do it, you wanna almost do that all the time. So this creates a radial radiant coming from the center out again. We're transitioning from red to blue, but this time it's going out in every direction And if I go in the center again and pull further out, we'll get a much more gradual thing. But you can imagine if you had a business card or something and gets a text over this. Even this simple ingredient is a pretty solid result, much better than just your boring flat color. Right? So that's your radio. This one's called a angled, radiant click. Hold the shift key. Go out here and it starts with a sharp line at red, and it rotates around in a circle until it hits the blue. Okay, so you could do this like this to create, agreed it all the way around. Or you can actually split entire image by starting this down here, and you actually won't see much of the fade. But if I go all the way across damage like this, it'll essentially split into do colors, and we'll kind of have this fade out at the bottom. It's an effect that you just kind of need to play with to see what you want, todo But I can go from here and go sideways. I could go way out if I want really gradual. And then your transition starts here. Lots of options there. The next one's reflected Grady it so basically it the great invisible directions. So if I click and hold shift and go to here, I start with my right in the middle and I transitioned out to the blue in both directions. And if I go really far with this much more subtle if I go really short with it whole different effect, because the transition is starting sooner. Okay? And then finally we have a diamond. Grady int. This one's kind of funky, but you just do it and it goes in a diamond shape, so it's kind of almost like a light burst. I'm going to go out this way. You can really bring it out and fill the screen. You could probably if we get even, zoom out and go really far for a more subtle effect. Good. So that's an intro to Grady INTs. When you're done with this lecture, go in, click the G key, get in the ingredient tool and start shooting out some Grady INTs. Change your colors. You can press the D key to set your defaults. You can click here to set your colors, and then you could just start clicking and dragging. I recommend getting used to use in the shift key so that you're being consistent but just creates, um, Grady INTs and see what you can come up with. Play with it. Change your styles. Change your capacity. If you want to put something in the Q and A. Delete this credit new layer and do a Grady in right over. The image helps control the change your A pass ity toe like something really subtle 20% and do a subtle Grady int right over your image and see if you can create some kind of cool effect like let's do read. It's to really intense red. We'll delete this again and create a new layer that will do 20% red Grady in over the top of this bad boy. You just gonna see what it does with a couple. We start to get some purples and stuff. Oh, I forgot. Have set on the diamond he controls either. Go back to I like I mostly used the linear ingredient, by the way, Go right over and you can. You can even do it a couple times or trying different strengths of it and just play with it , creates something funky and then put it in the Q and A so we can all take a look at it. Thanks for learning with me. Go practice your radiant tool and I'll see you in the next lecture. 9. Introduction to Part 3 of The Complete Photshop Mastery Course: hi and welcome to Part three of the Complete Photoshopped mastery course on skill share. In this course, we're gonna learn all about layers and layers is such a awesome and expansive subject. But it's so important to doing nondestructive editing, and it's so valuable and useful to making working and editing and photo shop so much easier . And I'll just give you a tiny little preview, and then we'll jump in in the next video and get right into learning about all kinds of things. And we'll talk about adjustment layers and how to hide layers and all those things. But a quick examples. If you look over here in our layers panel here and actually bring the layers panel right in here so you can see it. This panel shows all the different layers that I have in this image right here. And so just to give you a quick example of what these layers could do is if I click on this little eyeball here. There was actually a layer of this bird image hiding on top of the text layer, and if I click the eyeball again, then that just goes away and it goes right back to my text layer. So that's just a example of what layers conduce, and I'll show you how and why. That's important so you can use them to make black and whites. You can change your colors. You can change your brightness and do all kinds of awesome things with layers. Thanks for watching, and I'll see in the next lecture. 10. Intro to Layers: OK, in this video we're gonna talk about layers and layers is a subject that you could spend a lot of time wrapping your head around, but we're just going to do a basic introduction to it so that you can start using them in your photo shop. Editing. The best way for me to explain layers to you is to compare them to sheets of transparent plastic. So in this image here, imagine that we have three sheets of plastic sitting here and two of them have some type on them that says layers. Now, if I grab the top layer and I pull it away from our pile, you're gonna notice that it is a sheet of transparent grey with white lettering on it. And underneath it there's another sheet of transparent gray with red lettering that you probably didn't notice before. That's because the top layer was laying on top of the bottom layer. Now we can even go one step further, pulling this way out of the way, and I congrats this layer with the red texts, and I can pull it up out of the way and you'll notice that there's one more layer down underneath it without any texts at all. And that's the basics of what layers does in photo shop. So layers can be a simple. It's just having two sheets like this one that lays over the other and has an effect on it or covers up part of it. Or it could be as complicated as having 10 layers with all kinds of different adjustments and effects to create a very complex photo shop image. And to better understand what's happening with these layers, I'm gonna go ahead and open up our layers panel here, which I have minimised at the moment. And again, if your workspace doesn't look like mine that you want to go up to here and make sure your clicked on essentials and if you are clicked on essentials, then go ahead and click. Reset essentials and that's gonna pop open are essentials workspace, And then we can go ahead and minimize some of these that we're not going to use, like the color panel and the learned panel. And that's just gonna leave our layers panel open, and now we can start to understand what's going on in here. So if you look over here actually let me move these again so you can see what's going on If you look over here, we have four layers here and you can see each one is labeled. So we have a white text layer, which is this one read text layer, which is that one? We have a blank layer, which is just this blank sheet and then we have a black background, which is the background. So this image is made up of four layers and you can also see that they're stacked on top of each other. So the white text layer is above the red text layer. And therefore, when I slide this down onto that, it lands on top, so the white obscures the red. But these could be rearranged. However you want depending on what you want to show up on top. So if I want our red text to show up, I can actually grab that by left clicking on it. See, I have a hold of it now, and I'm gonna move it up above the white text layer and you see, the little blue bar shows me where it's gonna nest, and then I release. And now the red text layer is on the top, and so now it's covering up the light text, and if I move this, you'll see Now it's on top, and even if I come down below it, it's still going to cover it up. And the hierarchy is one of the most important aspects of using layers because of the fact that you can cover things over, hide things and change things using layers. Another really cool aspect of layers is that you can hide them now. You'll see these little eyeballs over here. This is the show or hide icon, and if I want to hide the red text, layer the entire layer here, let me move it up here again. So it's easier to visualize. Then I just click on this little eyeball and it disappears. If I click it again, it will come back and I'll click it again to make it disappear. And same thing with white text layer. If I want to hide this white text layer, I just click the eyeball and I hide it, and so on and so forth. I can hide all the layers I want, and in fact I could even hide my background layer if I want by clicking here, and that leaves me with no layers at all. And the reason you'll see these gray and white checkerboards is that is showing us that this is transparent. So there's just really nothing on the canvass at this point. So, for instance, supposed to bring back the red text layer, you'll notice that the text comes back. There is still that sheet there, but it's very light grey, so you can't really see it on a transparent background. But if I plop in my block background now, you can see that sheet again. Okay, so all of these layers, you can turn on and off. You can move them independently of each other. And speaking of moving them, let me show you one setting that you can do toe help you to select the right thing. If you go appear to the options are and you need to make sure you're on the move tool. If you're on like the rectangular marquis, then it's not going to show the right options. So you click on the move tool, and there's this little thing that says Auto Select. And right now I have that checked. What that means is, whatever I hover over, it's going to try and select the thing that I'm hovering over. So if I hover over this one, I could grab for hover over this one. I'll grab it and you'll notice the selection changes when I click on it. So if I click on the black player down here, click, it's now selected. If I click on the background, it's now selected. Okay, now that's one of the easier ways to do selections. But you can also turn off out of selection, or sometimes maybe off by default. And if you're going and trying to click on things, for instance, now I'm trying to click on the red layer and, well, let's first select the blank layer. Okay, so it makes more sense now. If I go and try and click on the red layer, notice it's still selected on the blank layer because it's not on auto select. It's just going to select whatever is selected over here in your layers panel. So if I try and grab this red one and move it, see it's still connected to the blank layer. So the moral of the story is, if you have auto Select turned off that you're gonna need to manually select the layer that you want to move over here. Worse, I could do the white layer. But if I do, if I have the white later selected and I try to grab the background, it's still going to grab that white layer. Because remember, this is like a sheet of plastic clear plastic that goes over the entire canvas. Okay, so that's kind of the overview of layers. Now let's just do one more quick thing. I just want to click out a regular image so you can see what the layers are gonna look like on just a regular image that you might open. So this is just a J Peg picture of a road. And if you go and look in the layers panel over here, you notice that there's just one layer and has a little icon showing our image, and it's just called background, and it will always call any just single image background by the fault. And then you'll notice, too, that it's locked over here. And when it's locked, there are certain things that you can't do to it. So, for instance, I cannot click on this icon to make it hide because it's locked. And generally speaking, you want to leave your background layer locked and add new layers by going down here and cooking here and then doing your edits on the new layers. And that way you preserve your background. It's called nondestructive editing. But if you wanted to do some edits or hide this background layer for some reason, which generally I don't recommend, you can unlock it just by clicking there and then it's going to rename it Toe Layer Zero, and it's going to give you more access to it. You can hide it if you wanted to, and so forth. Okay? And if I control all Z just going to go back to where it was the beginning again. This is what it's gonna look like when you open an image. Okay, so in this video we've learned all about layers, and in the beginning of the video, we learned how to select different layers to move them, how you can adjust the auto select to help you grab the layer that you want. We talked about the hierarchy of these levels and how you can overlap these. But if you move these around over here and put the white layer on top of the red layer, then it will cover it up. And we talked about hiding and showing layers, and there's a lot more to learn about layers, but that will give you a good basic understanding. 11. What Can Layers Do? Working Non-Destructively: Hi and welcome back. Now, let's look at a much more practical approach to layers, and we'll just talk about how you use them in the real world and why they're so important. So remember when we took that cappuccino mug and we dropped it onto here? Let me just expand this a little bit. Scroll in, using cult in the scroll, and I'm going to go grab the cappuccino and drop it in there again. There it is. I've already selected it using the quick selection tool. And I'm on the move tool. Now, which remembers V on your keyboard gonna left Click it, drag it up to this, bring it back down and release the mouse that I'm going to go control t to transform. It gets thes transform controls. And if I hit, shift and click and drag to commit, Get smaller again on your version. You may have to shift, or you may have to just click and drag slide it down like that. And then remember, we had entered toe. Lock it in and remember. Then we went to our background layer and we got a brush and we painted under here. Okay, well, this is where layers become important because what we didn't do was work non destructively . We painted right onto our background and essentially then damaged our original image. And if we were to have saved that, then we would lose our original image. That's called working destructively. We want to work non destructively. So instead of painting right onto our background, we want to make another layer that we can work on and basically destroy or mar if you will , and leave this one preserved and leave it locked. Okay, so the way we do that is really simple. Will just left click on this Packard, drag it down to this little icon Right now, it looks like a piece of paper with a folded edge. And once you're hovering over it, it will turn to a hand and we release. And here, let me close this out so you can see better. Now it says background copy. Right here. Okay, so now we can leave this one alone and we can do our edits to this. And if we ever decide, we hate this whole scenario, which let's be honest, it's a little bit surreal. Then we could just hide these layers Save this as is, or do other edits to it. Or delete thes by grabbing them and dropping them in the trash can like that. And we're back to our normal later. Okay, so now that I've deleted, let me bring it back. Over time, you can make a copy of the background. There it is. We've got our cappuccino mug, and now we're gonna do our brushing on the copy of the background. So again, I hit B. I got my little brush. Just do a little brush in a little more not go too crazy. And you can even see it if you look closely on this little thumbnail that I have the shadow painted onto this background. In fact, if I hide the mug, there it is. If I hide this background that I've essentially damaged, there's our original. Still there. Okay. The way we had to do things in the old days, we was we had to save a separate copy of whatever we're doing edits on so that we could preserve the original so I would have my original barn at it. Stop, J Peg And then I would open this one. Bring in my cappuccino mug put in my shadow, and then I would do a save as which, if you remember, is control cult s if I can find it on my keyboard, and then I would rename this to, you know, barn with field and cappuccino, mark or whatever. So that way I didn't mess up my original. And sometimes you may still want to do that if you're feeling extra paranoid. But now we have layers, and so now you can have this layer preserved and locked and working on new layers, and you'll always still have the same old original right there in your file. It's just a lot easier. That's not the only benefit of layers. As you can see with layers were able to take this cappuccino mug and lay it on top. Lay some shadows underneath it, and that's just the tip of the iceberg for what you're able to do with layers and just to give you a quick example. If I wanted to make a completely white background and just have this cappuccino mug sitting on its own, I could create what's called an adjustment layer, and we'll go into more detail in these later. This is just a introduction, and by the way, for this video you don't have to follow along. You can just enjoy yourself, sit back, have a cappuccino and watch. So this is where we do a new layer, right? If you want to do an adjustment layer, you go to this icon here, and actually it's best if you click off of your layers. Go to this icon here and click it and you'll see all of these options and we'll go into the most important ones of these, like brightness and contrast and curves, which is also how you adjust brightness and contrast in color. We're going to hue and saturation. So in other words, if I want to make this a warmer color or ah, cooler color, more read more blue. You can adjust that in here, but what we're looking for to make a solid background is a solid color at here. So we click on this. It brings a store color picker, and now you can pick whatever background color you want and you can go up this range here, which is the rainbow, basically, has all of your reds, blues, greens, yellows, oranges and back to red purples in there. And you can click these to pick your general color family and then on here it goes from bright at the top two dark at the bottom and no color at the left you can see all these air gray two very rich, saturated color on the right. You see these air Very yellow. So if I want a dark rich yellow I'm gonna click over here If I want a dark really washed out grayish yellow I'm gonna click over here and you can see after can actually go this way to even get any color If I want a very light, bright yellow go appear And if I want a very light Oh, I'm sorry if I want a light but muted yellow I'm gonna go up here And if I want a light but very bright color of yellow Then I'll go over here and buy bright I mean intense color. Okay, we'll talk about this more to, but let's see. So I wanted to do a white background so I can either go up to this very top left corner and carefully select white. From there you have to get right in the corner to get to be exactly white or even easier is I can go down to this hashtag code and these air Web color codes. And I could just highlight this and type in f f f f f f. And that gives me pure white. Then I click OK, and you can see I've created this new layer. That's all. Wait. Problem is, it's on top of my cappuccino layer. If you recall, we could reorder these layers, right? So I'm gonna grab this layer. Don't want to click on these because this is where your adjustments were made. You want to click over here right on the layer. You also can't click on the text because it'll try to rename itself if you click. If you double click, do you want to click over here? Click grab drag gently until you're blue line pops below the cappuccino layer release, and now our cappuccino is on a white background. You also notice if I zoom in, hit the letter Z and I can zoom in. You'll also notice that we're seeing a lot more imperfections in our cropping, so that's something we would want to clean up on a white background. Now, if you want to go do our shadow, probably zoom back out just a tiny bit cult and click and press the space bar and move it to center just to make it easier to work with. We're going to click on this layer, go to the brush tool, which is B. I actually need to be in here, and they will just brush a little here maybe once more, and we've got our shadow back. And by the way, the reason that the Shadow doesn't show up on the coffee mug is that we're painting on the layer beneath it. So this is sitting on top of that. If I toggle this off, you'll see the shadow actually goes up underneath the monk, and I'll show you this, too, if I turn off this. If we control Z and undo all that shadow and I go on to my coffee cup layer by clicking on it. If I go in with my brush tool, do you think that it's going to go underneath the rim of the cup or on top of the rim of the cup? Remember, I'm selected on this layer and this later sitting on top of everything else. So if I brush, watch what happens now. I'm brushing right on this layer. And another thing to keep in mind is this. Coffee cup layer is not just the coffee cup that we cut and cut out and dragged over here. It's this entire layer. The pixels behind it, as you can see from the little thumbnail, are just transparent. These little checkered gray and white checkers are just showing that these pixels or these parts of this image, are just transparent so you can see through them. But we still have this entire sheet of plastic, if you will, from our previous analogy, that's accepting the color right, so we'll go ahead and ault control. See at a Mackie Command Options E. And until that, and you would want to click on your fill layer, where you filled it with white and brush underneath, and I'm clicking the mouse and releasing. Remember, I have my opacity set to 30. If its not said 2 30 might want to reset it. I have the hardness set very soft, which means just basically have blurry edges. If I have it set up here. It's gonna make this really sharp edge, which looks kind of weird. And then we just click and drag, released the mouse and then click and drag some more to make that will shadow. And then if we decided we didn't want it on a white background anymore, and actually let's go control zero so we can see the whole image. Then we could either hide this like that and we'll be back onto our background copy. Or we could delete this whole thing, just click and drag it into the garbage. And now it's gone. Okay, so that's just a little bit more about layers and a little light introduction to adjustment layers. In the next several videos, we're going to get deeper into adjustment layers so that you can really start to take an image. Maybe that doesn't have good color, doesn't have good lighting and use adjustment layers, maybe even along with a selection like your quick select tool, and adjust the image to give it pop. Give it brightness, given contrast, whatever it needs to look great. Okay, so you're doing a great job and I am really proud of you and I am grateful to have you along for this ride, and I look forward to seeing you in the next lecture. 12. Intro to Using Adjustment Layers: OK, in this video, we're gonna be talking about adjustment layers. And as you recall in our previous video, we took a cappuccino mug and we pulled it from one image, and we laid it on top of another image using layers. But now we're gonna talk about adjustment layers and adjustment layers is a layer that you put over your image to change it in some way so it usually brightens. It darkens, it changes. The color changes the contrast, etcetera. But it's a way to work again, non destructively. So you're not destroying your original image. It also makes editing much easier because you can go back and delete layers or hide layers really easily without any problems. So let's dive right in, and we're gonna do some changes to this image here. And first, I'm just gonna minimize this learn panel. So are layers is right here. You see here, here's our layers panel, and right now we just have our background layer and it's locked, which is exactly how I want things to be. And you can see when you look at this picture it's a nice picture, but it's a little bit dark and a little bit flat. And what we want it to look like is this picture here. It's got a little contrast. And it's a little brighter, you know, is one thing you kind of lose is a little bit of this red sunset which you could actually bring back. But the important thing to remember in this image is that the focus isn't as much on the sunset as it is on the people and the bicycle sitting in front of the water. Okay, so we want to go more for something like this, and to make this easier for you to see, I'm going to actually stack these two images next to each other. And the way you do that, you're gonna window and a range. And you have all these options for how you want to arrange the images. And if you say to up vertical, it's going to actually place them side by side, okay? And then whichever image I select on is what you'll see over in the layers panel. So we're gonna try and make this image look like this image. So first we'll click on this. Ones were selected there, and now we're going to go create an adjustment layer and the way you create an adjustment layer their several ways. You can go to layer new adjustment layer, and this gives you all of the options here, and some of the more common ones that you will use would be brightness and contrast levels . Curves, hue and saturation, black and white. You might use photo filters and possibly radiant maps those air kind of the main ones, but they're all pretty cool, some of them you'll use all the time like curves and hue and saturation. But we're going to start out with a pretty simple one. We're going to do brightness and contrast so I can either click here. It's gonna bring up a dialog box. You can name it if you want. We'll just leave it on the default you click, OK, and now it creates a new layer. Kind of like her cappuccino mug created its own layer. And you see, that's Properties box pops up. And this is where you're actually gonna do the adjustments before we get into actually adjusting this photo. I want to show you a couple of other ways to create adjustment layer, so I'm gonna actually get rid of this. I'm gonna grab it left, click on it and drag it down and delete it, Okay? And I'll show you another way to create a layer. You can go down to the bottom here, and you see this little circle that's divided in half. This is where you get your adjustment layers. You just click there and it brings up that same menu in a little bit different order. But you basically can do the same thing. So if we want to do brightness and contrast, we just click on brightness and contrast and you see it does the same thing brings up a new layer and our properties box. If for some reason the properties box doesn't show up, re accident, close it out. I think that then you can just go up the window and go down to properties right there. That'll bring it back. But before we get into doing the adjustments here, let's talk about what you're seeing over in this new layer. This little icon here shows you that this is an adjustment layer just to make it easier. Because once you have 10 or 20 layers in here, then it's really important to be able to just look quickly and know that this is, ah, adjustment layer. And then you have this little link here, and this tells you that this adjustment is linked to this mask. This little box that's highlighted is a mask, and we'll get into masks later, so you don't need to worry about that right now. But masks basically just allow you to, like, select part of your image. So maybe just these people maybe would just want to brighten up the people and leave all this darker. You can select the people, and we'll also talk more about selections, and then you can do the adjustment just to them, which is amazing. And you could do some really incredible things in photo shop with that. But for this lecture, we're going to keep it simple. We're just gonna learn how to actually do the adjustments, and then we can get into masks later. Finally, if you want to rename this, you can double click here and you can rename it. And brightness and contrast is actually pretty decent name. But let's say we just wanted to change it to brightness, contrast and get rid of one you just enter and every land. Okay. Another thing to know about the layers is that this layer will affect this image on Lee if it's on top of it. If your background is unlocked and I take this and dragged underneath the background that it's not going to affect the back. But we'll leave it on top for now. And I'm gonna re lock that, okay? And then I'll select back on my layer. And now we get to go do the adjustments and we go into our properties panel because this is where the sliders are to do the adjustments. And so we're trying to get this image to look bright and contrast. You like this image, and I've put him side by side, so it's easier for you to compare. And so all you do is you go and you grab these sliders and you start to move them and you'll see. I'll do it kind of extreme if I go this way, gets really dark. I go this week. It's really bright, and you can sort of see when you get to the extremes that it doesn't really look great. But if I brighten it up just a little bit. And then same with contrast. Brightness is how lighter darken. His contrast is the difference between the darks and the lights. So if we go way down on the contrast, it's hard to see on this one because it doesn't show much. But you see how the darks down here at the bottom will get lighter and it kind of flattens the image. But if I go this way, then the darks get darker and the lights get a little bit lighter in comparison, and it just gets a little more poppy. Now, this is good to a certain extent, but if you go too far, then you just get like this really stark image and it doesn't have the subtleties. So you have to be subtle, so we'll go to like, we'll try 25 then we're gonna lighten it up again because that darkened it. We're just basically trying to match this image over here. Bring that contrast down a little bit and let me move this out of the way. So it's easy to see okay, so that's not exact. But it's pretty close and could see so just by simply sliding these two sliders. We've really taken kind of a flat, dark image, and we've made it. Just have some pop and really get some focus on the subject. Okay, if you want to see what it looked like before, there's a little eyeball here and we've seen this before where we could just hide this. So we just click that we hide it. If you want to go back to your original image and reset this adjustment, you just click here and it will reset it to zero. You could also, if you didn't want to do that, you could control or command See that will bring it back one step. If it's the last thing you did, you can also double click on the names here and reset just that 1 to 0. So if I want to just reset the brightness, I could just double click on brightness, and that brings the brightness back to zero. And then finally, you'll notice I have these little arrows. I can actually click on the brightness, and I could just drag my mouse back and forth like this to set it. I need to show there we go we'll do that again, double click it to turn it off or to reset it and then click here and drag back and forth. And that's actually sometimes easier so you can can just feather it and get it just right right where you want it out there. And then, finally, if you wanted to delete this, you can just click delete here. Another thing you can do is hit on the auto button, and what this does is Photoshopped automatically does the adjustments for you based on what it thinks the photo needs. And sometimes this will be way off. But a lot of the times it'll at least get you close so that if you don't feel confident that you know what to do to fix this photo, that can sometimes give you clues and let's see what happens when I click auto. Okay, it did almost the same thing that I did, so it raised the brightness a lot, and it raised the contrast a little to really bring emphasis to the subject. So in that case, it worked pretty well, But you can play with that to get a sense of what Photoshopped recommends. But don't always go with that because, honestly, sometimes it doesn't see the same things that a human will see. Okay, so let me put this back over here so you can see back to our layers. And so I mentioned you can toggle it on and off here. You'll notice when I click this, it toggles it off here. And you could do the same thing here. You can just go right to the layer and toggle it on and off. Okay, If I didn't want this layer anymore, I could either click delete here, or I can click this and drag it down and delete it. Okay, so now you know how to use an adjustment layer. I want you to go download this image and go down here and click on adjustment layers and create a brightness and contrast layer. Do your adjustments here, play with it, and then you can even posted in the Q and A so we can see that you've done it. And then in the next lecture, we're gonna learn some other adjustment layers. Because if you're like me, you're gonna use adjustment layers all the time in your photo shop work because they really are magical, and they really allow you to work non destructively and preserve your original image without having to save it as another image and stuff like that. So go play with this posted in the Q and A's, and I'll see you in the next lecture where we'll do some more adjustment layers. 13. Black and White Adjustment Layer: Hi. And welcome back in this lecture, I'm gonna teach you another adjustment layer, which is the black and white adjustment layer. So we're going to turn this image into a black and white image. But before we do that, did you go download this image and create a brightness contrast adjustment layer? If not, you should pause the video and go do that because what we're gonna do in this video is going to build on that. Okay, so let's jump right in first. Let's get rid of one of these since we have to, We don't need Teoh. And we could either just close out of this window or we could rearrange our windows to kind of a more traditional way of looking at it. So before I showed you how to do these two panels side by side by going toe window and a range, and we went to two up vertical. If you want to put it back to basically what I would consider normal, you go back here and say, consolidate all two tabs. Just click that. And now it just shows you the one image and you can toggle between the images and now it could just work on our one image. If you remember from our shortcuts, we can hit control. Zero make it full screen. So it makes it a lot easier to see and work on. And then if you remember as well we have Our two layers are background layer, which is named layer zero now, and our brightness and contrast layer. Now, I always like to have our background layer locked. So I'm gonna select on this and click the little lock icon just to keep it locked to ensure that we preserve our background. And we already have our brightness and contrast layer. And you remember we could toggle that on or off. That's our original image. This is our souped up image that's brighter and more contrast, E. And now we're going to add another adjustment layer to this and you recall you can go up here to layer and go to where is it? New adjustment layers right here. Or we can go down here and click here to get a new adjustment layer here. And 1/3 way you can do this is go to your adjustments panel. You just open that up and you have all those same adjustments here by icon. And if you hover over them and you have tool tips on, it'll show you there's your brightness and contrast, and it will do that for all of them were going to do a black and white filter, which is this guy right here. You have the little black and white sides of the square, and we just click that like, normal and it brings you up New properties panel and I'll go ahead and double click on this so we can see our layers and it brings you up a new layer. This is black and white, and our properties panel on this one is quite a bit different. You'll see it still has sliders, but the sliders all do different things, and these are all the different colors in your image, and essentially, it has already created a black and white image for us. But we can tweak that image to make it suit our style and our preference a little bit more . And you know what? This is a little bit too big for me, so I'm going to hit the vault key and scroll backwards. You could use the zoom key as well. Just make it a little bit more reasonably sized. That's probably better. Okay, now, this will be fine as a black and white image, if that's what you wanted it to look like. But the cool thing about this particular adjustment layer is that you can adjust it. And so, as I said, these are all adjustments to the colors in your image. But you might say, but I thought we were doing a black and white image while we are. But if we hide this black and white layer for a minute and we go back to our regular image that we're editing, let's just look around this image for a second. See some of the colors we have basically a brown, and here the highlights on his jacket are yellow. We have blue layers in the water, and in the sunset we have red and orange with a bunch of yellow in the sky here and some yellow on the tires, etcetera. Now, when we adjust those different colors in this adjustment layer, it's going to change the way the black and white response. Okay, so let's just remember that these tires this jacket and the sky are yellow. Right here is yellow. And let's turn our adjustment layer back on. And let's move this yellow slider and see what it does when I grab it and move it. Notice what happens to his jacket. This is Jack. It gets darker and noticed. Her jacket, which is black, doesn't really change much, but hisses gonna get way lighter or away darker. Same with the tires on the bike. See how they get way brighter or way darker. And then you can also look at the sky way brighter, way darker. So by removing or adding colors in the original image, you change how the black and white image looks, which is really cool, because you can get really incredible effects in your black and white images, and you can just really get them to pop. You can add contrast whatever you want. Okay, so I'm gonna reset this. Of course, you recall. You always have the auto button here in your adjustment layer so you can click that and see what it does that didn't really do much. If we revert back to normal, it darkened it a little bit, but didn't really do much, but again, going back into this image here. If we look at some of these colors than we can make choices about how we might want to change our black and white image, for instance, if we wanted the sky, which is blue and purplish blue appear to be darker, then we turn our layer back on and we go find our blues and we can change the blues. It's about bringing this down with dark in the sky. We also darkened this ground, which has some blues in it. We could probably do the same thing with the Reds because where this is purple, that means as blue and red be dark down the reds. Well, most of the reds are here in the sunset, but you can see that darkens the background quite a bit. We could bring up the yellows a little bit, actually, let's bring down the L. A. Is a little bit with the greens to There's not a whole lot of green here. You can see there's just some little hands, but in the sky a little bit in the water. Maybe for the most part, that's not a whole lot going on that we could double click that to reset it, remember? And then our science, which is essentially also blue. And we won't get into kind of the colors of photography and light, at least at this point in the course. But just understand that Scion is going to affect your blues. So if I pull that exceed, the Scot gets darker, you can also see that there's some pixelated up here which is going to happen any time you do some really extreme modifications, which is why you don't want to go really extreme with these, right? But we can find our middle zone and then we can go a little this way or a little that way you can see this way it lightens up the sky and especially the water Watch the waves in here, which are reflecting a lot of blues from the sky. Watch how you can almost just, like, flatten out the waves by bringing up the blues, the science and we can create a more moody picture by bringing the science down and really creating, like, really accents in the ways see the difference there. Okay, so again, we're going to reset this to see where that left us, and that's a pretty decent black and white version. What I might do, though, is go into my brightness and contrast. No such click on the adjustment layer icon in brightness and Contrast, and we're back into that. And maybe we bump up the contrast a little bit and bring the brightness down a little bit just to give it kind of more of a vintage e feel. And there you go. I'll go ahead and close this out so you can have a better look at the image. And one other thing to know is if I turn off this brightness contrast layer, which we really used to fix the overly dark image. If I hide that, you'll notice that our black and white images also really flat and a little bit too dark because it doesn't have that and adjustment to the brightness. And so these layers work together and essentially layer on top of each other to affect this layer underneath. Turn that back on so you can see how much better it looks. But that's how you create a black and white adjustment layer to turn your image into a black and white photo 14. Hue Saturation Adjustment Layer: okay. And the previous lecture, we took our same photo that we had worked on brightness and contrast, and we turned it black and white and then did some adjustments to kind of increase the intensity of the black and white effect. If you didn't go do that on your own, I highly encourage you to do that, because again, these skills are going to start to build on each other. And the more familiar you are with these techniques, the faster you're gonna learn for this video, we're going to get a new image, and we're going to add a hue and saturation adjustment layer. Okay, so I'm gonna hit control. Oh, command O on your Mac and I'm gonna open up this image of this girl with a smile, and this is available in the download. So I encourage you to get that. And the problem with this image is that it's really gray, and we wanted to look more like this image. I'm gonna open this one up. This will be the final version of what we're doing. So we wanted to look more like this with a little warmth interface. Okay, so let me close out of these bike images and let's tile these side by side so we can just take a quick look. We're gonna go tile to up vertical, okay? And so see here she just looks healthy and alive. And over here, it's not horrible, but just is lacking color. Okay, so we're gonna click onto this image, and I'll tell these back so we could just work on this one, and then we'll maybe comparing later. So Consolidated tabs go to the gray one? Yep. And we're gonna add a hue and saturation layer. Now, I mentioned you can add your adjustments from here last time, but my favorite place to add adjustment layers is right down here. So we're gonna go to Hue and saturation. And again, that adds, It's a new adjustment layer, and we have our familiar properties box, and we have our familiar sliders. Now, this one, Instead of having an auto button where you can automatically do the corrections, it has presets. So you can go to this And there are different types of presets and most of these are gonna be really intense. And there for really special types of changes, there are a couple like increased saturation, which is going to just increase the intensity of your colors. Or you could even go toe increased saturation mawr. And it will do that as well, which is actually pretty darn good. The rest of these get a little funky, but it just depends on what you're looking for. Okay, CPS kind of like your antiqued effect. Old fashioned photos, which is cool. But if you want, you can go back to your defaults and we'll make sure that we're Reese. Yeah, we already set, and we can play with these on around. So the 1st 1 is Hugh, and you're not actually gonna mess with that because what that will do is it will change the overall colors of your entire image. It's going to change the predominant color of your image. Okay, so we're just gonna double click that and reset it. The main one that we want to use is the saturation. Saturation is just the intensity or the amount of all of the colors in your image. So if we go down this way of actually, if we go all the way down this way, we're just gonna make it black and white, so this would be another way to create a black and white image. You have less control than you do with the black and white adjustment layer, but it's possible. And then if you go up this way, you can just go super crazy Disco. Lots of color. OK, but obviously again, subtlety is the way to go. If this is zero and we're feeling a little gray, then we want to just pump this up a little bit. And we could even talk back and forth. Oh, that looks almost exactly the same. Okay, if we go too much, I mean, she has a pretty rosy complexion to begin with, so it's hard to almost go too much. But the name of the game is always subtlety. So we're going to stay here, and you can see when we talk with this off. When you talk, let off how grey it looks. That brings a lot of life that just looks a little too gray. Yes, we'll leave that on. And then finally, there's lightness. And again, this one isn't one you'll use as much either, but you can see that it's the same sort of like brightness and contrast. You can darken it all the way down and you can brighten it up, Okay? And sometimes you can use this while you're in here, but in general, you're just gonna leave that. So that's the basics. There is actually quite a bit more to this that we won't get into because it's just a little too much at this stage in the game. But I will also mention that if this drop down appear to and so by default, it's on Master and Master means you're working with all the colors at the same time that you can actually select a specific color, and you can work just with that color. So, for instance, we want to go into our reds, and we want to play with the saturation or the lightness just of those colors we can so we can go into the saturation increase. And you know this this is just gonna increase the reds or decrease the reds so you can if you watch her lips right here, you'll notice they go basically to like a blue because they're kind of almost a reddish purple color. But if I go all the way up on the Reds. See how significantly it's affecting this same with colors in her scarf and some of her hair and her skin because there are a lot of red, so it will affect that. Anyway, we'll reset that, and then you could also adjust the lightness just of the Reds. So when we do this, it really lightens her face when we do that dark and sports were face okay, but that's a way that you can work with specific color channels to have specific effects on your image. But for the purposes of this lecture, what we're really just looking at is changing the saturation, which is what you use most of the time. So you could basically correct the color in your image to make it look more natural or more pleasing. Okay, so those are a couple of the most important adjustment layers. This won't be the last time you hear about adjustment layers, but in the next lecture, we're gonna talk a little bit about how to navigate through your layers to make using them and sorting them and things like that a lot easier. So go download this image from the course at a hue and saturation adjustment layer and increase that saturation. Make sure you clicked on the master and increase that saturation to give some warmth to this subject's face. I'll be looking for that in the Q and A's, and I'll see you in the next lecture. 15. Navigating Layers - Part 1: OK, in this video, we're gonna talk about working with layers. We're gonna talk about a whole bunch of tips and tricks for navigating them and working with them or efficiently. So in the last lecture, we were adding a hue and saturation layer to this image. And if you recall, we were just adding a little warmth to the image. We've already talked about easy ways to delete a layer by left clicking and dragging it down and dropping it in the trash. We've talked about how to create a new adjustment layer just by clicking here, and then you select whatever adjustment layer you would like. So if I want to do a black and white want to click there now have any black and white adjustment layer? We've talked about how to hide layers, and an additional trick is, Well, let's just say I have a bunch of adjustment layers. I'm gonna open a few here. If I want to turn off all of these adjustment layers, I can click and just drag, keep that clicked and dragged, and when I release, they'll all go away and vice verse. If I want to show all these a click and drag. And then when I release the mouse, they're all gonna be shown. And the nice thing about that is you can toggle back and forth between a bunch of layers of changes without having to kind of go click through these like that and guess so. You just click and drag to talk along. Click and drag to talk him off if your properties panel gets closed. I already mentioned that you can go up to window and go to properties here, but you can also just go and click on your adjustment layer. Thumbnail will actually have to double click, and that will bring it up. So if I want to work on black and white, I'll click on this one. If I want to work on this hue and saturation adjustment, layer a double click on that, and it will change my properties panel to that one. If you want to duplicate a layer and let me turn these back on visually, if you want to duplicate a layer, you can actually click on this. Drag it down here to the new layer icon, which is right there and release it, and it will make another one, and it will actually add the word copy to the name so that you know, you've done a duplicate. And if I turn off these black and white ones, you'll notice that since we were increasing the reds, the saturation or the intensity of our colors. Now that I have another a copy of that same adjustment layer, it just doubles it right? So if I turn this one off, it's more subtle. If I turn this one off, we're back to the original, so you can create different effects by adding multiple layers. So that's how you duplicate one. You can also take a adjustment and copy it toe another image. And this is really helpful when you have multiple, say, multiple sizes or multiple versions of a similar image, and you want to do all these adjustments to him really quickly. You don't have to recreate the wheel with every image. So, for instance, over here in my tabs, I have another image, which the same girl, right, but its crops smaller, but it still has that kind of grayish feel to it, right? And when we go over to this one, you know, we got take one of these away. With our normal hue and saturation adjustment, it looks good. So if I want to add this to this little more cropped image, I just go Here, I click on this and I drag it up there, just like when we took that coffee cup and dragged it into another image, hover over the tab, and then I'd bring it down and drop it right onto the image like this. Don't and you'll notice. Now we're in this other image. This crop version and all of the other adjustment layers from the other image are not here . But this one that I copied and dragged over is here as just that easy to do that change. And if I had 10 images up here, you can go up to the window and you can do a range. And if you had, you know, a bunch of them, you could tile them all safe, horizontally or vertical, and stack them all up like this and you have a whole bunch of them, and you can just grab this hue and saturation. Well, it's actually let me actually show. I'm gonna delete this case. This goes back to being gray. I've got my desired effect here. Click on that to get over to that one rabbit dragon over. Plop it on there and presto, it's changed. If I have a whole bunch of images, I just grab, drop, grab, drop, cover up and it makes it really quick. Then you just save our export. Those images however you want, and you could really increase your time. So there's just one of the 1,000,000 1/2 benefits of being able to use layers. Okay, let's go back to our original one, Will. I don't like to work with it. Arranged that way unless I'm doing something specifically, you know, comparing to. So I'm gonna go back to consulted two tabs so we haven't done much naming of our adjustments. But once you start like using layer masks and doing multiple adjustments, you're going toe. Want to start to name these something and that's just gonna be based on what you're doing, and these just happen to be pretty obvious. But down the road you'll see that, especially once we start using layer masks and, for instance, if this was just to warm up, if I was using a layer mask just to do adjustment layer on her face that I would want to name that something like warming face or increased saturation face, so that if I had another adjustment to say dark in the background, then I would name that one darkened background, and it makes it so much easier to keep track of what you've done. And believe me, that gets important as you get more complicated. Okay, so those air five tips for working with layers in the next lecture will look at some more tips for working with layers, including how to group them and how to sort them and even change the sizes of the little thumbnails. Okay, so go play around with this stuff, get familiar with, get good at it, and I'll see you in the next lecture. 16. Navigating Layers - Part 2: OK in this video, we're going to continue talking about navigating layers, some tips and tricks. I have six more tips for navigating layers, including selecting multiple layers at one time, grouping layers, moving layers around and changing your layer thumbnail size. So right, if I click on this, I select it. Click on that. Select it so you can just select individual things. If you select on the top one, you can also go down here and click, shift and click, and you'll select all three of them. I could do that at the bottom to that. I don't want the bottom, so I'm gonna click control and UNSA like that one. So you can. You can click the top and then you can cook control and select this one, and you'll Onley select the ones that you clicked on. Or you can click up here and click, shift and select everything in between. You can also group them, and you can either right click and click on group from layers. Or you can just hit control G Command G on a Mac. And now I've created a group for these, and you can even rename the group so I could call this face edits or something like that if I wanted. And then you have a little arrow here where you can drop the group down so you can see what's in it. But again, if you have 10 or 15 or 20 or even mawr adjustment layers on one image for various parts of the image, then you put them into the good groups and you could just collapse them all down and you can you'll be able to see everything. Otherwise, you haven't going off the bottom of the page here, and it can be difficult to get two things. Okay, let me open up this group again, and I'll show you one thing real quick. I'm just going to grab this picture of her face and drag it into this other one just for a second, so I could show you something. So this is kind of like what we did with our cappuccino mug, right? Or we dropped it as a layer onto another image. So you see, I now have this layer here, and I'm selected on it. Now. If you're not on auto select up here in your option menu, I'm in the move to us. We need to hit the wiki to be on the move tool, and I go to click on the background and move it. It's not going to let me. I'm going to grab the layer that I'm selected on in the layers panel. So if I want to be select on the background, I can either go over here and manually click it and select it or I can go hover over it and I can hit the control or command key, and I could click on the background. Now it's locked, so it's not letting me select it. But let's do that. Let's unlock it so you could see what I mean. The reason it won't let me select it when it's locked this because it's not allowing you to move it, which is how it should be. But this is just for an example, so hit control or command and I click that will select that layer. And if I want to select this layer while I'm in the canvas, the reason this is helpful because then you don't have to go back and forth back forth is you just go command and click and now I got this later. Okay, so that's how you saw. And if you have a lot of different objects or elements in your image, this is really helpful hitting. Just remember, you turn auto, select off and hit control or command on a Mac and click on what you want to select. So if her face was a separate layer than I would hit control and click on her face to select that and it will select that layer so that then if you're going to say do on adjustment to that layer, it will be on that layer and not on something else. Or so you're gonna brush onto that layer. Do you want to make sure you select on there? If you can't find the layer here, then you can come over to the layers panel and manually selected. But it's slower, and then just a kind of navigational tip. If I click down here and right click, you have some sorting options right now, these air on small thumbnails, which is these little guys. But you can go to large thumbnails, which sometimes can be helpful because then you can see what's actually in that layer, or if you're running out of space, you can go to no thumbnails, and that will consolidate things. You can fit more layers and see more layers, but generally I leave it on small thumbnails because that's sufficient to be able to see what you're doing. And then one other thing you'll notice is down here, says Clip thumbnails, toe layer bounds and clipped thumb males to document bounds. So let me first go toe large thumbnails to make this easier to see so you can see this one right this layer. This is the image, but it shows you in the thumbnail where it's located in that layer. So we have all these blank pixels over here. This one fills up the whole screen, and so in the thumbnail, it fills up the whole screen. But if I right click and click clip thumbnails to layer bounds, watch what happens. It's just going to show the whole image. It's not going to show me where it sits in the layer, and both can be helpful for different reasons. But in general you wanted to show document bounds because then you know where this little piece is in the grand scheme of the canvas. Okay, let me go back to my small thumbnails and they will notice one other thing. When I brought this layer in, it dropped it into this group. If I don't want it in that group, I can take it out of the group. I bring it up above. So now it's by itself. And depending on where you drag and hold, this tells you where it's gonna end up. So, France, if I go down slowly goes like this and surrounds the group name, then it's gonna drop it into that group. Whereas let's go back to when it was up here. Whereas if I bring it down and I go down here, it's gonna put it in order in the group's. If I wanted the bottom of the group, I put it here or if I want it, if I want in the group, I put it there or you can layer it wherever you want within the group or if you want to take it out of the group entirely. There's a subtle shift here, but you kind of go like that. Yeah, there we go. And so you just have to get it far enough down, essentially to drop it out of the group, and then I'll see if I close the group. This one is still on its own, but with a subtle shift of dragon. This upward a drop that I got to see. It shifts over a little bit, and that means it's in the group and you can always tell by minimizing the group to tell what's actually included in that group. So anyway, will take this out of the group again, and there it is. Okay, so that's a little bit about how to navigate through the layers and how toe organize them and use them to your advantage. In the next video, we'll talk a little bit about some of these things up here and what they do, So go play with that and then I'll see you in the next lecture. 17. Using the Layers Panel Menu: OK, in this video, we're gonna talk about some or adjustments and tweaks that you can do with layers to take your work and your effect on your photos even further. And we were just talking about how toe kind of navigate through the layers and sort them and group them things in the last lecture. Now we're going to talk about these things right up here, so I'm going to clean this up just a little bit. I'm gonna get rid of this little image, just like grabbing to ragging. So leaving it, we'll get rid of one of these black and white adjustment layers. Delete it. Okay, so now we just have a hue and saturation layer warming it up, and then we have a black and white layer which is making our whole image black and white and actually let me on group these two. So I'm just going to right click and say un group players. Okay, now we're back to simplicity. So if I click on my black and white layer, I have my properties panel here, and then I have these different little drop downs and things. And let me tell you about what some of them do this 1st 1 here is your blending modes, and we'll talk more about blending modes in another lecture because wanting modes can be really cool. But essentially what you need to know is this blending mode tells you how this layer is going to relate to the layers beneath it. Okay, so when you're a normal, it's going to basically do kind of the default of what this layer is supposed to do, which is turn it black and white, and it's doing a great job. But if I click on this drop down and I go hover over these other blending modes, it's gonna change the way this black and white layer interacts and so like dissolve doesn't do much. But if I goto dark and you'll see that now it's darkening the layer underneath it. I gotta multiply. You'll see that both layers are doing their job, so the black and white one is making it black and white, and the color one is making it color, and they really interact. You'll use this one a lot for a lot of different reasons, but you can just scroll through these and kind of see the effects that they have. And like I say, we'll go into these in more detail. But I just wanted to show you what happens here when you use these various things. But it's just affecting the way that they interact with each other and seeing some of these , like some of these create actually a kind of favourable effect. Overlay is kind of a high contrast, intense look, soft light. It's kind of nice, and you can just see kind of the different effects that thes blending modes have. So from our little Martian, you'll probably never use them, especially these down here. So those air blending modes and again mostly you'll use like normal or you might use darkened or soft light or multiply comes into play a fair amount. For now, we're gonna leave it on normal. Just want to introduce you to that. And then over here you have capacity, and capacity is how much you can see through this layer. So when we have our black and white layer set at 100% it's completely covering over the colors and making everything black and white. But if we adjust this and you can either click this drop down drag here, or I like to just click right here and use these little double arrows. If we drag this down to say about 50% you can see some of the color is starting to show through. And if I go all the way down to 0% than effectively disables the adjustment layer and you just see the layer underneath. But this is an interesting way to add, for instance, that kind of a vintage e effect we go up to, like, 75%. You see a little bit of the color coming through. It's essentially a black and white photo with a little bit of a tent to it. Okay, and, of course, back up to 100%. It's just black and white, and Phil is very similar. When you do this, you reduce the fill of this adjustment layer and you can go from 0 to 100%. We've already talked about locking a layer you can lock any layer. I recommend keeping this one locked. But if I wanted to lock this for some reason to, I could, and it just makes it so you can't do certain adjustments or edits to it, which can save you from screwing up your image on accident. And essentially all of these little icons are various types of locks, and you won't use a lot of them too often. But this one prevents it from auto nesting into and out of art boards, which we haven't gone into. Button Art Board is a kind of a canvas that you create, and you can bring a multiple images into it and work with multiple images on that art board at the same time. This one prevents you from being able to move it so it locks the position of your image on the canvas. This one locks the pixels of your image so it won't allow you to brush it. So, like, for instance, if I see I have to unlock that one and oh, I would have to deal on something like this. Unlock that, lock that. And now if I go get a brush, they just won't let me do it because I've locked the pixels, which is a really good way toe. Protect your image, Okay, and then finally, let's unlock that again, and then this one will lock all of the transparent pixels. So you have your locks here, you fill your A pass it E and your blending modes right here and then finally up here, you can search or you can filter by different layer types, and this toggles it on or off. And so we haven't gotten into actually layer types yet. But let's say you have an adjustment layer. You just want to find adjustment layers. Notice we have down here. We have an image layer, which again we haven't talked about this, but we'll get into it. We have an image layer here, and then we have an adjustment layer and an adjustment layer. If we wanted to filter this list just by images, then we could just click on this image icon, and it will Onley show you the images. It will also give you a little red dot here, so you know that you're only seeing part of your list If we only want to see our adjustment layers, we can click here, and it'll shows just our adjustment layers. You actually have to talk without off, but they'll show just adjustment layers. If I only wanted to see text layers or shape layers or smart objects. Then I could just click on any of these. But you'll see if I click on Text Layer and I turned off adjustments. Nothing in this is a text layer, so nothing's gonna show up. You can always just turn this off and all of your last will show up. And then finally, if I wanted to sort like, turn this back on, turn that off. So I have all layers on and that if I wanted to do a surge, say I wanted to find out something that said Blak and White. Then I would go B L A. C K and only the black and white layer will come up according to a name you could also search by effect Mode kind is this one. You're the kind of layer that IHS you sort of colors if you've color coded these and so And by the way, speaking of color coding, if you want to add a color to these, you can right click and the colors air down here. So if I want a color code this red, I just put a little red icon there and then that can help you to sort things as well along with grouping. Okay, I could take this one and make it green. And that helps you sort if you want to get rid of the color, just right. Click again. No color, right click. No color and you're sort of Okay, so that's kind of the mawr details and some tips and tricks on how to use adjustment layers . Definitely open image. It doesn't matter if it's this one, but go in, create some new adjustment layers. Tried duplicating an adjustment layer. Try creating adjustment layer and then dragging it into another image. Lock your layers, play with the A pass ity, do some play with the blending modes and just get familiar with this so that as we progress and you start to learn more and more about these things will use it more. You'll already feel kind of from the late with it. Okay, go play. Thanks for watching. And we'll see in the next lecture 18. Assignment 6 - Which Adjustment Layer Will Fix This Image: okay. And this assignment, your job is to take this image and choose which adjustment layer you would use to improve it and then do that on the image and uploaded to the class Q and A. And I'll show you what we want it to look like. Ultimately, I'm just gonna tile Cem different tabs here. Here we go. So we wanted to look like this. And to give you a hint, you'll be using one of the adjustment layers that we've learned within this section about layers. Okay, So download this image and play with your adjustment layers and see if you can figure out how to adjust this this image to match this image. You're doing great. So far, you have learned a ton about photo shop, and I hope you realize that I'm really happy to have you on the course and proud of you for kick and bought this far. If you have any troubles, I'll see you in the next lecture with your solution 19. Assignment 6 - Solution: hi and welcome back. How did it go? Did you figure out which one it waas Did you figure out that it was the hue and saturation adjustment layer? Let's go ahead and open up our panels and we can get into our adjustments and I'll show you how to fix it. Just in case you had any trouble, I'm assuming you got it right. Basically, what's wrong with this one is that it's just a little too rich in saturation. This one has a more natural color. This one's pretty red in her skin tone, basically. So what we would do is a hue and saturation adjustment layer, and all we would do is take the saturation and reduce it a little bit. You don't have to go a time, but about like that, just to bring her back to a little bit more of a natural skin tone. And that's it. If we toggle that off, you can see there's that kind of over saturation of some of these background colors and her skin here and there. It iss matched up. Were you able to figure that out? If not, that's totally understandable. That was a pretty tricky question. It was a simple answer, but you had to know exactly what to do in order to fix it. But now you know how to do it. It's just a simple hue and saturation adjustment. And again, we basically just went here and turned down the saturation. Okay, so that wraps things up for layers. Of course, we'll still work with these things because we're gonna build on these skills in the next section. We're going to go into selections so that if you want to just work on a specific part of your image like, say, her face or her hat or the background, you can actually use the selection tools to select those pieces. And then you can do adjustment layers or all kinds of cool things with those selections, and that's what we're gonna learn. So thanks for watching Hope you enjoyed this section, and I'll see in the next lecture 20. Conclusion: Well, this is the end of the course. Thanks so much for watching this skill share course about layers in photo shop, we covered a lot of things in a short period of time. We talked about adjustment layers. We talked about how to hide and show layers how to navigate the layers panel. We talked about how to change your hue and saturation, how to do a black and white image. So this was part three of the photo shop mastery course. I hope you will check out part for where we'll learn about selections and Photoshopped. So thanks for learning with me and I will see you soon.