The Ultimate Introduction to Adobe Photoshop From 0 to Intermediate | Adam Chraibi | Skillshare

The Ultimate Introduction to Adobe Photoshop From 0 to Intermediate

Adam Chraibi, Designer and animator

The Ultimate Introduction to Adobe Photoshop From 0 to Intermediate

Adam Chraibi, Designer and animator

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55 Lessons (7h 27m)
    • 1. Adobe Photoshop Course Introduction

      3:03
    • 2. Download Course Files and Adobe Photoshop

      1:00
    • 3. The User Interface

      9:16
    • 4. Navigating The Image in Photoshop

      4:13
    • 5. Managing Documents Create New and Save files

      4:51
    • 6. Different Ways to Save a Document

      7:59
    • 7. The Move Tool in Photoshop

      6:33
    • 8. Layers Are Everything in Photoshop

      8:51
    • 9. Simple and Easy Selection Tools in Photoshop (Lasso tool and Shape marquee tools)

      13:07
    • 10. Explaining Advanced Selection Tools

      6:17
    • 11. Using Advanced Selection Tools

      11:51
    • 12. Using More Than One Selection Tool

      8:14
    • 13. Working With Masks In Photoshop

      9:22
    • 14. One Click Sky Replacement in Photoshop CC 2021

      3:49
    • 15. Class Project: Recreate A Composition Using The Selection Tools And Masking

      5:03
    • 16. Understanding Resolution

      6:02
    • 17. Upscaling And Downscaling In Photoshop The Resolution Of An Image

      6:32
    • 18. Basic Transformation Tools

      16:15
    • 19. Distortion and Perspective

      5:07
    • 20. Content-Aware Tool and Puppet Warp Tool

      11:52
    • 21. The Crop Tool and Canvas Size

      8:41
    • 22. The Crop Tool and Straighten Option

      3:34
    • 23. The Perspective Crop Tool

      4:32
    • 24. Class Project: Creative Transformation

      12:22
    • 25. Graphic Tablet vs Mouse

      3:38
    • 26. Learn About Your Brush Tool

      7:37
    • 27. Using Pressure With The Brush Tool

      5:43
    • 28. The Difference Between The Brush The Pencil And The Eraser

      3:34
    • 29. General Brush Concepts Explained

      7:44
    • 30. Working With Colors And The Brush Tool

      11:06
    • 31. The Paint Bucket Tool And The Fill

      6:15
    • 32. Understanding The Gradient Tool In Photoshop CC

      12:00
    • 33. Import, Export And Organize Brushes In Photoshop CC

      6:55
    • 34. The Mixer Brush Tool Explained

      13:27
    • 35. Create Your Own Brushes From Images in Photoshop

      10:12
    • 36. Customize your Brushes In The Brush Settings

      9:39
    • 37. Class Project: Add Depth To The Drawing

      11:39
    • 38. Retouching With The Spot healing Brush Tool (Section 4: Retouching Wizard)

      11:15
    • 39. Retouching Images with the Patch Tool

      7:49
    • 40. The Clone Stamp for More Complex Retouching

      12:21
    • 41. The Healing Brush Tool

      7:13
    • 42. Photoshop's Content Aware Fill

      7:02
    • 43. Photoshop's Content Aware Move Tool

      13:38
    • 44. Red Eye Retouching Tool

      4:03
    • 45. The Dodge and Burn Tools in Photoshop

      9:58
    • 46. Class Project: Skin Retouching

      13:54
    • 47. Adjustments vs Adjustments Layers

      8:41
    • 48. Brightness and Contrast adjustment in Photoshop

      5:55
    • 49. Levels Adjustment to Correct The Tonal Range and Color Balance

      9:04
    • 50. The Curves Adjustment Layer in Photoshop

      7:36
    • 51. Adjust the Shadows and Highlights Details in Photoshop

      8:29
    • 52. Vibrance Adjustment Layer

      8:00
    • 53. Hue and Saturation Adjustment Layer for Treating Colors

      11:10
    • 54. Achieving The Perfect Black and White

      5:50
    • 55. Final Class Project: Working with Multiple Adjustment layers

      6:56
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About This Class

The Ultimate Introduction to Adobe Photoshop CC

Hi my name is Adam Chraibi, I’m a Professional graphic designer and animator.

In this course you will master Adobe Photoshop, the number one tool in the world for image processing and digital retouching.

Learn Adobe Photoshop from scratch through a series of practical and easy to digest lessons!

  • Acquire the knowledge of Adobe Photoshop's interface and its main tools;
  • Learn the basics of image size, resolution, and transformations;
  • Become competent in retouching tools to reconstruct, clean up and improve images;
  • Gain an understanding of how properly apply adjustment layers.

So Who is it for?

Anyone interested in getting started with Adobe Photoshop.

Technical requirements:

  • Adobe Photoshop
  • A graphic tablet is recommended, although it's not essential.
  • Laptop or desktop that can run both.

See you Inside you won't regret enrolling in this course. 

Meet Your Teacher

Teacher Profile Image

Adam Chraibi

Designer and animator

Teacher

Hello, I'm Adam Chraibi professional graphic designer and video editor based in Casablanca, Morocco with more than 5 years experience in freelance work.

I went to art school when I was a 15 years old where I studied the basics of drawing, shadows and light (Mangas style) and after that I went to law school where I got my bachelors degree in private Law.

But my love and passion for art and animation was bigger than the love for law, I wasn't feeling conformable studying it but it was too late I couldn't just drop off I told myself at least get the degree and then do something else.

So I switched my career into doing what I love and passionate about which is all the digital art stuff.That when I worked 2 years as social media manager and designer for an airline compan... See full profile

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Transcripts

1. Adobe Photoshop Course Introduction: Hello everyone. My name is on the professional graphic designer animator from Casablanca, Morocco. And I will be instructor for this photoshop introduction course. So this course is for anyone who wants to learn to 1000 tools available in Photoshop and to mess or do a wide range of possibilities to creates image-based work. So this course was designed for absolute beginners. So whether you never used Photoshop before or you read using Photoshop for a couple of months. But you still don't know what you're doing in this course is for you. You will be able to create your first project in record time and with excellence results. So here is what you're going to learn by enrolling. And the first section of the course, you will die by mastering the layouts, the documents management's delayers, the selection and the application of masks. This first section is really important because without understanding the basics, you cannot spelled a sorted knowledge of the program. And also as we will help you learn. And there were adobe programs like Illustrator InDesign in case you decide to. Then in the second section of the course, you will learn everything related to the resolution, the size and develops kills in changing we shaping and correcting the images exactly how you want to create your own compositions. And the third section of the course, you will become the brush semester. You will earn everything from working with the brush tool. So creating your own brush presets and exposing them to either sell them or share them with the world. The fourth section will be about learning, although we touching tools to clean and creates images professionally, combining dosed, manually and automated retouching methods to produce photorealistic edits. And finally, you will learn how to work with the adjustment layers to controlled lights, shadows, and colors often Image efficiently. So you will need Photoshop, of course, and you will need a graphic satellites and attend all of the graphic satellite is not necessarily for the cool spots at as recommended. So go ahead and enroll notes within Photoshop like you never did that before. And I promise you that by the end of this course, you will be surprised a flood you can achieve and Photoshop. 2. Download Course Files and Adobe Photoshop: Okay guys, so real quick, before we start the course, make sure go ahead and download the files from here, okay, so projects and resources. And you're going to find all the files in here. And if you want to download Adobe and you don't know how you go to Adobe.com. Creative Design. View All Plans and Pricing. And I recommend that you take these students and teachers plan, okay, it does the cheapest one. But it has an annual plan. Which means if you counsel before the year, you're going to have to pay the difference between the first month and the rest of the year. Okay. So unless you want to take a monthly plan, this $179.49, as you can see, it's quite expensive, but you can cancel anytime. Okay guys. 3. The User Interface : So let's go ahead and open Photoshop. And of course I'm using Photoshop CC 2021 as per this dates, which is the sixth of December 2020. And now let's go ahead and create a new empty documents. So it doesn't matter what you select from here, just click on Create. So now we will start by understanding, do you why or the interface of Photoshop? Why? Because one, you need to understand where everything is located and how to access it. And two, it's going to be easier for you to learn another Adobe program, like Illustrator for example, because all Adobe software are pretty much laid out the same. On the top right here we have the menu toolbar, and each title has its own menu. On the left we have the toolbar. And these are all the tools that you're gonna need to work on different projects. We have the Move tool is elections, the crop, the brush, texts. All you need. You can of course, customize the toolbar. If you click right here, you will have two tools per row instead of one tool parole. You can remove the toolbar from here, put i here, okay. Whatever you want. You can put it back or plugin it back. What it was if you want. So I like to keep my toolbar like this, two tools per row. It's makes it easier to access the Quick Mask Mode and the screen mode, and also to switch between the foreground and a background. And if you notice right here with each tool you have that little white triangle. And basically if you click and hold, you will access more tools. And these tools, as I like to call them, are siblings. Why? Because they pretty much offered the same results. Bus the workflow as a bit of difference. So right now just unplugged the toolbar by mistake. I can just go ahead and plug it back like this, no problem. And if you click on these dots and hold, click on Edit toolbar, you can edit the toolbar, but I don't recommend editor in the toolbar. I think you can just keep it like this. It's better. And right here we have panels, and panels will change depending on what's workspace you selects. So right now we are under essentials workspace. So we have the essential panels that we need and Photoshop, we have the basics, right? Hair colors. If you want to choose color from here. Have the swatches, same thing, ingredients and patterns, okay? And down here we have properties, adjustments, libraries. Don't worry, you're going to learn more about those as we progress in the course. But what you need to understand that that's, these panels will change depending on what's workspace you select. So if we change to graphic and web, now we have difference panels, we have character, paragraph and glyphs. And the reason why we have though, is that because when we design a website, there's lots of type-in involved. That's why photoshop gives you the right panels for this kind of job. Again, for example, to photography. We have, while we need to work with photos, we have histogram so we can read the colors of a photo, have the adjustments so we can make Gray Dan and balanced to whites and all that stuff. Let's go back to essentials. And right here, for example, you can see there is an icon. And if you are just starting in Photoshop, it's gonna be hard for you to guess. What's panel is this? Just by looking at the icon. So what you can do is that you can either hover over the icon and you'll have the name of it. Or you can click drag to the workspace and then just do this. And you have the name of it if you need it, deleted. Ok. If you want it back, you just come over here to window. And then we can look for history because that's the panel die just deletes it. Here we go. And then I can put it back like this. So when you go to window, you will find here all the panels available in Photoshop. Everything is here. If it cannot find is here, you can find this here. And the last thing you need to know about the UI as that visible. So let's say for example, I need more space to work in Photoshop. I can click here. I can deletes this, make this thing even smaller. And now I have more space to work in Photoshop. And the only thing left to do is that you need to save this workspace so you can always access it when you need it. So I already have mine right here, Adam. But the way to save workspaces, that's you click here, of course, and then you look for a new workspace. Let's give it a name. I'm gonna call its adam two. Save. And now here we have it. So each time you open Photoshop, you can choose this workspace. The last thing I want to talk about as the screen mode. If you come over here, click and hold, you'll see that you have three screen modes. We have the standard screen mode, full-screen mode with the menu bar. And we have full-screen mode where nothing. I always work with full-screen mode with menu bars. So basically you have more space and you have everything else on such. And you can also switch to full screen. So you have nothing, just the picture. If you want to find some errors, if you wanna check the details like this, ok? So if you want to go back to normally just click on f. Alright? So you either choose a screen mode from here, or you just click on F on your keyboard. So now let's go ahead and try something funny. If I come over here to File Open selects, this picture, is going to go ahead and open a new window. And if I click and drag, I can unplug it from Photoshop. So the window gives us all the information we need about the picture. We have the name of the picture, we have the color mode of the picture which has RGB and not CMYK. The resolution of the picture which is 72 pixels per inch. And we have the dimensions of the picture. This right here, h points 33% as the Zoom percentage. So if I choose the zoom tool, I can zoom in and out. And I will change. Okay, if I want, it's back to normal. I can right-click fit on screen and then plug it back into Photoshop. Now if I go to layer, make sure the background or the picture or selected, I can go to filter and then choose liquefy. Now I can increase the size of the eyes. I can increase the smile. And also I can increase the size of the lower lip and the upper lip like this. Just click and drag up and this one tau. I can also come over here to the jaw line and then decreases, make us smaller. Click OK. And now we have a funny thing. If you want to export this image, you can come over here to file exports. Exports as PNG, GIF, it's a name and save it. You can also save the entire documents in case you decide to come back and make changes. So click on File, Save, leave everything as it is here, and click OK. And now the documents will be saved. If I close now, the window, I can click right here on home. And I'll find the saved documents right here and I can reopen it. Okay guys, so that was pretty much all about the interface and see on the next one. 4. Navigating The Image in Photoshop: In this lecture, I want to talk about moving around an image in Photoshop using the zoom tool and the Hansel. And this could be very important if you are doing scan, we touch in because you want to be able to zoom in, fix specific spots of the image and then move to another spots and fix it. Okay? If you want to follow along with me, you can click on File Open and then just choose the image from the folder that you just don't know. Did I provide you guys with all the necessary images? Now to zoom in and outs, you need to select the Zoom soon, right here. Now I can zoom in and out, so okay, so just click and drag and drag routes. If you click and hold it, we'll zoom in automatically. If I hold all or option, you can see the plus sign is now a minus sign. If I click and hold, it's, we'll zoom out automatically. If I click on the Move Tool, I can hold all corruption on my keyboard and then scroll n and outs with the middle mouse button. If I double-click on the Zoom tool to real zoom in as maximum as the pixels allows it. If I want to go back to normal or the Zoom tool cell selected, I can right-click and then fits on screen. Okay? One important thing to keep in mind is that if you double-click and then zoom in more, the picture, we'll start to pixelized, and we don't want this. Now if you click on the hand, you will select the hand School. And basically what it does is that it allows you to move around the picture just like this. Okay. If you click and hold on the hand tool, you can access the rotates view tool. And what it does is that you can now rotate the picture. So if you click and hold, you can rotates, lifts arise or just rotates is like this. Now I'm going to select the Move Tool. And you can also access the hand tool by holding space on your keyboard. Ok. Now you can move, are navigates the picture freely. And let's go ahead and see how we can use the zoom tool and the hand tool and the real-world projects. So for example, let's say I want to remove this graphic word from here. I can grab the pencil. Make a selection like this, around to the word graphic, right-click, and then make selection. Now I can select the eyedropper tool, selects this color. You can see the color changes right here and a foreground. Click on the brush. Make sure we have hard brush capacity 100 percents. And then I can just color or paints on top of it. Control Command D to Deselect, selects the zoom tool. Fit on screen. Okay. Now I can zoom in and out to see the work that I've done. So as you can see, I didn't use the tools directly. I'm just using the shortcuts on my keyboard. So if I want to zoom in, I hold olds, and if I wants the hand soon, I hold space on my keyboard. So that was pretty much all for this lecture and see you on the next one. 5. Managing Documents Create New and Save files: Hello there, lovely creative people. And this lecture we are going to be talking about creating documents and different ways of saving a specific documents, okay? And this is very important guys believe in everything we do heroism bosons, if you want to be a Photoshop experts. So the first thing you have when you open Photoshop is that you have two options right here we have creates new and we have open. So open will allow you to open an image or a file from your desktop. And creates new, will allow you to create a new documents and Photoshop. So when you click here or this window will open right here, we have recents, which means the recent documents we've been working with are working on. We have saved whatever saved presets you have here. And then we have difference presets for difference disciplines. So if you are into web design, you can choose presets from here. If you click on view, Aubrey says you will have more. And you can also download templates from Creative Cloud. You just click and then click Download. Well, I'll say it's finished as will appear here under saved. If you are into UI design, you can click on mobile and then you will have difference presets for the mobile design, even Apple Watch if you want. So you have pretty much everything here. You can also create your own presets. So if I come over here to preset details this area right here, I can give a name to my presets. So for example, is going to be Instagram. Post. I can choose a measurements units from here. But souls anxious and semitones, whatever, dependent on where you live. So I would usually just go ahead and choose pixels. If you are in the US, you can choose inches, I guess. And right here, I will answer the dimensions of an Instagram post. So it's going to be 1800 pixels by one hundred and eight hundred pixels. Resolution is always a good idea to have. It's at 300 pixels per inch, especially if you're going to print this color modulus, leave its RGB, its bits colors. You can change right here, 16 bits or 32. But this is especially done for photography. If you are working with photos and you want to access more colors than aids bits will give you. So this is pretty much some advanced stuff I want to leave. It's right now. Background Contents, you can leave its whites if he wants black, I can turn it. It's a black box usually doesn't matter. Advanced options, we have color profile. If you click, you will have a difference color profiles right here, okay, and here we want to pay attention guys. So you can either choose work in RGB or don't scholar manage or Adobe RGB 97-98. The other color profiles, as you can see here, belongs to different cameras. Ok. These are the color profiles for their France photography cameras. So you don't want them included and your projects. So I will change this to work in RGB. So you're probably asking yourself, what is the use of color profile? So color profile basically, when you finish saving your documents and you want to open it in a new software, the color guide will tell that specific software that is not Photoshop. What's color profile this document is that will allow you to keep the same colors as the one you've been working where they're in Photoshop. You won't be surprised with different colors when you reopen the documents and a previous version of Photoshop or another software. And once you finish setting up everything, you can click here on this icon. Give us an m. So this one is going to be Instagram. Post presets, safe presets. And now it is saved directly under saved. Ok, Create New. And here we have it's, I can hide this layer for now. 6. Different Ways to Save a Document : Okay, now, let's go ahead and talk about different ways of saving a Photoshop documents. So I'm just gonna go ahead and build something real quick. Just to save. It's because I hate save and empty documents. You don't have to know what I'm doing right now because you will learn all of this stuff later. And the colours of interest during the eyes real quick. Go, go on the pen to do here. And so once you finish your work on Photoshop, you wanna go ahead and save your file. So now right now we finished, let's go to File and they look for Save As we'll have this window, it's going to ask you to want to save to cloud documents, or do you want to save on your computer? Now, best option of course, is to save on your computer. Or if you don't want to see this box again, you just click on, don't show again, okay, but I want to seize again. So I'm gonna leave this one unchecked server on your computer. Now we need to choose the folder where Photoshop is going to save this file. So you can choose your folder from here. I already have mine selected, which is Creative Cloud files. Filename, I'm gonna name it's Mickey Mouse, Lexis. And Save As type. If you click here, you will find a lot of options. We're not going to explain all these options. We will just explain the most used one. So the first one and the most common one is to save your photo as PSD. Why? Because you will not lose quality and you will retain all the editing options. Okay, so when you reopen that's PSD file, you will be able to finish your work or edit your work. You just wanna make sure of two things. You wanna make sure we have layers right here, selects it or checked. And of course you want to have the color profile that we selected earlier checked. It's very important. If you don't check layers, if you uncheck it, you will not be able to edit your documents. Save. This window will open. It says here, maximize compatibility. That means this documents will be compatible with newer or older versions of Photoshop or any other design software that you decide to open those documents with. Click OK. And now we have our file saved on their Creative Cloud files as dots PSD accession to the guys. Here it is. Now, let us go ahead, click again on Save As on your computer. And the other exceptional women talk about as dots, tiff. So you wanna save as safe for two reasons. The first reason is that you gotta send the document to a printer. And that's if excession uses a lossless data compression, which means it doesn't compress the image itself. It just compresses the data. I know it sounds kind of weird, but it's what it does. So the dots if extension file will be bigger in size than the dots PTSD because it has more resolution, more quality than does PSD. And you also wanna save as safe if you're going to open this documents. And another design program, some programs accepted that you open, that's if extensions, but don't accept that's PSD. So you can think of safe as an older version of dots BSD extension. You don't have to worry about slayers, what you want to keep the ICC profile check, OK. Click on Save. You will have this safe options window, that's where pop up. You can leave everything as it is here. Okay? The only thing you need to pay attention to is the image compression. So you can either choose none. I don't want my image compressed. I want to leave everything as it is. Or you can choose the LZW. And this case the image will not be compressed. Bus the data will be compressed. Okay? So as you can see here, when I hover over it, it says compression on composites imageData. Ok, click OK. And now we have including, our layers will increase the file size. Okay? And now we have our tiff file saved. Now let's go ahead and sulk about another option that you can choose, which is save in as dot J peg. And this one. And this one, you don't have to worry about slayers because it's going to save it as a single picture. Just make sure you have the ICC profiles selected. Click Save. You will have this window open. So when do you use the dot JPEG option? You use it when you want to upload this image into a website's, into the web. Could be Facebook, Instagram, whatever. You can choose, the quality of the image from here, make sure you have preview selected so you can check the quality. Now, ten as an OK quality, you don't notice a difference. But if I bring it all the way down, I don't know if you see it's, but the image did lose a lot of quality. But because this is black and yellow at not obvious. So you can either keep it as ten or maximum, which is 12. Ok, so this is 12 maximum. You can see the file size right here. It doesn't crease. And if I bring it all the way, for example, to one, you can see the file size decreases by half. So a font to send the preview to a client's or upload your image and to the web, save in as dots. Jpeg is a pretty good option. So I'm gonna leave it in 12 and then just click OK. And now we have savored our emerge as dots of J Beck has go to File Save As again computer. And this time I wanted to talk about Dots PSB. Now that's PSB is the same as dots PSD. The only difference is that if you work in on a big documents, let's say for example, you build in a websites or a UI design, if the file size is above two gigabytes, it will not allow you to save the documents as be as d or as anything else. You need to save as large documents formats, which is does PSP, ok. And finally, the dots PNG, if you want to have a transparents documents saved. And it's also does a loose inequality when you save, does PNG file doesn't lose inequality when you save as PNG, which is good about it's okay guys, that was pretty much all about how to save your files and see you in the next lecture. 7. The Move Tool in Photoshop: In this lecture, we are going to be talking about the Move tool in Photoshop. This suit right here. Now it may seem like it not a big deal, but it's very important to understand how to move objects in Photoshop. So I want you to come over here. It's a file open and find that folder called fake moustache. Click on this picture, hold shift, and click on the last picture. Click Open, and the three pictures will open and three different windows. Now we want to move all three of them. So this Instagram presets documents that we have right here. So let's start with the women first. Opened layers. Makes sure you unlock the lock background. Then click and drag to the Instagram documents. And now you can click again and reposition the image accordingly. Okay, so this is one way of moving pictures between Windows. Or what you can do, for example, is right-click on the layer, look for duplicates layer, and then select the documents where you want to move this layer. Ok. And here we have the mustache. Now, I'm gonna do the same thing with the rows. Right-click. Duplicates layer. Selects the name of the documents or the destination. Click. Okay. And here we have its. Now we can go ahead and close these files, goods, we're not gonna need them anymore. Come on it's own distinct fullscreen. And then just increase the size of the layers panel like this. I'm gonna go ahead and rename real quick my layers. And this one is mustache. Rows one. And now if you want to move the mustache, you need sick lake on the mustache and then move it like this. Okay. So you see when I'm moving, as you can see, sometimes these pink lines and these are the smart guys, okay? It helps to guide you according to the canvas or to the objects. Someone who plays the mustache right here. And now if I want to move the rows, if I click on the rows and drag, the mustache is gonna move. Okay? Why? Because we need to set X to the rows layer and then move the rows like this. I'm gonna go ahead and add a circle. Here. Click culture shifts and drag. I'm position is here. Like this. Click on layers and then just rename this circle. Now I'm gonna re-select the ellipse C2 and then change the color of the circle to this. Ok, so you can see I'm just sampling the color from this standard she has on her fingers. Click OK. And then I'm gonna come over here to stroke and then remove the stroke. Position the circle accordingly. And now you can see the guy's a tiller newdata circle now as well, aligned with the rows, you can see two lines and one line from the center of the circle to the center of the rows, that's me is they're both well aligned. Opened the Layers panel from here, or click F7 on your keyboard. Would the circle selected, I'm gonna go ahead and click right here and change the blend mode to overlay. Now if we want to move the circle to the rights and the rows to the left. So we need to select the circle again, move it here, selects the rows, move it's here. Now this is a good way to move objects in Photoshop if you don't have a lot of layers. But if you have thousands of layers laying here, it's going to be difficult to work with this method because it's going to ruin your life and your workflow. So what you need to do is when you have the Move Tool selected, you need to check auto selects. Now this time, if I want to move stuff, I can just click on the staff and move it. I can click on mustache on a picture and then just move stuff. Okay. So up until now, we know how to move things in Photoshop using the Move tool. But there is also another way to move things in Photoshop. And that's if you come over here to window and look for history, you will find here all the moves that we did when we opened Photoshop. So this is very important if you want to move back and fix something, or if you want to move back to the original design that you did the first time. So for example, if I click here, it's going to move back. And then here, move back, move back, move back up till here. You see. So once I click, it shows me all the stuff that I did. There was also another method to move back and forward as if you hold Control or Command plus z is going to move back. And if you click on Control Command Plus shifts plus z is going to move forward. Okay guys, and I'll see you in the next lecture when we going to be talking about layers. 8. Layers Are Everything in Photoshop: In this lecture, we're going to be talking about layers. And it's important to note that clears are the foundation of four Cain in Photoshop. So click on open. And then I want you to find these documents to short small cob dots BSD. Open again. Once you open the file, the Layers panel should open automatically. And you'll have three layers here. If this doesn't open, you can click F7 on your keyboard. Or you can come over here to window and then look for layers. Ok. So the first thing you need to know about slayer was is that the order in which your layers are is very important because I want you to think of layers as papers, asteroids, parents papers. Let's say for example, you want to build a character. You gotta have the paper with the eyes, and other paper with the mouth, with the ears, the hair and so on. And you're going to put these papers on top of each other to query as the character. And if one of these papers is not transparent, it's solid and you put it on top, is going to cover the entire thing. So right here, for example, you can see that we have crown and we have the text that's I have transform it into shape. And then we have the t-shirts and the background right here and it locked. So if you want to unlock a layer, you just click on the lock. And I will be unlocked if you want to luck it's back. You can click on the lock here and you will look at back. Now if I bring this layer 0 and put it on top, you can see what I'm talking about. You can not see the crown and the text because this layer is not transparent. It's solid, so it's covering the crown and the texts. If I keep this layer is selected. And I come over here to opacity, which is transparency and decreases a little bit. You will see the documents beneath its I'm gonna put it back where it was. The other thing I want to talk about is that name in your layers. So if you work in a small object like this through layers, no need to name them because you will recognize which layers which. But if you're working on a big project and you have thousands of layers, you need to name them. So to rename a layer, you double-click on a type and then you enter a name. Like this. You can also hide a layer by clicking on this IRR here. So for example, I want to hide the crown. I can click here. Now it's gone, it's invisible. And now I can make it visible back again. Okay, some designers prefer to work this way instead of naming the layer to just toggle between visible and invisible, to guess which layers this but this is a best practice. I don't want you to do this. I mean, unless you spent years in Photoshop, then you can work however you want because then you'll be comfortable. You can also delete layer. So for example, let's say we want to delete the crown. I can click on layer hold, drag it, and put it on top of the trash can right here, released and it will be deletes. It control commands, Zed, I have it's back. Or you can simply select the layer and click on Delete on your keyboard and it will be deleted. If you want to create a new layer, let's say for example, I want to add my signature right here. I can click on this plus icon and it will add a new layer. And then I can select the brush, make sure I have whites here. And then just do something here like this. And here we have S. So you always creates a new layer when you want to apply an adjustment to an existing layer, ok? You never go ahead and apply adjustment to the same layer. This says, this says a bad way of working in Photoshop. It's called work ended destructive way. You add a new layer and then you add your stuff. The other thing I want to talk about as duplicates in the layers. So let's say for example, I wanna duplicates the type. I can select the layer right here. And then there are different ways to duplicate a specific layer. I can either click hold, drag and put it on top of this plus icon. Or I can control command J for Juliet's two duplicates. Or what you can do, for example, is just let me hide the background for a second. Let's say I wanna duplicates the crown. I can hold Alt or option on my keyboard. Click and drag. And it's real duplicates automatically and add a new layer Control Command Z to undo everything. I'm going to go ahead and log the background right now. Now you're probably thinking why you not see into duplicated layers that because each layer is on top of the heroin. So you can just click and drag and you will see the duplicated one. Ok. There we go. Now there was a big chance that you have copy added to the duplicated layers. And the reason why you don't see copy added on my duplicated layers is because our removal this option. So if you want to remove it, you just click on the menu burger or the burger menu. Then look for Panel Options. And then make sure you uncheck this ten right here at copy to copy it layers and whoops. Okay. Once you aren't tickets, click okay. And finally, when you duplicates layers like this, you have repeated layers. The best thing to do is to organize your Layers panel so you need to group them. And in order to group them, you can select all of them. Like you can click on one layer, hold shift and click on the other one. Well selects everything. Or you can just click and hold control and click and click and like this. And then right-click and then look for group from layers. You can give the new folder names. I can just leave as Groupon for now, okay? And if I click here, I have my layers here. Okay guys. Or he can just click on Control or Command Z. And it's well group automatically. If you want to remove a layer from a specific group, you just click on that specific layer and then drag it's on a top of the group folder, and now it is removed. Now I'm gonna go ahead and explain one more thing. If I go to File New and creates a new documents, it's creates, for example, tabloid. You'll see that when you open a new documents, you will have a solid whites background locked, okay? And it's important to make a difference between a background layer and a normal layer. So the Background layer is added automatically and it's always locked, okay, it's white background and it always locked. And a normal layer is when you add a layer yourself, it transparent so you can see right here that it's respect on there is no color on it. So when you go ahead, for example, and draw something, and let's say you want to save this transparence. You need to remove this background because if you expose it like this, it not going to be transparence is going to be with the white background, even if you select or you export as PNG. So you need to remove this. And you can now export this circle with a transparent background or as transparent PNG picture. Okay guys, so that was pretty much all you need to understand about slayers for now. And see you on the next one. 9. Simple and Easy Selection Tools in Photoshop (Lasso tool and Shape marquee tools): In this lecture, I'm going to be talking about simple selection tools in Photoshop. So basically the lasso tool and the shape marquee tool. So click on open and find the folder named hello composition. Click on the first picture, hold shift, and click on the last picture. Then open. I'm going to go full screen by clicking f on my keyboard. And now let's start with this picture right here. Now we can see we have a rectangular golden frame. So the first simple selection tools I want to start with are the shape marquee tools, these ones right here. So you can see in this image we have a rectangular golden frame. So the best option would be to use the rectangular marquee tool. So select it and then click right here on the frame and drag and make a selection like this. Now, even if you select the white area at not a problem, because I will show you how to fix this. Once we have a selection like this, if you want to fix it, you can come over here to select, Transform selection, and then you can fix those ages. But it's important to hold shift when fixing the edges. That's way you don't transform the entire selection like this. You see now I transform the entire selection if I don't hold shifts, but if you hold shifts, you just transform to desire it area. So hold shift and drag. And now we have a good selection. Once you're happy with the selection, you can click here. And here you have it's so now we have the golden frame selected, but we also have this white area selected and we don't want it, we want it to be transparent. So in order to remove this White's area from the frame with the rectangle marquee tool still selected. You can hold on corruption like this. Now we can see the minus sign on the cursor click and then draw over the whites area. Once you have the guide like this and the metal, that means everything is well centered. You can go ahead and release the selection. Now we have selected the frame and remove it, the white area from inside the frame. You can also move your selection if you want. So you can see, for example, when I'm inside this election, I have like a cross. And then when I move here I have like an arrow. So once you have this wood rectangle marquee tool still selected, you can move the selection however you wants. Okay. Now we need to move this golden frame to when you documents where we will be composite in our images altogether. So to do this, you can do it in two ways. You can either control command C or control Command V and the new documents. Or you can just click on edit, copy. Then go to Window and scroll down and click on this black arrow to go even down further. Trues, The name of the documents, I'm guessing is this one. Yes. And then edits based. And now we have the golden frame and side. Okay, now let's go ahead and make a new selection. Let's switch documents again. And so for this specific picture, I'm not going to be used in the shape market tools. I will be using the lasso tool. So if you click and hold, you will have different Lasso Tools here we have the lasso tool, the normal one, the polygon lasso tool, and the Magnetic Lasso tools. So I'm just going to explain for now the lasso tool and the polygon Lasso Tool, the magnetic muscle tool. I will leave it for later because I consider it to be an advanced tool. So the lasso tool, if I click on ads, I can make a free hand selection like this by drawing over an objects like this. And you can see that this selection is going to be a bit hard because you draw one with your hand, okay? It's very sensitive to the movements of your hand. So in this case, the Lasso Tool won't work. What we need to do is to use the polygon lasso tool. So Control Command D to de-select or just come over here to select and deselect. Can then use the polygon lasso tool. Because the polygon lasso tool is very useful when drawing over geometric shapes. Anything with no curves at all. So I can start, for example from here. Click and then move and then click again. And then just work on my selection. It say for example, I make a mistake like this. I can click on Delete on my keyboard and do the selection again. So you can see how I am using space and the zoom to move in and make it a selection, just like I explained earlier. So I'm gonna go ahead and speed up this process a little bit because I don't want to keep you with me forever here. I know it's a bit tedious but sad is when it is if she wants to be a designer. Okay guys, now you can see I'm almost done. And rights before I click right here to close the selection, you can see that there is like a small circle that's, it does appear near to the lasso tool. That means if you click here, you will close the selection. Okay, now we have a beautiful, nice selection using the poly lasso tool. So I can just control command C, Control Command V. Ok, click on the Move tool. Open the Layers panel and then I'm just going to rename my layers real quick. So this one is going to be cubed. And this one is going to be frame. Now we need to rotate, scale, and position these pictures to create a composition. So let's start with the frame first, I'm going to click here to hide the cube. And we're deferring layer selected. I'm gonna come over here to edit and then look for free transform. This one. Or you can just use the short scouts, which is Control or Command T. Now I can resize the golden frame and you can see if I drag from the corner down, its will resize the entire fin. If I click from anywhere in drag is going to resize the entire thing. Okay? I'm going to rotate it 90 degrees or minus 90. You can just enter the value manually here. Minus 90 answer. I'm gonna scale it down even further. Ok, like this, click OK. Now what I need to do is just increase the width of the frame without increasing the entire dimensions of the frame. So control command for the Free Transform and then hold shift. And then just drag from this side is like this. The guy's like, OK, we'll put it down here, goods. And once you're happy with the frame, do the same thing with the cube Control Command C and then just reposition its and rescale its scale, its town like. Ok. I'm going to put the queue behind the frame like this. And I just want to make sure they both are at the same line. Now you can see the guide, the pink guide. That means they both are aligned under the same line. Now I'm going to select the background. Click again here. Hold. And this time I want to select the Elliptical Marquee Tool. I will draw a circle like this that doesn't exceed the edges of the frame. And now I'm going to create a new selection and a new layer. So control command C to copy and Control Command V. And now if I go ahead and hide the Background layer, you can see that I have a new circular selection and a new layer. I'm gonna go ahead and click on Control Command C Again. And again. Just rotate this upside down, minus one hundred and eighty. One hundred and eighty two. So you can either puts minus 180 or just 180, the same thing. They put minus is going to be the same thing. And then Enter. And then let's bring the background back, and here we have its ok. Now the next thing I wanna do is just match colors to make everything looks like it's belongs together and then just apply some small Photoshop effects. Now, I know it too early for this. But these techniques I'm about to show you our super easy and we're just gonna do it now to make this composition look more interesting. So to match colors, it's very simple. You selects the layer that you want to match. This is of course the beginners way of doing it. And then you come over here to image, and then you select Auto color and see the color change little bits. Auto contrast. And when we do the same thing for the frame, or a color contrast. And guys, now it's looks more like they belong inside this environments. And finally, I will select the new layer that we created. We may change the name to circle and then come over here to filter distorts and then apply this effect is called swirl. 50% is good. Click OK. And now you can see that we have this beautiful distortion and it looks like a glass, and it's very beautiful. Selects the cube, filter distorts. And this time I will apply the zigzag effects. Ok, leave everything as it says, just click okay. And here we have its, okay. So that was pretty much all for the sample selection tools. And see you on the next lecture to explain a bit more advanced selection tools. And don't forget guys, that once you finish, you're gonna go ahead and save your composition. 10. Explaining Advanced Selection Tools: And this lecture, I want to go ahead and explain how some of the advanced selections rules in Photoshop work. So basically I'm going to be explaining the magic wand tool, Quick Selection Tool and the objects selections. Or if you want to follow with me, you can open this documents. So go to file open and click on this documents right here. Selection tools explains. Now let's start with the magic wand. So what you need to understand about this tool is that it works based on tolerance. So it allows you to make precise selection. For example, if you want to select a tree, you would want to use the magic wand tool. Now if I go ahead and click in the middle, you can see that's, it's well selects a little bit of the whites area of this gradients and a little bit of the dark area. And because the tolerance as 32, so we have 16 points of the lights area and 16 points are the dark area. You can also see that its went ahead and selected the top area and the bottom area without touching the yellow rectangle right here. Why? Because the job of this tool as to select an entire image with the same color. So it's detected the same color and the bottom and selected it. If you want to add to the selection using the magic wand tool, you need to hold shift and click. If you want to delete a selection, you can just hold Alt or option. You will see now the minus sign and then you can click on the selection to delete. It's now let's go ahead and talk about these options right here. So first we have anti alias. This basically goes ahead and smoothing the edges off a jagged digital image. So if you want to have smooth edges and not jagged edges, you need to leave anti alias checked all the time when you make a selection with the magic wand tool. And you also want to have sample all layers always selected because he wants to be able to make a selection based on what you see on a canvas and the Nazis based on what's layer as selects it. Okay? And finally we have contiguous. Contiguous basically means that if you check this option, you will not be able to select an entire image, but just parts of the image. So for example, if I click Control Command D to unselect a night check contiguous. If I click here again, this time, it will only selects this Bart's ignoring the bottom area of the image. And that's even if the image has the same color. Ok, so very important to keep this in mind. So dependent on what you want to do, you can either check or uncheck the contiguous option. So these are my recommendation for using the magic wants sold. Keep the tolerance 32, keep anti alias, check, and keep sample all layers checked. Now let's go ahead and move. The Quick Selection Tool. Now the Quick Selection Tool is more useful when you have an object in an image with a defined shape. It could be either a geometric shape or an organic shape like a leaf for example. So for example, if I want to select this yellow rectangle, I can just click and drag. And it's well selected automatically on its opera. Here you have simple all layers, which is the same as the magic wand tool. And you need to check enhanced. This will also go ahead and smooth and the edge selection. And the cool thing about the Quick Selection Tool is that if I come over here, for example, and I make this layer visible, I can add to the selection without having to praise or hold any button on my keyboard. So I have this yellow rectangles, selects it. If I want to add this submarine to this election, I can just click on its and it will be added automatically. Because as you can see here, we have the brush with the plus icon selected by default. So the magic wand tool is perfect for a precise selection and the Quick Selection Tool is perfect for a shape selection. Now we have the object selection tool. Now this tool only been added recently into Photoshop. I think it was added last November 2019. And this is such a great tool that allows you to make complex selection with complex background. So let's go ahead and open another documents. This one, and this is a good example to explain how the objects selection tool works. Now with the object selection tool, I can just click and draw like some sort of a rectangle on top of my desired objects that I want to select, release. And then it will automatically make a perfect selection for my objects. So this tool basically works using some weird Adobe artificial intelligence to find the subject or the object based on the area that you selected and then just extracted from the image. And so of course we can choose from here, do you want to have a rectangle or a lasso tool? So if I Control Command D to deselects and choose the lasso tool, I can do the same thing as we did earlier. When I was explained in the Lasso tune like this. That was a bad drawing. But as we'll go ahead and select the objects perfectly unlike the lasso tool. So this new selection tool added by Adobe, as you can see, is quite powerful and it could be revolutionary. But of course, it has its imperfection and we will see it on the upcoming lectures. So that was pretty much it guys for this lecture and see you on the next one. 11. Using Advanced Selection Tools: And this lecture we will go ahead and see how we can use the selection tools we talked about earlier and real-world projects. So click on open and find the documents named hello composition to click hold shift and click here, and then open. Let's start with this image right here. I'm gonna go fullscreen. So let's say for example, I want to select the tree. I will do it using the magic wand tool because this is a difficult selection. And so one thing you should keep in mind is that when you have a difficult selection like this, so you have to ask yourself which is easier to select as at the sky and the clouds or the branches of this tree, okay? Always ask you self-description when you make a selection. So in this case, it's obvious that it's easier to selects the sky and the clouds. So with the magic wand tool, select said I'm on a click and select this guy. Now it will select everything with the same color as this guy. Why? Because we don't have contiguous checked okay. Tolerance, as I said, you always leave it at 32. And keep in mind that's the lower the tolerance, the more precise the selection is going to be. But I always recommend leave it in 32. You can experiments with less tolerance with some pictures if you want. But the goto is 32. Now I'm gonna hold shift and I want to select also the Cloud. Okay, so I'm just select everything here that is not the same color as the tree or the bushes. So now I think this is a pretty good selection. But remember that we selected the sky clouds and we did not select the tree. So we need to inverse the selection, click on Select Inverse. Now as you can see right here, we have the tree and the bushes and everything else selected, but the sky and the clouds. Now this is enough, we can just copy and paste, but we need to make some adjustment. We need to refine the selection. So to refine a specific selection, you just click here, select a mask on the option bar. So right here you can choose the color of the background. And remember, when choosing the color of the background. When adjusting a mask, you need to always select the opposites of the color that you already had. So for example, right here we have the bright color, whites and cyan. We need to select the opposite of that, which is a dark color. So probably blue or dark blue or black just like this. So we can see clearly the edges. And what do we need to refine? Click OK. Now I'm gonna zoom in to the picture using the magnifier or the Zoom tool to zoom in a little bit to check the edges. Where we go. Now you can see that there is still some blue selected right here on the edges of this tree. So what she can do, for example, is just Use two tools right here on the properties. We will adjust the feather that will smooth and the edges. So we will have less jagged edges and you want to increase it just a little bit. Never go beyond one pixel, you always go below one pixel. And then you will find shift edges. And we will drag it down negative values so we can delete. So you can see that the blue from the edges is starting to disappear. Maybe I should increase the feather or little bits. And I think I will just leave it at one pixel. Now you can see that this selection is much, much better than before. But we still have some blue colors by the edges. So when you adjust the shift edges and you're just the feather and you still have colors by the edges. You can then go ahead and work on some radius. So the radius will determine how many pixels to change on each side of the edge to get rid of that blue that is bothering us. Okay, this is much better. Another option would be to go ahead and check smarts radius. This will automatically go ahead and adjust the radius for hard and soft edges that we have here. And now you have a choice if you want, you can remove the grass and the ground and keep just the tree or if you need it, you can just leave it like this. So just in case you want to remove this, you have to click on a brush. So select the minus, increase the size of the brush. So you can either increase it from here or clicking on rights brackets on your keyboard. So rights increases and decreases, Make sure it's minus. And then we can just deletes the area that we don't need just like this. And I can just keep the parts that I need. Let's zoom in and then I can decrease the size of my brush and then the leaves this. So if you want so hard you choose minus if you want to really just click eyes so you get the idea. Once you have pay, you scroll even further. And right here you can see outputs settings. So you want to select, I want this refined selection to be output to a new layer. Click, okay. And here we have, it's guys. Okay? And now let's go ahead and switch. So this one, now same thing with this picture. Let say you want to select the branches of this tree, select the magic wand tool and then simple the sky. Then you can add selections like this. I think this is a pretty good selection. We have here some holding shifts as you can see, to make sure I have selected all the areas of the sky. Because most of the time when selecting a gloomy sky like this, we have darker and whiter areas and the sky, just like the gradient example we did in a previous lecture. Okay, now we go ahead and inverted the selection, selects and mask. And here we have it. We can just increase the feather a little bit. 0.7. and then outs fruits new layer. Okay? And here we go. Okay guys. So this one, I want you to go ahead and do on your own. You're going to use pretty much the same technique we did earlier. What the last two pictures. And now let's talk about this one. So this one, as you can see, it has a shape, a well-defined shape. So we have two options. You can either use the Quick Selection Tool. I'm going to increase the size of the brush again using the left brackets on my keyboard and then just click hold and drag over belief. This part right here is quite thin. So I'm gonna go ahead and decrease the size of the Quick Selection brush. Okay, invent shrines and make a selection here. Here we go. Now this part's need little bit of fixed and so I can hold olds. Now they ingest the leads to the selection that I done it like this increases the size of the brush and then DEWATS again by holding olds. And now here we have, it's okay. A nice selection using the Quick Selection Tool. Now selected mask. And boom, bada, boom, we have a little bit of a problem here that we can fix easily using the brush, the curious a size, choose minus, and then just the leads. I think there was too much because the leaves through slides from here and from here. And now we can just adjust the feather a little bits and curious or just little bits like this. Shift adjusts the lefts, and then output selection to new layer, ok. And here we have a nice selection. So I'm going to hide this and make this one visible against selected. Or the more easier option would be to go ahead and select the object selections rule. So here's the thing guys. My job here is to show you how all the selection tools work in Photoshop. And then after you get comfortable, you can go ahead and choose the right selection tool, the Pantheon on the picture that you're working with. And sometimes you need to combine more than one selections rule. But usually if I was working directly on this picture for projects, I would usually go and select the object selection tool right away and then just draw a rectangle over its release. And now we'll have a nice selection right away without having to work harder. Okay, but since we are explaining Photoshop and different tools, I needed to do the Quick Selection Tool for this one. Select mask. And you can see that this is a very clean selection. We don't need even to adjust the settings right here. So just outputs directly to new layer. Ok, so this is pretty much all for this lecture. We're going to go ahead and continue on the next lecture. 12. Using More Than One Selection Tool: Now let's talk about this photo right here. So sometimes it's not enough to use just one selection tool. We have to use two tools or maybe more in combination, like for example, in this photo you can see that there is this picture of the leaf and there is also the shadow casted on the ground. So in this case, what I will do here is selects the abject selection tool. Make a selection like this. And then I'll go ahead and choose the Quick Selection Tool. And then just to refine the areas, I will selects the minus brush here or subtract from selection. Or you can just hold olds. What's better selects this one. And now I can just deletes areas that's I don't want included and a selection. And that's basically are the shadows. And now I can switch to the normal brush, decrease the size, and then just select this area. Like first. Go back to the minus brush and then increase the size little bits. And then there's the leaves, the shirt off from here. That was too much to see. Sometimes you make this mistake. So control command, Zed. And let's do it again. I think I went a little bit through high neutron axis. See here still this Parts. Cuz the brush like make gloss brush than to sleep and so on. And Harry curl in this area need to be unselected as well. So now we have a beautiful selection that we can refine. So you see guys that using tools in combination can really help what's difficult selections. Now select and mask. Zoom in so we can see the imperfections. Select the brush, increase it. So x to the minus because we want to delete some areas from here. So you can see the white stuff from here needs to be removed. So if you click eggs on your keyboard, you can remove the mask so you can see the initial vector. And just to sort of see what you're doing and gives you get last. Could just increase the federal little bits and decrease shifts in the edges little bits. New layer. Ok. And here we have our selection. Okay? So of course I understand though this parts right here still needs some work, but just for the sake of this lecture, consensuses, a Beginners Course, I'm gonna leave it like this. So if you think this has difficulty, just need to give yourself a little bit more time until you become more comfortable using a Photoshop, then all of this will become like second nature. So let's see if we still have a picture that we did. And this one has told you to work on. I think I am missing a picture file open. Yes. So this picture right here, I forgot to add it to the documents. So open. Now you can see that this is a quite difficult selection, mostly because of the background. We don't have a solid color background. We have a lot of things going on in the background, different colors and stuff. So let me show you how we can work with such pictures. You can just again select the object selection tool and make a selection lectures. You will have a nice selection. As you can see. We can either refine using the Quick Selection Tool again. Hold Alt and dangerous drug like this. Same thing here. Okay, now you can see that the object selection tool can really, really be helpful in combination or the Quick Mask, selected mask. Now we have a nice selection. As you can see, the hair can use some work If we select this tool right here, the Refine Edge brush tool and decreases a bit. So I can just draw on the edge of the hair like this. And here we have, as we have the hair, we choose a different color because the hair is black, so maybe something like this. And ok. Now, smarts radius, because we work in with a human, increase the feather. And just a little bit of shifts, edge decrease, increases the further to one pixel conflicts this area with the refined selection tool and then just draw over this area like this so we can deletes a little bit of background. Maybe more. On right guys, outs puts new layer ok. And here we have it. 13. Working With Masks In Photoshop: And this lecture are we will learn how to mask in Photoshop. So go ahead again and click on open and find this folder called masking. Click on this picture. Now go to File, Place Embedded and then choose this picture. Gonna resize it like this. Here we go. Now let's say you want to put this picture inside this frame right here, using the only methods that we've learned so far. So let's go ahead first and position this picture right here accordingly. Like this. So when you see the line of the guide like this, that means the pictures we'll censored. Click OK. Now I'm gonna hide this. Zoo man selects the polygon tool, this one, the polygon lasso tool. And then let's make a selection on the frame. So just click hold shifts. Click here. Hold shift to make a straight line, and then click here. Hold shifts again to make a straight line of click here. And now let's just connect everything together, which shifts again. And here we go. And now of course we can adjust the selection, selects, transform selection. And let's make some small adjustments real quick. Don't forget again to hold shift to only effect the desired areas of the picture. We don't want to resize everything together. Same thing here. Same thing here. I'll shifts and track. Wants to finish click OK. And now we can unhide our top layer with the girl mixture. It is selected, go to Select Inverse. And just click on Delete on your keyboard. You're gonna get this message saying could not complete your request because a smart object is not direct development block. And that means you need to rasterize the layer. Now, I know this is quite advanced, but it happens all the time. So you need to understand how to work with this. Whenever you see this message, when it says the smarts objects is not directly editable, you just right-click on the layer and then Rasterize Layer. Okay, now if I delete, I will have the image inside the frame control command needs who selects, and here we have it. Now this method is only logic using what we have learned so far. But the problem when masking this way is that Distractible. You cannot edit the mask. Let's say for example, I want to adjust the position of the girl. We scale it or apply any direct scattered to the girl at not gonna be possible, I have to go back to the original image at its ID and then mascots again. So it's gonna be a lot of work and lots of unnecessary steps. So in order to fix this, we need to apply mass. And we use masks in Photoshop to control what show an image and what's not to show an image without deletes in parts of the image. So mast in Photoshop are just like The Faceless Man Form Game of Thrones. So first let's go ahead and undo couple of the steps that we've done. That let's go back until here, until we only have the selection of the frame. And now this time, instead of inverse in this election and clicking on delete, you can leave this selection as it is, as he did with the Pali lasso tool. And then just click on this icon right here where it says mask. And now it's going to mask the image. Keep in mind that the image is not deleted. The image is only mass. If you look at this thumbnail right here, we can see white rectangle and you can see black background. Now black is concealing and white as revealing. If I hold alter option and click, you can see a bigger view of what's going on or preview of what's going on. If I hold Alt or option and click back again, we go back to normal. So for example, if I click on a brush and make sure we have whites right here on the foreground. I can reveal the rest of the image. There's like this you see? So now let's say we want to adjust the picture inside the frame. We can click here on this link icon. Select the picture, select the move. And now I can move the picture freely inside the frame. Okay? I can control command C and the rescale the picture or resize the picture beds. I can adjust the position of the picture just like this and then click OK. Once you finish adjusting your picture, you need to bring the link back. It's very important because if you now bring it back, you may end up making a mistake like this or like this, you know, and then it's going to be bad is going to MSU up. You're gonna worry and then all that bad stuff is going to happen. So Control Command Z to undo and then bring back the link between the picture and the mask. And one more thing I wanted to show you, let's say for example, we want to reveal this hand that is cropped right here. We can do it using the mask. So what you need to do is hold shift and click on the mask. Now Damascus gone, but at not deleted, it's still here. If I hold shift and click again at Welcome back as it's was. Okay. So for now, let's go ahead, hold shift and click. Make sure you have the image selected and not the mask. Let's go to our friend objects selection. Make sure you have lasso nuts rectangle. And then let just select the parts of the arm that you need. For example, like this. So I'm gonna go ahead and make a rough drawing. Let's select the Quick Selection Tool to adjust this part's hold Alt or option and then just bring it down. Like first few Rico. Let's bring the mass back by holding Shift and clicking on the mask. You can see the selection is good, but we are still missing parts. So let's hide the mask again. Go back to the object Selection Tool, hold Shift, and then let's select the area that we need. This bar. Alright, so can we have it? Yeah, that's what we need. Now here's the thing, guys. If you want the hand to appear here under the selection, you need to fill it with y's, because as I said, when you apply a mask, whites reveals and black kids and the whites that you are going to apply need to be applied to the Mask thumbnail and not to depict orthogonality, because if I apply y to the picture, it just gonna be normal whites. We need to apply to the mask so it can reveal what's under the mask, which is this picture. Soap Lake on a mask goes to edit fill. Then you will have this window popping up. And right here under the Options contents you want to select whites. And why here relieve normal, blend normal, and then opacity 100%. Click OK. And then here we go. We have the hand. And now it looks like it the hand is coming out from the frame. And now if you want to delete the mask, you can just click on a mass and drag it right here to the trashcan. Now the mass is deletes it. Ok guys. So let's bring it back and then just leave our composition like this. So you can see this is a beautiful technique and this is a beautiful composition. I see it as a ladder on social media and Facebook and all that stuff. So want you to go ahead and retry what we just did right now. 14. One Click Sky Replacement in Photoshop CC 2021: Okay guys. So I wanted to go ahead and open these two pictures under sky selection folder. And in this lecture I want to talk about this kind of selection or this is a new feature only available in Photoshop, CC 2021 and it not available in the previous version of Photoshop. And now he's at the unitary, want to select this guy right here? The most obvious choice would be, of course, the magic wand tool. So if I go ahead and click to select Cai, You see that it is going to be a problem, is going to select this chi and little bit of the mountain because we have some colors, honest guy. And on a mountain, if I deselect and check contiguous, I can say like this guy's gonna do a good job. But again, if I tried to make a whole selection, I'm going to run into troubles. Again. Selected parts of the mountains because this color is same as the color right here. So thanks the Lord and Valhalla, Adobe introduced a new feature called Cairo placements. So what this picture is selected or not selected? You can come over here to select and you will find sky. So just click on Sky where it's a little bit. Here we have a perfect selection dial. We could not get by using any of the automatic selection tools. And the only way to get a perfect selection like this by using the pencil. So now we can invert the selection. Selects a mask. You can see how it's the perfect job. Now let's output this to a Layer Mask and then click OK. And here we have it. Now I can go to File Place Embedded. And then I can place, for example, this picture behind the mountains. So I'm just going to place it beneath the mountain layer. Control command S0. And here we have a Tukey guys. Now, one more selection. I wanted to show you. One more selection I wanted to talk about is that if you have a picture like this with a solid color background, you can easily select the subjects just by one click. So for example, if I select the magic wand tool, I can click right here on select subjects. And it will select the subjects are automatically for me. But of course, this does not work all the time. It works only with some pictures that are easy to select. Ok guys, that's why it's very important to understand how all the selection tools in Photoshop. For now, I can just Command C, Command V here. I can place this guy here. Okay? And now of course we can just does the colours like fish and regrets it off. Okay guys, so that was pretty much all. And this is the last lecture of this first section of Photoshop course about a different selection tools and masking. 15. Class Project: Recreate A Composition Using The Selection Tools And Masking: So your assignments guys for now is to go ahead and recreate this composition using the images that I provided you. So come over here to File Open again, same procedure and find this folder called class projects, selections and masking. Opened is through pictures. Okay, guys, soldiers go back to this. So all the tools that I used here we talked about in previous lectures, and this is pretty easy if you cannot do is don't worry, just go ahead and re-watch the lectures. So you know how to create this composition. So I'm gonna give you a hand. You can use carers placements, or you can use the magic wand tool. And then you're going to use the Elliptical Marquee tool. Then you will just go to image and automatically match colors. Okay, pretty easy guys wants you to do is I want you to go ahead and upload your composition so I can see how you did either here or you can do. It's by John in my Facebook group, opposing decomposition. Okay, so I'm gonna do it real quick, but I hope you go ahead and quickly had decomposition. We look into the answers. So selects the magic wand tool, make sure you have contiguous checked. And then just select this guy. Like this. Because if you don't have contiguous checked and to also check the darkest area of the image. Go to Select Inverse selection. Open the Layers panel, select the mask on the brush. Make sure you have minus checked here. And then just try to delete those small stars right here. So I'm just fixing areas of the stars. And we go, I'm going to zoom in a little bit more. And this time I'm gonna select the Refine Edge soil and then just refine the selection between the fire and the light's coming out from the fire. And this guy, smarts radius, increase the further a little bit. Shift edges minus little bits. Good outputs to Layer Mask, cuz we gotta be working non-destructively from now on, because we know how to use layer masks. Okay? And here we have it's guys. Now selects this guy. Control C, Control Command V. Place it below the Sahara, Control Command C. And then just adjust the Kaelyn of every fan. Okay? If 74 layers, make sure you have this guy selected image out of color. Contrast, automoton. And now with the scholars tell selects it. Select the elliptical market tool. Pulled shifts to drill a well proportioned circle. Like this, a big one. Of those birth shall Command Z to undo and dangerous redoing. Now hold shifts and drag and release the mouse. Functionaries the shifts and still have the circle position on the circle and the sensor, the guides will let you know that you are in the center. Selects, transform selection. I'm just going to increase. It's a little bit more. Okay, now control commands C, Control Command V. Control command C for Free Transform. And then just decreasing size. Here we go. Same tarik, bringing it down behind the Desert. The Sahara. Hards guys. And here we have our beautiful composition. Simple buds, beautiful. 16. Understanding Resolution : In this lecture, we're going to be talking about a resolution. So precisely terms like image size, definition and pixels per inch. So we're going to find out what are those. So I want you to go to open and then find this file called resolution, and then open both pictures. Okay. Now I notices of subjects, but this one right here as a very expensive picture I buff from Adobe stock, just so you know, this one is free. So when you open a picture in Photoshop like this, the site from getting the information about the picture from the documents like we've seen earlier. If you come over here to window and then look for info, open this enthalpy panel. You will get all the information you need about the picture. So we have the size of the file. We have the color profile, which is SRGB that the most common color profile are going to be working with. And Adobe Photoshop. So either that's one or Adobe RGB. We have the dimensions of the picture, and then we have the resolution of the picture, which is 300 pixels per inch. Ok? This down here is not important. So there was a big chance that's if it's your first time opening the NFO panel and we don't have these inflammation. So you can click on the burger menu, then click on Panel Options, and then make sure you check these informations. So he checked document size, documents, profile documents, dimensions, and measurement scale. There is no need to check it. You probably have just one checked Show tools, hands you can conjugate as well because it just going to give your hands, like tell you what to do with the picture which you don't need. So just on chickpeas. While you do all of this, you click OK and we're good to go. Now, at first step, I just want to expand the resolution. So if you go to image, image size, you will have this window. And this is a small preview of the image. So right here, we have the resolution, we have the dimensions, the width and height. We have measurements units here, so you can choose he wants pixels, anxious, centimetres, whatever I'd like to go with pixels. And then right here we have resample. I'm gonna leave this for later. Kids resemble you only check it's when you want to upscale or downscale your image. So I'm going to show you how to best upscale and how to best downscale your images for different purposes. Now, we just uncheck Resample and we just focus on resolution. Now we can see when I uncheck Resample, we lose pixels. If you lose it to, not to worry about, oh, this is normal so we just keep working with NGOs for now. So let's start with the resolution. As you can see right here, we have 300 pixels per inch, and this is about the best resolution that you can get out of an image. This is the recommended one, most used one. And this 300s pixels branch as the resolution you choose when you about your brains have documents. But then you have to ask yourself, what type of documents are we talking about? So here's a thin guys. 300 pixels per inch is the best resolution when you go into print. Something that people are going to read. For example, a book or a magazine, a DVD cover, album cover, a t-shirt, something they're going to be a readable. Okay? And if you go into print something large, for example, like big banners or billboards, then you need to decrease the resolution. So you probably thinking, how come that we need to decrease the resolution to print something larger and increases to print something smaller. Are you serious, Adam or crazy? No, I am not guys, just hear me out. So here's a thing. 300 pixels per inch means that's an every inch. We have 300 pixels. Okay? So I want you now to go ahead and keep an eye on the width and the height when I'm going to change the resolution of the picture to 150. See what happened to dimensions just increased. Okay? So now instead of having 300 pixels per one inch, we have 300 pixels per two inches or 150 pixels per inch. So it's winter, have an increased everything times. And keep in mind that lowest I go, the bigger the picture is going to get. And I want you to understand that those big prints that you see on huge buildings, sometimes the resolution is as low as 20 pixels per inch. So the smaller the resolution, the bigger or the dimensions of the image are going to be. And it's good for large painting purposes. And the higher the resolution, the smaller two dimensions we'll get. And it's better for prints and things that people are going to read. Two books, magazines, posters, et cetera, et cetera. And also, I only recommend that you decrease the resolution to 20 if you're going to print this image on a big building, if it just a billboard or something of the sorts, 72 is fine. So hopefully that was clear and you got the message. So now I'm going to click cancel and we will explain how to use resample to upscale or downscale your images. 17. Upscaling And Downscaling In Photoshop The Resolution Of An Image: And this lecture I want to show you how we can upscale and downscale the resolution of your pictures the right way in Photoshop. So let's go ahead first and change the documents. And let's say we want to use this image to printed on a book cover. So the first thing we will do here is of course, check the NFO of the image. You can see that at 72 pixels per inch. And what I did you say earlier, if you want to brains for anything that is going to be read by the customer or by a person, the resolution needs to be 300 pixels per inch. So let's go ahead and see how we can upscale this image. So click on image, image size. And the first thing you wanna do here and just adjust her face like this. There you go. You want to check resample, okay, then change the resolution to 300 pixels per inch. You can see that's once we increase the resolution, the image size increased as well with the resolution. And this is normal because now we have more pixels per inch. Now the next step would be to go ahead and enter the dimensions for a book cover. So the mass markets dimension for a book cover is 4.25. Kangxi by 6.87. But sands, These are linked and I recommend that you always leave your widths and heights linked. Otherwise, there was a big risk that you distort your image. So I was saying, since these are linked, once you enter the width, the height will be added, then automatically, let's go ahead and increase its objects. Little bits like this, four points, five. And now we're pretty much done. Now, the most important thing here is to understand what should choose from re-sample. Because we have a lot of things. We have automatic preserve details. Be cubic, sharper, be cubic smoother gradients and so on. Now when upscaling The best resample to choose as preserve details to points, I'll slip reserve details. 2 is the best option to upscale images without losing quality. You will not notice any downgrade and the quality of the image, because it's uses artificial intelligence to maintain the details of an image when upscaling, without the risk of over sharpening or doing anything over the source to the image. You can also play with the noise, but I usually just leave it and a metal. And if I zoom in, you can see how clear her face is. Okay guys. Now is go back to D vector, this one, and this one right here as a 300 pixels per inch. And let's say we want this picture to be printed on large billboard or build annual banner or whatever. We want it to be printed for display purposes. So let's go to image. Image size. And this sum, we can decrease the resolution down to 72. Okay? We can increase the width and the height. They try for example, 60 or 80 or even 100. Let's push. It's really far. You can see that the image size did increase a little bit. And let me just adjust the preview window. And remember what I said earlier. For large prints, always use low resolution figures. We can even go crazy, for example, and it's a report hits 200. The image will not get blurry or pixelized. Okay, we will now close resolution even if increase the dimensions, because we are reducing the original resolution of the image, which is a 300 pixels per inch. It's always a little bit. You go, the image looks as good as it can be. Now, the most important thing here when downscale in your images is that you don't want to use. Preserve details 2, you use BE cubic sharper reduction. Okay? So if you ask me why the answer is because I try them all and best results are when you choose these options. Reserve details 2 when upscaling and be cubic sharper reduction when announced scaling. Now this image is ready for a large prints. Okay? Then once you're finished, you can click OK, and that's about it. Now let's go again. So image size. And one last thing I want to talk about is that what is the best resolution when the image is going to be seen on screen? So let's say you make a new UI or website or anything that's going to be displayed on a screen. Their resolution does not matter. It could be as low as one. It doesn't matter, okay? The only thing that matters when you want your image to be used for screen is the dimensions. Ok guys, that's the only thing that matters. So let's say for example, we're going to use this image for website. So the perfect width for a website and pixels is going to be 1920. Okay, so that's all I need to worry about. And if you ask me why I should not worry about the resolution when designing for a screen. And because dependant on your screen, it's well display the appropriate resolution. Okay, guys, it as a marketing thing, if you have a 4K monitor, you will get 4K resolution. If you have H, the monetary well gets an a to D resolution, and so on. So don't worry about a resolution when designing for screen. Only, worry about the dimensions of the image. So that was everything you need to know about. Resolution and upscaling and downscale in images in Photoshop. And see you in the next lecture. 18. Basic Transformation Tools: Hello everyone and welcome back to this lecture and this video. I'm going to be explaining how to use the basic transformations using Photoshop. So basically the Move tool, this Kaelyn, and the rotation. So I want you to come over here to File Open and then open this picture right here with the planets. So the first thing we need to do here is separate these planets and puts each one of them on a separated layer. So we're gonna put one planet and one layer. We're not going to do all of them, were just gonna do three of them, earth, sun, and this planet right here. So by now you should be getting what is the best selection tool to use? And of course, it's the magic wand tool. Okay, I know we've talked a lot about selections in this course, but selections are everything if you want to manipulate photos. So you can see it as I change the tolerance to 20 because I want to make a more precise selection. So click on the white background. And now we have the whites background selects, it, selects inverse Control Command C, Control Command V. And here we have it on a new layer, height of the background. You can see right here we still have some whiteness on this planet. So we can just select it, use the magic wand tool and then click Delete on your keyboard sounds HA or deletes. And here we have it. Now I'm gonna switch back to the object selection tool and make sure you have a lasso under mode. So let's start with selects and planet Earth. Join or a circle with my mouse. And shall command x, Control Command V. And then make sure you name your layers. Earth here you go. Hide it. Do the same thing for the sun. Control command x Control Command V. Now you can see right here, I'm a dumb mistake because I wasn't select sandy layer with the sun hours selecting an empty layer. Now redo the whole thing and select layer with the sun control command x, Control Command V. Click on the Move tool and put it back here. Now let's do the same thing for the planets. I don't know the name of it, so I'm just gonna call it fun as one. Thank goodness. I don't know. I don't know. Now you can see it selected the planets but not everything was still have these small stuff not selected. So hold, shift and then add to the selection. Santana discipline, Rico. Sometime with this one. Here we go. Notice on down here, we control command x and you'll see we get this message. It says could not complete the cuts command because the selected area as empty. Why? Because we select and the sun layer. And so the selection tool is not the six in the pixels of this planet's. Because if I go ahead and hide the sun layer, you see that it has nothing but the sun layer on it. So we need to make sure we have the layer with the pixels that we want to select, selects it. Okay, so it layer number one with all the planets. And now control command x, Control Command V. And here we have as Planet number one. Okay, so now let's go ahead and create a new file. And let's name this composition galaxy poster. Make sure you have a print documents. Selects it. Because if you want to print a poster or you need to select sprains from here. So tabloid is the closest thing to a poster dimension. So I'm gonna click on tabloids and then creates. Let's go back to our galaxy or planets. A hide layer number one, bring back the earth. And now how do we move all of these to the new layer? So instead of moving one by one, what you can do is group every Sen and, and move everything together to group, you can either select the layers that you want to group and then right-click and find group from layers. Give it a name, planets, like this. Or there was a shortcuts Control or Command Plus G, Okay? And then it's well group, but this time at now giving you the name and option. So you rename is after you group. Okay, Let's go back to normal mode, and that's full-screen mode. And so if I want to move the three planets, so this galaxy poster documents, I could use the Move tool, click and drag, but you see it's only move in one planet. Why? It's because we have the auto select checked. So if I want to move everything, I need to uncheck this. Selects the folder, the entire folder, and then I can click and drag of the three of them for them here. Now once they're here, I can go back to auto selects. Whereas the sun control command C, it's here. So bring it here for now. Now let's hide earth and sun, and let's keep this planet's right here. So let's start with the Move tool and Photoshop. So to move objects in Photoshop, you can of course, select the Move tool and then just move however you want free. But if you hold shifts, you can either go up and down or left and right and a straight line. And this is very useful if you're trying to move objects and alignments with other objects. You can also move by using the up and down keyboards. Okay, so if I click up, moves up, down, it moves down and you get the idea. When you use up and down in your keyboard or the objects will move by one pixel. If you hold shift and click up on your keyboard, the objects will move by increments of ten pixels. So now it's moving ten pixels by ten pixels. Same thing if you go down sampling, if you go lefts and rights the guys. And now let's talk about Kaelyn. So to scale a picture in Photoshop, you need to click on Control Command plus t. And then you can scale from the top, from the bottom, from the side, from any side dots you want. Okay. The only thing is that you need to avoid to hold shifts because then it will sort your image. Okay? And this is very bad unless it says what you're looking for. But the tip here is that if you hold Alt or option, you can scale from the sensor like this. Okay? So instead of scaling from the side, like from the left or from the top or from the right. You can just hold alter option and it's well scale from the sensor. And this is very helpful when you're trying to scale a picture that is larger than the documents itself. So you just hold all option and then scale it from the sensor. Back here. Click OK. And now let's talk about rotation. Now if you want to rotate an image in Photoshop, you can either click on the image that you want to rotate, click on edit, transform, and then you will find pretty much all the transformation tools here. But let's focus now on rotating. So you have rotates 180 degrees, rotated 90 degrees clockwise, rotate 90 degrees counterclockwise. And you have flip horizontal and flip verticals. So I guess you know what, those are good for. So flip horizontal will flip the image horizontal. And then we have vertical that will flip the image vertical Control Command Z to undo. And then of course we have rotates when I was an idiot degrees, it's one rotates at 190 degrees. Or you can of course, just control command. And you can hover over the bounding box until you have the rotation icon or symbol. And now you can rotate it however you want. Okay? And if you hold shifts and rotates, you will rotate by increments of 15 degrees. So this is pretty helpful if you want to rotate, for example, from 0 to 45 or 90. And finally, if you click here on this thin right here, I don't know what to call it. If you click, you will have an access points added to your image. And now if you want, you can move this access points and then rotates from the access points. Come over here, moves it. Or I can put it in the middle and then just move from the middle as by defaults, okay? So these access points, you won't need it until you are being very precise with the rotation. Let's say, for example, the are compositing o'clock or compounds, whatever, this may come in handy or game, let's say you make an, again, this will really come in handy and this axis points is very helpful when making animations in After Effects, but in Photoshop. And just good to know that it's fair. I'm gonna go ahead and on tickets for now because we don't need it. And here you have the basic transformation tools. Okay, and now one more thing I wanted to show you is that let's say you want to rescale the size of all these forests together. What do you need to do? You need to select the folder, uncheck auto select Control Command C, and then you can rescale all of them together as you wish. Now let's go ahead and build our composition using only the tools that we've talked about. So I'm gonna start with this planet's control. Clemente shifts and rotates like this. Increase the size like this. Here. Ok. Just Sun here. And then let's go ahead and select the bunnies Earth Control Command C. And just go like this and put it right here. Okay, the sun maybe smaller a little bit to go. And now I can go to File, Place Embedded and look for this background. Rotate while holding shift to rotate as minus 90 degrees. And then just increase the background like 30 or I can hold all and increases from all from all the sides though. Documents. So I can just fix it little bit. Script. And now of course we can just quickly does the colors. Same thing for the sun out its foam or color. Contrast. Color contrast first and then let's see, oops, color, tone. And he had his guys. So now let's say I want to apply a filter, just a simple oil painting filter to all these layers. Ok, so what can I do? Now instead of selecting each one of them one by one, and then apply the filter, I can click on earth shifts and Clegg selects the other layers. Why Click, and then I can convert them to smarts objects. And now I have them all on one layer. So I can just go to Filter. Silence. All you'll pans. This'll details a little bit. Okay? And now if I zoom in, you can see that it looks like it was painted. Now the next thing I want to talk about is warp. So let's go ahead and go back to our planets. And this time I just want planets Earth. So I'm gonna go ahead first and Ungroup this planet's groups. So right-click on the folder and then ungroup layers. Now I have them knots grouped, select the planet Earth and then just hide the sun and planet number one. Control Command C, increase the size of it a little bit. And now control command C. And let's talk about wall. So to apply warps your image. You can either right click on the image and find warp here, or control command C and click on this icon right here is going to do the same thing, is going to go to war mode like here. And they lead to warp this planet, Earth to make it look like. I don't know, scrambled egg, pancake, whatever. So just click whatever you want and then just drag to any direction that you wish. Click OK. Go to File Open. Select this image. Now let's go back to the tonic. Earth's. Right-click on the layer, lubricates layer. Give it a name, or you can leave the name as it is, and then choose the new documents that we just opened. Notes go back Sruti documents with empty. Now right here we can see that the photo is way bigger than the canvas. And oftentimes you will run in situations like this. This is why we talked earlier about Kaelyn from the center. So control command S0. You can see how big it is. Hold olds. And then just rescale it down. Like this. Ok. Now we have a dish of Earth's soup or pancake or whatever you wanna call it. Okay guys, that was it for this lecture and see you on the next one. 19. Distortion and Perspective: Alright guys, in this lecture we're going to be talking about other basic transformations in Photoshop, most precisely distortion, SKU, and perspective. So first thing first go to File Open and then make sure you open this picture right here. Now let's bring this planet Earth to this new documents with the empty dish control command, hold, alter option, and then rescale it down like this. So why do we use the coup, distortion and perspective? We use these transformations to give the image a new point of view or a new perspective. Ok? So there are three ways to access those transformations. Ok, so the first one is if you go to Edit surest form, you will find them all here. So we have COOH, the soul's perspective. The other one is if you click Control or Command C and you right-click, you have them here, coup that sorting perspective. Now there is also a third option that's allows you to SKU and to the salts your image at the same time as if you click on Control Command C. And then you hold control or command. You can coo. And this torts. At the same time. You only have to click and hold control or command on your keyboard. Now let's go ahead and click on Escape because we don't want to apply this transformation. Here we have x. So let's start with this Cu. So basically when we talk about SKU in an image, we talk about folding a inImage and two fold or to SKU, any image. After you click on Control or Command plus c, You can hold controller command and then SKU from the side of the image. So you fold your images by dragging from the side of the bounding box, not from the corners or DHS, only from the side. You can also shrink or stretch your image and do all sorts of things. And the distorts as the same thing as COO. But instead of dragging from the side, you drag from the corners. Okay? Or from the edge of the image like this. And the only thing you need to be careful about is that you don't want to go extreme with a distortion because you may damage the pixels of the image. Okay, so you can see how I'm using a combination of screwing and distortion to adjust the points of view of the Earth to the point of view of the dish. Or to adjust the perspective of the earth to the perspective of the empty dish because this is why we, this salts in sku. So adjust the perspectives. So remember use Qu from the side and you the sorts from the corners. Now let's go ahead and undo everything control commands said. On the last transformation I wanted to talk about his perspective. So the perspective as the same thing as the torts. But the thing is, if I go ahead and click on perspective, and I click on a corner to judge the perspective of the earth. You can see that it is effecting both sides or both co-owners of the image. So you can go lefts and rights or you can drag up and down. So let's go ahead and make this errors on the plates will do something like this. Now which one is better as its perspective or the sorts or SKU? Now, here's the thing you need to use all of them together. So maybe you want to use perspective with the school R31 to use the distorts with the COO. So I find that sometimes it's helpful to use perspective and sometimes it's helpful to use the distortion. That's why Photoshop has been both. Okay guys. So now you get the idea, you know how to work with transformations like distorts, SKU, and perspective. That was pretty much all for this lecture and see you on the next one. 20. Content-Aware Tool and Puppet Warp Tool: And this lecture I want to talk about some advanced Photoshop transformation tools. Precisely the oto unawares Kaelyn tool and the Puppet Warp tool. But first thing I want you to go ahead and create a new blank document. So File New. And then select letter, letter presets, and then click on Create. Go to file again, place them, build it because we need to place our pictures and choose this one wouldn't table products? I'm gonna go ahead and adjust the table accordingly like this. And here we have it. So the thing about these transformation tools is that's Photoshop tries to preserve destructor of certain elements in a picture. For example, if I want to scale the mountains on this picture, I can do it while keeping the table on touched. Now let me show you how this thing works by applying it to a real example. So you can see here that we have this picture on your documents. And you can see that we have some empty space here that we need to fail with the picture. In order to complete this poster, Let me just add a solid black background. We get more contrast. There we go. Okay, and then just pockets like this. So, so far using just what have we learned? If I want to fill this area with this picture, the logical solution would be to control command C hold Shift, and then drag to the top like this. But as you can see, I am distorting the shape or the structure of the table. What if I don't want to distort the shape of the table, in this case, we need to use the auto aware scale. So basically with the wooden table layers selected Control Command C. Then I'm gonna come over here too. And then look for contents. Where's scale? Okay guys, this is d shortcuts. So olds plus shift control plus C. It's quite a hard shortcuts. So unless you have rush mine of hands, that's going to be very difficult to shortcuts. So let's just use it this way. Now you can see it's grayed out. Why? Again, because we have smart objects, okay? And the thing is when you try to apply anything too smart objects, you will give this message that says is this smarts object must be rasterized before proceeding. It is constants auger, we will wobble of law. So how does spots a smart objects simply by looking at this icon on the thumbnail of this layer. When you have this icon that looks like some sort of paper, that's means it says a smart objects and you will not be able to apply edits to this smarts objects. Okay? So you see here when I hover over it, it says Smart Objects nominal. Now what you need to do is rasterize always when you have this problems or I click not on the thumbnail, right-click on a layer, and then Rasterize Layer. What is it? Here we go, now at its contents whereas k_l and now watch what happens if I hold shifts and drug up. You can see that the table is not moving, but the background is stretching. While preserving the structure of the table. And we go. Now control commands. And let's say this time, you wanna keep the trees as they are here. And you only want to affect the mountains because it's only normal that the mountains are going to be bigger than the trees and everything. So then what you can do is select the rectangle marquee tool. Make a selection of the mountains like this. Then edits accountants or scale, hold shift. And look this time, it's only going to affect the mountains. When you finish, you can press Enter Control Command D to Deselect. And here we go. Now we did a mistake here. We can see that there is some black background in here. Maybe we did a bad selection, should just Control Command Z to undo. And let me just redo the selection like this. Okay, always check the guide. You can see that when you don't check the guides, you may make a mistake. So the guides will tell you that everything is fine. Now let's do it again. Edits accountants or where and then hold shift and then just drag in here you have this sign is good. And this time it looks perfect. So the beautiful thing about using the content where scaling is that Photoshop automatically understand that there are some elements and the picture that's needs to remain the same, or that needs to keep the same proportion. Now let's go ahead and open this picture this time. And let's make a selection of this cat's using my favorite friend, the lasso tool from objects selection. So and the religious draw, something real quick like go, go, go Control Command, Control Command V. And then let just right-click and duplicate layer and then put it with the other one which is unsized oligos. Okay. Let's go back to on-site hold. And here we have it and shall command C. I want to make it bigger, just little bits. And here you go. Now the next transformation tool I want to bring to your attention is the Puppet Warp tool. So the puppets warped tool lets you transform or this sorts specific area of the object or the image while trying to preserve the same proportion or structure for the image. So let me show you how you can use the puppet swap x2, what the layer selected nickname is, cats were quick. We go edits and then click on puppets, wall. Now you will have a mesh like this. And if you want to uncheck gets, you just uncheck it from here. So to measure actually makes it hard to see what's going on and just see your transformation. That's why I usually leave it unchecked. Nowadays, a thin, you can place points that's well acts as holders. And then the same time these points will transform the areas where you put them. So if I click here, I can place a points. And then I can click here, k and maybe here and here. And let's say I want to click here. And then let's say I want to move. We'll just towards the ears. I can do the same thing. Click here and here. If you want to delete a specific parts, you just hold all. You will have a scissor, click on appoints and is really the lease it. Bring it back. Control commands. Now see if I move the hand of the cats. See what I'm talking about. You can break it up, down, left and right. You can see the cats doing some sort of Dancin. Okay. And again, bring it in all sorts of directions. And the thing is, I want to move the arms. We doubts the body moving. You can see the legs are shaking when I move the arm. So let's place. So let's play some holders on. Let's click here. And then click here, maybe one in the middle. Now, see if I move the arm, I don't have the same problem. And so one more important thing you need to keep in mind when working with the puppets Warp tool is that, let's say for example, you take this point and you connect it with another points. It's really usually go behind that specific points, okay. Whatever you drag will usually go behind that specific point. And let's say that you don't want the arm to be behind you on the amphibian France. You can change its from these icons right here, ten depth. So you can either step and the arm forward if you click on this one, or backward if you click on this one. Okay, so let's put it. And here we have it. Let's put it backwards. And here we have us do this and then live just maybe I just want to increase the size of the errors without, without having the entire face moving up as well. So let's plays more holders. On the eyes, maybe on the chicks. And here. Now let's see, okay, maybe more here and then here. Okay, now it's better. And now the cat is given us a solute. So once you happy, you can just click okay or press enter. If you don't want to transform your objects, you can click on Escape on your keyboard. So I like it like this. I'm going to click OK. Now let's say maybe you wanna take it one step further and add more depth and dimension to the spectra by adding the shadow you can do is use what we've learned so far about distortion. And so hold Control or Command click on a CAS layer. You will have a selection like this. Select the Paint Bucket Tool lecture. The background is black and then add a new layer. Click on a cat's felt the background. Control Command C, hold control or command. And then let just Ku the shadows like face. Okay guys. Click OK. Control Command D to unselect for delay or with the shadow underneath the cat's layer. And then maybe just reduce the opacity of the shadows. Select the Move tool and then you can adjust them accordingly like this. For guys. So that was pretty much all for this lecture and see you on the next one. 21. The Crop Tool and Canvas Size: Hello everybody and welcome back. In this lecture we're gonna be talking about the crop tool and a Photoshop. My first unused to open this image. So do the usual file. And then look for this image. It's inside the crop documents or folder, and then click on all of them. Now let's go ahead first and activates the crop tool. So we use the crop tool in Photoshop to trim and crop images obviously, and also to just the size out countless in case you want to add something, maybe a color palettes, type, whatever. So the first thing you need to pay attention to when you choose a crop tool is the option bar right here. So you can see that we have width by height resolution. And these values are empty. So make sure you have the same. If you have numbers here, just click on clear. Don't select straighten. We're going to talk about this later. And here if I click on this grid, you will see that I have a lot of grids in here. Now these grids are rules for composition or taking photos. So you can see that we have the rule of thirds, which is the most common one. You have grid, we have diagonal triangle, golden ratio, and golden spiral. Now we're not going to be explained all of those because now we're not doing photography composition. We're just going to be focusing on the rule of thirds, which is the most common one. So you can see that with this grid we have a three by three rectangles. And the thing about the rule of thirds is that whenever the vertical and the horizontal lines cross, we have a focus points. And these points are where you should play as the most important elements in your composition. Like in this case, for example, we have the model. And you can see that the photographer did a pretty good job by placing the model under the focus points of the rule of thirds crates. That tells me that she was using this grid when he took these shots with his camera. So let's go ahead now and just crop this image from the side and make it symmetrical. Like this. Click OK or enter. And now you see that we have asymmetrical image, okay, which is not really interested in. So I can click for example again and maybe we can rotate it a little bit and make it more interesting. Click okay. And yeah, that looks fine. I mean, that looks better. So if I want to bring the pixels back, I can click and drag to the side, release. And you can see that I will have a blank canvas, a transparents canvass. Why? Because the crop AT pixels were deleted and why they were deleted because we have this deletes crop pixels options, selects it. So if I click OK, select the Move tool and then control commands. So go back to the original image, reselect the crop tool. And now if I uncheck the lead cropped pixels, and I do the same thing. Okay? Now if I want to bring the pixels back, you can see that they're here and they're not deleted. Now why would you want to uncheck the crop that pixel? Here's the thing. Let's say we make this composition symmetrical like this. So let's say I want to move this model to the left because I don't like static compositions. I find them quite boring, to be honest. So I can select the Move Tool, Click on the model, and then move it to the left. And here we go. Okay guys. And this is why I always recommend that you uncheck delete crop pixels because you will have more freedom with the picture as you have seen right now. Now let's select the Move Tool and let's go back to the original image. Select the crops will again. And you can see right here we have dimensions preset, so we have square, for example. We have eight by ten or four by five. Then here we have the dimensions by pixels plus the image resolution. Okay? So you can choose from the presets right here if you want, or you can enter your own dimensions. So for example, if I select width plus height plus resolution, I can enter the values that I want in these boxes. So for example, let's say we want this picture as a B on Instagram. So I'm going to choose 1800 pixels by one hundred, ten hundred, eight hundred pixels. And resolution, I'm gonna make a 300 pixels. And here we have the dimensions for Instagram. Now he's attained when you enter a manual dimension under these boxes, no matter how you adjust the crop, its will always leave the same dimensions. You can see that the square, It's now moving. You can see that I'm keeping the proportions of a square. And I do it like 30. Here we go. Click OK. Now if I go to window, look for info, you can see right here the dimensions, they remain the same, one hundred, ten hundred, eight hundred pixels by 1800 pixels and 300 pixels to arrange for the resolution. Okay guys, let's go back to a normal one. And here we go. Let's click on clear. And now let's say for example, you want to expand the canvas. You can just click again on a picture, drag from the bottom like this. And now you have more space on a canvas. And you can, for example, put your color palettes here, information, type, whatever you needed to be. Now another option similar to the cropping tool I want to talk about is the canvas size. So if you come over here to image and then selects canvas size, you can pretty much do the same thing as we did earlier. But the only difference is that right here you can enter the exact dimensions that you want and selects the focus points from here. So again, let's say I want to crop this image from the rights. I can sell the anchor to focus on the left side of the image where the model is. And I can come over here to width and then decrease it. Let's say for example, 24 thousand. Like OK. Do you kinda says, Okay, nevermind, proceed. And here we have it. Now I find move it. It will move because we cropped the counters and not the picture. Lets go back to image canvas size. Now, same thing. Let's say I want to expand this canvas from the bottom or from the top. This time, I can select the focus points like I'm going to tell the canvas size to focus on the bottom area will increase and the top area here. And then I'm going to increase the height to 5 thousand. Now, I will have an increase from the top of the image. So to make it simple, Keep in mind debts at the crop tool allows you to crop the canvas and also crop the image so you can either cropped down or up, either shrink or expand. While the canvas size allows you to enter precise numbers or precise values to adjust the canvas. But the only difference is that with the canvas size, you only affecting the canvas. You are not affects in the image. So that was pretty much all you need to know about crop in and see you on the next lecture, where we'll be explaining how to straighten images with the crop tool. 22. The Crop Tool and Straighten Option: Now in this lecture I want to talk about the straits and option of the crop tool, this one right here. So go ahead and file open. And in order to do so now we use these straits and option to straits in the composition or the image. If you have an image rotated like this, you can make it horizontal by using this option. So the way it works is that you select the straighten and then you just need to draw a line like this. And so we'll go ahead and do the transformations for you. So you can see right here that Photoshop points ahead and selected only the pixels that it deems it necessary to the transformation, leaving outs pixels or areas of the picture that's photoshopped thinks, Well creates a problem while making this transformation. So now if you click OK. You can see that we have a well proportioned image or rights. Now the only problem here is that we went ahead and reduces the size of the image. So what to do if you want to keep the same dimensions are the same size as the original image. And let's go back a few steps like this. And this time he is, you're gonna keep the same dimensions. You can check on contents are where. Now if I go to straighten and draw a line, you can see that Photoshop made a selection with the same size as the image. Of course, we have some empty areas on the corners, but those will be automatically filled using pixels from the image. And now we can see that's Photoshop did a good job failing those empty parts, therefore keeping the original size of the image. Now of course it has not perfect. Sometimes you may notice repetitions like right here on the clouds. And down here you can see little bits of the tail, but this can be easily fixed using retouching. Okay? So if I zoom in down here, you can see a little bit of the tail and this tension IB here. What I can do is just select this. It fell. And then from here we can select background color or contents aware. Leave everything as it is, ok. And now it's gone. And here we have Sam Stanford is chi in the cloud. You can fix them using retouching tools that we've learned so far. So one more thing you need to keep in mind guys, as that. If you want to use this method, this straits in plasma accountants where it doesn't work always like this. Sometimes if you have a very complex image, it might not work at all. Therefore, you can straight in your image without using the contents over, okay? So this method only works with easy images like this, okay? Something which fused off on it's not a lot of complex objects on it. Alright, so that was pretty much all for this one. And see you on the next lecture. 23. The Perspective Crop Tool: And this lecture we are going to be talking about some very special crop tool, which is this one, the perspective crop tool so selected. And you know how to open the pictures guys. So File Open and then just look for the document. You will find this one corrupt perspective. So this tool is very special because it allows you to adjust our two corrects, the perspective of an image to a fully frontal view. So for example, you can see once the tool selects it, if I zoom in, in a little bit to the picture, select the tool again, I can click here and then click here. And then here. And then right here we go. So once you have a selection like this, you can click OK. And you can see that it did a pretty good job selecting the image and adjust into perspective to a fully frontal view. Now, and if I zoom in a little bit, maybe we have little bits of white from the side so we can go back to the crop tool and then just adjust its Lula bits. See, go. Okay. Now you can see that I'm having a really hard time deletes and, or crop and whiteness from the canvas manually. So let's go ahead and select the image, canvas size and lead DEWATS automatically Ramirez. So selects the focus area, which is going to be this part's her hair. And then for the width, I just want to decrease it from the left just a little bit. Let's say for example, 24, sort of Sony eyes. Okay, proceed. And you see how it is for a size, okay, did a really good job. So now you see how everything we learned, you're going to need it and we'll live project. Okay, everything we do here guys, as importance and Photoshop. If you're gonna be working professionally in Photoshop, everything would lose important. No BS is allowed in here. So once you're happy with everything, I'm gonna go ahead open the Layers panel or you can click F7 on your keyboard. You probably have this picture locked. Make sure you're unlucky. Right-click duplicates, layer and late trues and the canvas with the empty poster. Let's switch documents. And now we can go ahead Control Command C and adjust the picture. Correspondingly. Here we go. I can click or hold alter option. And the cruises size from the sensor. Dislike this. Okay guys, and here we have, it's as simple as this. Now sometimes you may run into problems like this, okay? Where you make a selection and then it's already sorted. So the same thing, unlocked picture control command, hold shifts. And then just try to adjust the picture as in the original. You will know that the picture is fixed when you see the guides. When you have a guide like this and a center, that means you adjusted to the social and perfectly okay. So then now I can click on crop and they interested just the canvas. Ok, and here we have it now, same thing from here and from the bottom, you know what to do. We're just going to adjust it manually for now. But if you can't, you do it's automatically as we've seen earlier. And here we felt okay gas, so you get the idea if it's sorted, you can either fix the distortion or you can redo the selection with the perspective. So, yeah, so that was pretty much all for this lecture and see you on the next one. 24. Class Project: Creative Transformation: And this lecture we are going to be recreating this composition. So this is not electro gases is more of a class project. And we're going to be using all the tools that we've learned so far to recreate this composition. So everything from using the perspectives distortion, SKU and the Puppet Warp tool. So let's go ahead and start with the composition. So I'm gonna go to File Open. And then I want you to find this folder called class projects creative transformation. And then let's start with open-ended first picture right here with the Bayesian everything. And zoom in a little bit. And so the first thing we need to do, of course, is to remove the sky. So go to select and there's chi. Here we go. Now selects inverse, open the Layers panel, and then creates a mask like this, right-click and then Convert to Smart Objects. Now, again, we convert a Smart Object to keep the pixels and the details and the quality of the image even after transformation. I'm gonna select the Move Tool. And now control command C. And let just distorted. So click here. And let try to creates a nice distortion. It's like this. Go like this. So in case you have a mesh here or anything, you can just come over here. And then you can select defaults or custom. Once you happy, click OK. And now let's go ahead again to thiol and this sample is embedded. And let's select this giant tentacle. Hold shift and rotates like this, minus 90 degrees. Okay, I'm going to place its beneath the layer 0. We go. I'm going to place one here called Olsen drag to duplicates and hold Olson drug to duplicate again. Go. And for the last one, I'm gonna select the layer debits transform and then flip horizontal. Now I can just position those accordingly. Control command and increase size of dawn in the middle. So let's rename our layers so we won't get lost. So this one is middle tentacle. So I'll just go into writes middle C. This one is rights tend to call. This one is lefts. And this mom. You just name it. Okay guys, so let's start with the rights selects layer, and then come over here to edit and then look for puppets walk. Now I can click here, another one here, another May 1 be here. And then just try to distort sets. So give it dreamlike quality and all. And then we go and do the same thing for the metal along puppet swap. Then click here, here, here. So make this one really long like this. And I want to go down the same thing for the last one, that it's all. Put those points here and then choose this tool sets. Click OK. Now you can see we did a pretty good job of just using the distortion and the puppets who opt to. Okay, and we can use these simple transformation tools, creates a dreamlike, surrealistic art in Photoshop. If you want to learn more about the techniques of creating surrealism art, you can take my calls on a surrealism, Digital Arts and Photoshop. Ok, so the sorption is one of the techniques to create surrealist art, just so you know. And now the last thing we need to do is bring this chi so file and then place embedded printers. Clooney sky normally just plays the layer down, down even more. Like first control command S0. Increase the size of the sky like this. And now hold Control or Command. And let's make some SKU and distortion for this chi, Charles diverse books. And we can leave, it's like these guys now this looks pretty good. Everything has this sorted. We play with the perspective, with the shape, with everything. So the last thing is to adjust the colors. Ok, now for me, since we started the course, I've been talking about matching colors because for me, colors are very important. And the creative process could be for logo, to make art, to make videos for anything. Colors are very important. I'm really freak of colors. If you take most of my courses, I talk about colors. I have colorful URI, color gray then, and then on my next cause I'm working on into fast color matching in Photoshop. I just loved everything about colors. And the irony is, as my favorite color is black. Anyway, so let's go ahead and match the colors. So firstname first, let's go ahead and group the tentacles of the octopus, the three of them. So select this one and then hold Shift, select this one. And so actually I don't want to group them inside a folder. I want to convert them to a smart objects. So we can apply the auto adjustments to one layer. Instead of applying it to each layer individually, is go ahead and image auto color. Now I think I'm gonna leave it here. It looks pretty good. Let's see if we do on its own. And it's even better. So I'll leave it here. And now let's select the beach and do the same thing, image, colour, image or its own. So you can see that sometimes the automatic stuff doesn't work. So we need to do which many oil. And the thing is, you can see that the color of the ocean is blue. But then it would be reflect in sort of the colors of this ky. Now since this technique didn't work, I'm going to hit on Control Command Z to undo couple of steps. We are going to have to jump steps again and talk about humans saturation. Okay, so we're just gonna talk briefly about it just for the sake of this composition. But we will talk more in details about rights and further lectures. So I'm gonna select few saturation. Clip it to the beach you see now it's clips to the beach, which means it's only going to affect this layer. And now I can just decrease the saturation of the limpets like tests to make even the Waterloo gloomy because the sky is gloomy, soda water should be gloomy as well. And then I can change the color to red. First. We would delight him. And he we have is KSR, I think I'll leave it like this. It looks good. Looks perfect. Everything here as boomed above. Now selects all of those right-click converters. Most objects filter stylized oil paints. And you can see the preview here is going to look like it was painted by a famous painter, but we're just using Photoshop. I'm going to increase the personal details a little bit because I love to have bristles details on my composition. And then here we have is. Ok, maybe this is too much. So let's redo its Joel command XID and then filter, stylize oil paints. The inlet just decrease a little bit of stylization and cleanliness. More like there's a trie and this is better. Really better. It looks like it was painted, but it was not. Okay guys. So we just created a beautiful composition using the transformation tools that we've just learned. We decrease the opacity of the paints a little bit more. So 50%. Maybe we go. So you see what I just did, you just click here on this thing. Looks like sliders and then you can adjust further the filters, okay, guys, file exports, Quick Export as PNG. And I can save it here. Okay guys, so that was pretty much all for this lecture. Hopefully you are going to go ahead and recreates this. Okay? Don't be lazy. If you want to learn, you have to learn by doing. Thank you so much for watching and see you on the next one. 25. Graphic Tablet vs Mouse : So in this lecture, gags, I want to talk about the mouse versus the graphic tablets. Okay, which woman as better? The answer is, of course, the graphic tablets guys do workflow is much smoother and much easier. When you use a Tablets, the mouse is very limited. You cannot apply things such as pressure. It's how to draw with a mouse. You can not apply shade enlightened and all that stuff is going to be difficult to control exactly those things. Because we did mouse, it just has one click OK. You can not pressure the mouse against the tablets to create thick or thin lines. But for this course you don't have to have a tablet's. Okay if you have a mouse, that's enough to learn about the brush tool in Photoshop. But I am saying is that if you're gonna be working professionally in photoshop, doing paintings, the wind advanced ritard chain like Dodge and Burn you need at a tablets. Ok guys. So my final device has that. If you don't have a tablet, you need to get one for maximum productivity. So the best brand that's I recommend is WACC. I'm okay. I find that WACC and tablets are the best. I do understand that some people use different tablets. This is just my opinion, guys. Okay. You can use any tablet day you wants. What's matters is your hands to skills you have in your hand, not the tablets. Salaries are just a tool. But in terms of quality, I recommend whack them tablets. So you can choose any tablet that you want from their website dependent on your budgets. I personally have the cheapest one because I'm broke. I have this one, the smallest one. I buffets around $99 and I have it now for four years ago. So I've been using this for four years professionally. And it works perfectly and it looks like Agile's boards yesterday. Okay, it looks really clean and perfect. And the quality on these tablets is just amazing. So if you decide and by this one you can read all you need to know about these tablets right here, how things work. So you can even plug it to your phone. So once you buy the tablets, you can login to the website. And then if you want to come over here to supports drivers manual zone loads. And then you can enter right here the serial number of the tablets and then you can download the drivers. So you need to make sure that you have the latest drivers. As you can see, if I open my welcome desk top center. So basically when you download the driver from here, you will have the same application. So usually it is tablets comes with a CD, but in case you buy it from someone with no cd, this is how you can download the drivers. And if I click on updates, you can see that I'm using the latest driver for this tablets. And if I go to where come properties, you will find right here what those buttons on the tablets are. Four. Ok guys. So that was pretty much all you need to know about the graphics tablets. So go ahead and install your tablets dependent on the brands that you have. If you don't have one, that's fine. You can still take the brush course or the brush section of the course. And yes, you in the next lecture. 26. Learn About Your Brush Tool: In this lecture, you will get introduced to the brush tool in Photoshop CC 2021. So first go ahead and select your brush tool right here. And so we use the Brushing Photoshop to do many things as I said earlier, either for skin retouching, for painting, ought to just add stroke to your images. I'm gonna come over here near dots, brush tip, and click on that arrow. And then I'll go ahead and decrease the size of the brush a little bits. And then I can just add anything to this book. So this looks pretty easy writes. You just select the brush and then you apply the brush to your image. But this is a very bad mistake because this is called a destructive method of forking and Photoshop the thin about when you want to use the brush on an image, you never use it on the image layer. Ok? If I open the Layers panel, you can see that I only have one layer which is the background. And I went ahead and applied the brush directly to the background layer. And now if I want to make any type of changes, brush at not gonna be possible. So Control Command Z to undo and always remember, always if you're going to add brush stroke to your images, always added on a new layer, the biggest giveaway that you don't know what you're doing in Photoshop is when you apply the brush stroke directly to the image. So once I have my new layer here, I can now go ahead and apply my brushstroke. And now you can see if I go back and switch to the moves tool, I can move this. I can hide the layer if I want. And I can pretty much do anything that I wanted to add layer. So this is the best way to apply brushstroke to your images in Photoshop. So notice go ahead and hide this layer and just add another one. Let's select the brush again. So click and hold and mixture guys, we have the brush tool selected, nuts, any of those because sometimes you want to select the brush tool, but you end up selecting the mixer brush. So, so just pay attention to this. Now let's see different types of brushes and how they work in terms of the option bar. So to access your difference brushes, you come over here. Where do you see this brush tip and you click here. Okay, you will find all the brushes that you have installed by default in your Photoshop. We'll see later how you can impose brushes from the internet to your Photoshop. If you cannot see this window like this, you may be just need to expand the window from here. Just like this. And now as I scroll down, you can see that we have a lot of documents and an each documents we have a lots of brush presets. Now of course, you can adjust how your brush presets appear. So for example, you can either increase the size. The preview from here or decreases. And you see ended preview mode that we have here. We have the brush stroke, we have the brush tip, and we have the brush name. You can of course, control what to appear and whatnot to appear under this window. By clicking on this sits in icon. And now for example, is it as I once my brushes to not include any names to save space or for whatever reason, I can uncheck brush name. If I want, I can uncheck brush stroke and then just keep the brush tips and I can put it back if I wants. And of course we can keep all of them together. And this is the best introducing zoologist audio in Photoshop. And you are still not familiar with all the branches available. So it's a good thing to keep all the options checked. It's going to be easier for you to find a specific brush. Now guys, as you can see from here, there are maybe some brushes that you may recognize. And the idea is that Photoshop is trying to simulate as close as possible. We'll have brushes. Okay. And my father doing really good job. So I'm just gonna close those for now and click guy. So I'm gonna go ahead and select a normal brush from here. See this size right here is quite big. So we can come over here where it says Size and decrease the brush. So it's better. All rights. Then here we have the hardness and the hardness is pretty much the same thing as the opacity or the softness. So when this trope, the hardness is 100%. But if I decrease the hardness, you can see that the next stroke will look sort of Larry. If I decrease even further. You can see what we have here. So the edges really gets blurry and bring it back to 100%. And this in here that looks like a circle. This is to adjust the rotation of the brush. So for example, let's select another brush from here. Let's say this one. This one, for example, if I click, you can see that I have vertical lines. If I go back to the brush options and rotate this down, you can see that now I have horizontal lines. I'm going to bring it back to how it was like this default position. Some brushes will give different results depending on how you draw the line and how you hold the pencil. So for example, if I select this brush right here, and then I draw a vertical line. Okay, you can see the results. But now if I go ahead and draw a horizontal line, again to give me a difference results. Alright? Okay guys, so keep in mind that some brushes, Not all the brushes will give different results and depending on how you draw a line. Okay, guys, so that was pretty much all about the brush options. And one more thing I wanted to show you, of course, is that these bushes right here gives you don't have to worry about because this is just a history of the brushes that we've been working with. So we worked with this, with this and with this and with all these brushes. So this part right here keeps a History of the brushes you work at it. And say you have 1000 of brushes like me and you know the name of them. You can search by name. Under this search box. Is for example, if our rights drawing, I will have Druin brushes all available right here. If you guys. So that was all about the brush options. And the next lecture, we are going to be talking about the brush pressure. 27. Using Pressure With The Brush Tool: So now I want to talk about is pressure. And there are three types of pressure that you can use with the brush tool. So let's me just select another brush or example, general brushes. And he's a thing I wanna show you how to apply pressure would depend tool and how to apply pressure with the mouse. Okay, so as I said, there are three types of pressure. We have the opacity pressure, we have the stroke pressure, and we have the flow pressure. Now, as you can see here, under general brushes, if you don't pay attention to the name, all these brushes look like. But if you pay attention to the name, you will see that there are difference. So for example, right here we have hard brush. Down here we have hard brush pressure size. That means that you can control the size of this stroke depending on how much pressure you apply with the pencil. Down here we have pressure opacity. And then here we have opacity inflow. So they are pretty much at the same thing. And so opacity and flow are pretty much the same thing as opacity. Now, let's go ahead an avenue layer again. And now let me just select this one so I can increase the size of the brush either from here or by clicking on lefts and rights brackets on my keyboard. So left decreases and writes increases. So if I go ahead and gently drill couple of strokes, you can see now the width of the line. And if I go harder, you can see that the line is getting thicker. Okay, we'll do it again. So I can start by applying easy pressure. And as I press harder, the line goes thicker. Alright, same thing. Now if I select the opacity, I can start by applying lights pressure. Then I can press harder, and then even harder. Even harder. And then I can start again, smoother, then go harder. Ok guys, so you get d idea. Same thing for the opacity and the flow. I can start easy. Whereas harder you and rather easy again. And then harder. Now, here's his. Then these type of Russia's will only work with the pencil. If you have a mouse, it's going to be difference. Okay, so if you wander and what's the difference between soft and hard? It's only the edges. You can see that the edges of this one are sharp, 100% opaque. And this soft round brushes have softness or less hardness and their edges. So these are the same as if you click on hard brush and decrease the hardness. Okay guys. And also me how this and creates an yuan. And also there is a way to combine all of these pressures together. N1 brush, I can select the hadron brush for example. And then I can click to activates these icons as you see here on the option bar. So I can control the three pressures and the same time. The first one allows me to control opacity. The second one allows me to apply pressure to control the flow. And the third one allows me to apply pressure to control the weights of the brush stroke. So if you select a normal brush and check all of these three, you can control the three types of pressure on the same time. But for now I'm just going to uncheck the flow because I don't need it. We have opacity. Let's go ahead and do the same thing. I can start like this, easy pressure Perez hardware. But it's harder than others go lighter, okay? And now if I go ahead and uncheck those and activates the flow, even if I apply pressure, nothing will happen. You will learn more about the difference between opacity in flow later. So to work with pressure, you can either choose from these presets right here, or we can choose a normal brush and apply the settings are the options from here. Now, how can we do the same with the mouse? Let's go ahead now and selects this soft, round brush. High disk creates a new layer. Now if you're not using the tablets, you are just using a mouse. Then you need to enter the values manually for the capacity and the flow. And for the stroke wave. You can do it by adjusting the size of the brush. And now we can see that if the opacity as 100%, if I want to draw a straight line, I can hold Shift and then draw straight line. We can see how it looks. If I decrease it to 50 and do the same. You can see how it looks and so on. Okay guys. If you want to adjust the stroke, ways you need to do is from the size. And the same thing with the flow and everything else. Ok guys. So now you know why it's better to work with the tablets than to work with a mouse. So that was all you need to know about pressure. And now see you in the next lecture. 28. The Difference Between The Brush The Pencil And The Eraser: And this lecture will talk about how the brush stroke is constructed in Photoshop. And also the difference between the branch, the pencil and eraser. So go ahead and open the bros settings by clicking on that folder right here. Okay, you can see right here that we have a lot of stuff going on. We have the brush tips right here. You'd have to pay attention to this right now and we're going to talk about it later. Then we have the size, the hardness, and finally we have the space in and a space in his watch going to explain to us what the brush stroke is made off and Photoshop. So F phi increases facing. You can see what happens with a brush. It just a series of dots put together close enough to create a stroke. Ok? So we're just a bunch of dots, guys. This is how the brush works and Photoshop. Now, if for example, I want to create some bubble numbers, I can do it. All right. They are bringing it back to what it was. And now finally, we can talk about the pencil and eraser. Now the pencil and eraser works pretty much the same as the brush. Let's start first with the difference between the pencil tool and the brush tool. So the difference between the brush and the pencil may seem like it's not a big deal right now for you because you still a beginner. But once you become an advanced user in Photoshop, that difference will definitely make sense in your workflow. So what the bros selected, I'm just going to click once, like this. Selects the pencil and then increase the size little bits and then just click once like this. Now, if I zoom in and the only difference is in the edges, ok? So the brush tool gives us smooth edges. You can see that ended transition between the brush and the background while the parcel gives us a rough edges. So if you draw in and if you want a smooth for drawing, you can use the brush. If you want sort of a rough drawing, a rough lines, you can use the pencil. So that's pretty much the only difference. And now finally, let's talk about the Eraser tool right here. This one, the Eraser tool is the same thing as the Brush tool and the pencil tool. The only difference is that the Eraser tool is used to deletes pixels, while the brush tool as used to create or add pixels. And right here you can see we have mode, we have now brush. You can choose pencil or block, okay? Let us brush for now and then I can just deletes the pixels as you wish. Okay guys, we can increase, you can change the brush stroke. So I can type in the search bar eraser. And you can see that we have difference brushstroke for the eraser. So for example, if I select this one, I can erase like this. You know, I can do all sort of things. Okay guys. So this is pretty much it for this lecture. And see you on the next one. 29. General Brush Concepts Explained: In this lecture, I want to explain some general concepts related to the brush tool. Things like hardness, opacity in flow, and why do we use them? Let's first select the brush. And I'm gonna select this one right here, the hard round brush. Okay? And the first thing I want to talk about, or the first concept I want to talk about as hardness. So as you can see here, the hardness is 100%. If I go ahead and then draw a line, you can see that the edges of this brush stroke are well defined. Now if I go ahead and decrease the Hardness 0% and then do the same thing. You can see that this time we don't have defined edges, we have blurry edges. So when do we use 0% hardness? And when do we use 100% hardness? We use 0% when we wanna do things like shading or lighting. And we use 100% hardness on a brush when we want to draw with a brush, one more thing, I want to share with you a shortcut to adjust the size and the amount of hardness and the brush. If you are on a Mac as going to be Command Plus option. But if you're on a PC, you can click on olds and then right-click on your mouse. And you can see that if I go lefts and rights, I will adjust the size of my brush. And if I go up and down, I will adjust the amount of hardness and my brush. This is a very good shortcut keys. And once you happy, you can release all its and then release the click. Now let's go ahead and reset the hardness 100%. And the next concept I want to talk about is the opacity. So I'm gonna select the brush again. So if I come over here to the brush option, I'm going to go ahead and decrease the opacity to 20 percents. Now if I go ahead and draw it the brush, and then draw again over, you can sort of see what's going on here. The more I go over a brushstroke, the darker it gets. So this technique is very used and digital panting, okay, it really comes in handy when you try to make some areas darker or lighter or whatever is its debts you want it to be. So now we are down to the last two concepts, the flow and the smoothness. So let's go ahead first and resist the opacity to 100% Okay, and this time I'm gonna leave the flow 100%. Decrease the size of the brush a little bit. Maybe like first. Try them more. Thinking like this is fine. So let's say I want to draw a cute ghost. I'm gonna do its weight around brush opacity, 100%, flow 100%, and then smooth and 0%. Now if I draw my stuff, I'm going to do this like thirst. And when we go down and then boom, boom, boom, boom, boom, boom. And then we have the i's here and a small mouth here. Okay. Now I know this does not look as a perfect drawing, but just bear with me a second guys, we're gonna fix it sounds colouring. Now let's go ahead and decrease the flow to 20%. And let draw the same thing. So go on the curve, go down, and then boom, boom, boom, boom, boom. Then eyes here, and then eyes here and then mouth here. Now if I zoom in, you can see the difference when I change the flow. So as you can see right here on the right, with 20% flow, we have lists density, okay, on a brush stroke and on the left, as you can see, we have a very hard density. So the one with less flow sort of feels a little bit sweats. And if you ask yourself, when do I adjust the flow, it kinda depends on what are you looking for. So in this case we join a ghost. So personally I prefer it if I decrease the flow so we get that's widths. Go see effects on a brush. But if you want a clean brush, then you can go ahead and keep the flow 100%. Now, let's talk about the smoothness. Carriers go back to the brush, resists, go, I'm going to keep the flow 22. And now let's talk about smoothness, okay, so we can all agree that these drawings are really bad. You can see a lot of zigzag and on the edges really jacked. If I go ahead now and use the smoothing up to 100 percents and redraw my stuff. See what happens now. I am getting clean lines and curves with the assistance of the smoothness. Now you know what the smoothing is good for. So if you are doing these type of illustration or if you are the when do linen Photoshop, having smooth and up to 100% can really comes in handy. But if I want to draw the eyes, I have to bring the smoothness back to 0%. That's way I have more freedom over my pencil. I can move very freely to draw the circle iss. So the smoothens sort of assist you and drawing curves and strokes, okay? If you want to have perfect curves and lines, then having smooth and as 100 percents can really assist you in doing so. But if you want to be free, like really have control over the shapes. Like if you want to draw, for example, or a rectangle, or a triangle, or a rectangle. Then you need the smooth n to be 0%. With 100% is going to be very hard to control the brush for these type of shapes. Ok, here we go. Let's try now to draw a triangle. Okay, so a does look better, but it was really hard to sort of control the shape freely, okay. And it draws square. You can see that's, it's gonna be very difficult to get sharp edges. So we always gonna get those curved sort of edges. No matter how hard you try to get sharp edges, it not going to work with this smoothness up to 100%. But of course what you can do is try different percentage of the smoothing and see what is best for you. So that was guys, all the general concepts that you need to learn about the brush tool. And now see you at the next lecture. 30. Working With Colors And The Brush Tool: So in this lecture we are going to be talking about difference method of working with colors and also how you can save them under your color swatch panel. So it's only natural if you're going to be using the brush tool. Now you change colors for different purposes. You can now be using only black. So now with my brush tool selects it. Let's say that I want to select another color then black. You can double-click right here on the foreground. And this will open the color picker. So the most common method to choose colors in Photoshop is to use the color picker. And you see here, if I move the slider up and down, iTunes the hue or the color. Okay? And this section, let's say for example, I once this cyan color. And in this section, we can silicates different tones of that specific cue that we selected right here. So you can see if we go up, we can adjust the brightness of the color. If we go down, we make the color darker, okay? If we go writes reaches a saturation will make its most saturated. And if we go lifts, we make it less saturated. Lectures another color this time, let's say I want to choose red. So now I want you to pay attention to these letters that we have right here. Okay? We have age as nb. So H stands for U, S stands for saturation, and B stands for brightness. Okay? Down here we have RGB, which has red, green, and blue. Now watch if I move this slider, the hue value will change, okay? Because we are effects in or this slider is affecting the color or the hue. And if I move this color selector to the rights, watch how the saturation is changing. Okay? If I move it to the left, so watch how the saturation is decreasing up the brightness is increasing and found brightness is decreasing. So now let's selects this color right here, for example. And let's say for any XY reason, you decide, instead of choosing Hugh, you choose saturation. Ok, now you can see that this slider is changing to the saturation of that specific color that we've used earlier. So this time, if I bring the slider up and down, see how its only affects to the saturation symptom for brightness. If I bring it down or up, see how the brightness values are changing. Ok? So this is one of the method of selects and colors, and you can also enter a hex code of a color. A few have won. If you have a hex code or color number, you can put it right here. So let's switch back to view. And now let's say for example, I have a specific hex code in mind. I can just enter the numbers right here. The f 3340 and I have a pan tone, red color. Ok, so guys, if our beginners in graphic design, and you don't know much about colors. I have a color theory course. You can go ahead and check its ok. After you finish that color theory course, you won't ever be struggling with understanding colors. Now let's go ahead and click on, okay. Now with my Brush Tool selected. So you can see that I'm selects in a hard round brush. Flow is at E3 or basically 100% and smoothing is 100%. Just draw something very easy. And we go eyes here. One here. All right, and here we have our join. So now let's go back and reopen the color picker. And as you can see right here, we have lagged LAB and down there we have CMYK. So lab is just a colour model, just like RGB and CMYK. The only difference is that it used a lot in photography and it's offers more colors than both RGB and CMYK colour models. So f, This sounds really complicated to you that normal, maybe because you're new to design or maybe you don't have enough knowledge about color. But what I want you to focus now as CMYK, RGB, okay? So CMYK RGB are both color modes, okay? Rgb is used for screen and CMYK is used for prints. And so I'm going to go ahead now and just choose a cutter like this, okay? And you can see that right here we have this triangle, looks like a warning. So what this is supposed to mean, when you select the color and you have something like this, that means that this color cannot be printed, OK. It not available and the CMYK color space, it's only available an RGB color space, okay? That means you can see it as color and screen, but once it's printed, it would not look the same. So to fix this, you can only click on it and as well selects a similar color that is available in CMYK color mode and therefore available for printing. And if you want to save a specific color, you can just click on add to swatches. Gave your color and name. Right now, click OK. And now you'll see that the libraries panel is also open because the color is also added to your libraries. And you see that I can't move it, I cannot navigate the library because I need to close the color picker first before I can do is click. Okay. And here's our library in Photoshop, but this does not matter for now, so I'm just gonna close everything and let's open the color swatch panel or the swatches panel. It's me expand the window and you can see that the new color is added here. So each time we add the color will be added down here at the end of the panel. And if you cannot find your swatches here, you can just come over here to window and they look for swatches. You can find it. Up here we have the colors that we've been using lately. And here we have different colors, organized and specific folder. So we have RGB, CMYK, grayscale, Paso, cause lies, etcetera. I explained all of those in details and my color theory course. If you are using a CC 2019 version of Photoshop, you may not have the same layout as this. You will have just a lot of color swatches organized the same way, but we doubt so the folders. So that was one way of saving your colors and or the swatches panel is click again and choose another color. Click OK. And you can also save your colors directly from this panel. Just make sure you have the right color here on the foreground. And then you can click on this icon, add. And as will be added automatically to your panel or to your swatches panel. If you want to delete a specific color, you just click on it and press on deletes. Okay, sampling for this one, the leads. Ok. One more thing I wanted to talk about is the eyedropper tool, this one right here. Okay? So the eyedropper tool, you use it to select or to sample a specific color from the image. So once you select it from here, okay, this one is the eyedropper tool. You can sample any color that you want as well be added right here. And then you can select the brush and work with color. Ok. So this is how you use the eyedropper tool. Or a more simple way, too simple colors instead of switching between the eyedropper tool underbrush. Soon as that you can select your brush tool and then just hold Alt or option. And then you can sample a color directly without having to switch between the two tools. Okay, now, was the color is changed here. I can draw with the new color that I have selected. All rights. So you're probably right here. You can see that we have two colors and you think, and why we have two colors down here. So this is the foreground and the background. You can click on one and change the color of it. And so the background's color job is to serve as a reserve color. Ok, so let's say for example, I need two colors to work with, red and green. Okay? Now I have red and green here. I can use red when I need to. And if I click X, I can switch between green and red and then work with the other color. That will make your workflow much easier. Okay? And instead of having to select each color each time, so you get the idea. Now if I want this thing to go back as I was by defaults black and whites, I can just click on my keyboard. And as well comeback to defaults. There was also one more panel I want to talk about, just selects color, which is the colored panel. So right here you can find the color panel looks like traditional color pallets. You will have this window. You can extend it like this or expanded. And you can choose your colors from here. Okay? It doesn't have as much options as the color picker abouts at as a way to, to 0 colors. Again, if you can now find it's here, you can find that's under window and then choose color. Here we go. Shortcut is F6. Ok guys, so that was all the difference methods you can use to choose colors and to sample colors and to save colors in Photoshop. Thank you for watching and see you in the next lecture. 31. The Paint Bucket Tool And The Fill: The brush tool isn't the only tool available in Photoshop to apply color. We also have other tools lack depend Bucket Tool and the fail. And this lecture will see what the difference between them. So first thing first, I wanted to create a new empty documents. Okay. So new and make sure you have these dimensions. 11 inches by 8.5. Now go to File, Place Embedded. Find this image. It's under colorful gradients, Paint Bucket, Tool folder and then places. Now I'm just going to resizes and position as accordingly. And we go, I'm going to click okay, open the Layers panel. And now let's say I want to fail my background with a specific color. So let's start with the first option, which is, I'm gonna come over here to edit fell. Right here where it says constants. I'm going to click and choose color. You will have this color picker popping up. And I can simply color from the stroke, for example. Okay? And then maybe I can increase the brightness of this color. And be moral, it's 80. Ok, and then maybe just increase a little bit of the saturation, let's say 40 or those too much to do 20. And then, okay. Okay, and we have our color applied to the background. Now I'm gonna click on i, so I can select the eye dropper tool and just sample this color so I can have its right here on the foreground. Now click on this thing. This is the gradient school and holds to find the paint bucket sole. Control commands it to undo, and this time let's click would depend Bucket Tool. And you can see that we get the same results. Only thing you should pay attention to when fell in the background with the Paint Bucket tool. Is that this option right here? All layers, you don't want to have this one checked because if I go ahead and check this option and lead to control commands it to undo now or if I go ahead and fill the background with the color. And if I move my illustration, you can see what happens here. It's going to fill the background, but as going into the stop, each time there is an elements and a foreground. And therefore, you will have the negative space of that specific objects or elements. So unless it is what you're looking for, I recommend that you uncheck the all layers, okay? Now if I move you can see we have nothing here. So what is the difference between the Paint Bucket tool and the fill tool? So actually we use the Paint Bucket tool in cases when we want to paint our illustration. So let's say for example, we want to apply colors to this bunny. I can do it using the Paint Bucket tool. So if I click, you can see that I will have this message. Can you guess what this message is? Four, we talked about it earlier. Yes, that's means that you need to convert this smart objects to a rasterized layer. Just click OK and you will be able to apply the Paint Bucket Tool. So let's start with the painting. I'm going to start with the inside of the ears and the inside of the legs. Now what I can do, click I again, just zoom in a little bits. I'm going to sample the colors from the stroke. Okay, you can see that I have it's here. Click G on my keyboard to select the Paint Bucket tool and then I can start applying colors through the rabbits. Now I think that this gray is a bit dark, so I'm an undue. Maybe we can add more brightness to. It's, it's say here under this move, this one up a little bit, it's around 60. Okay, this is better. Or we go and we go from here to here and here. Let's add more rightness of a colour. So pains the n side of the face. Now I'm going to sample this color again and just paints the eyebrow axis so that this color add more saturation or legis click here on saturation and then increases a little goods. Also increases the brightness. Decrees the brightness like this. Okay guys, now we just painted our illustration using the paint bucket. So the only thing left to do here is to add some shadows like this. Ok? So this is a cast shadow on cast shadow are supposed to be really, really dark. I know this is not a course about pentane, but just to tell you guys. So yeah, that was pretty much all you need to understand about the fail and the Paint Bucket tool. On the next lecture, we're going to be talking about ingredients. 32. Understanding The Gradient Tool In Photoshop CC: In this lecture, we'll dive deep into understanding how the gradient tool work in Photoshop. So the first thing first, I'm gonna go ahead and hide the layer with the bunny. And then just select the background. Now, click and hold on a Paint Bucket Tool and selects the gradients. So the most important thing to learn about the gradient is that you need to understand that in Photoshop, we have five types of gradients. We have a linear gradients, radial gradients, angle gradients, reflected gradients, and the diamond gradients. Okay? And if I click here, you can see that we have a lot of free sets. Now we can choose from, okay? So you can choose any of those presets when you learn the basics of ingredients. But first, I just want to focus on those. So the first one right here goes from the foreground color to the background color, okay, that the first basic ingredient, the second basic ingredient goes from the foreground color to a transparent color. And the last one goes from a black color to whites. So let's say for example, if I go ahead and change this color or to a more saturates a dread. And then I change the background color to say green like this. Click OK. And if I go back here and click on the basics, you can see it as the basics. Swatches have change dependent on law color we have selected right here. Okay? So let's select the first one, and let's talk about different types of gradients. So let's start with the first one, which is the linear gradients. Now do linear gradients the way it works is that whenever you click hold and drag, hold shift to draw straight line, it will follow the align, its will follow the direction of dA line. So the gradient extends across that line and then follows the direction of that line. And if I click from the top and go down, it will start from the top and finish down. If I click from this angle and go to the other angle, it will start from here to here, okay? So wherever you click, the gradient will start from that specific area where you clicked and then expands from there. So you can see that it starts from the center all the way to the rights and felt the lifts area would depend Color. The second one is the radial gradients. This one will extend from wherever you click, but it's extents in a circular way like this. And if I click from the top right and drag, it will start from the top rights and finish on the bottom left of the canvas. So you can see that we have a circle here and a transition in between that circle and another color. Okay, let's do its again from the center. And this time we're just going to drag a little bit. You can see that we have a small circle. If I drag more, you can see that we have a big circle. So again, as it depends also on how much you extend that line. So if you extend too much, the foreground color will be bigger than the background color. And if you extend just a little bits, then the background color will be bigger than the foreground color. If you want, you can also reverse the gradients. If I check on reverse, then click and drag. I will have a reverse effects. Okay? We will switch the colors or reverse the colors. So remember guys, the greedy in stars from wherever you click OK. And which color is going to be Dominance depends on how much you extend that line when you click. Alright guys. Now will it choose another presets? For example, trues and this one? And now let's talk about the angle gradients. So the angle gradient is by far one of my favorite type of gradients. So the angle gradients as the same thing as the radial gradients. So if I click and drag, you can see the effect. It's almost the same thing. Let me change this one, so not the ones. So we can have more contrast. This one. We can drag. Okay, here we have it. So it's the same thing as the radial gradients. The only difference is that it's rotates clockwise. Ok? So the gradient starts from the align that we drew and then goes and a clockwise direction and stops on the align again where it begins. Okay guys, if I click from the middle and drag vertically, you can see what I'm talking about. Okay? So where does gradients? You can obtain some nice effects. The next one is the reflected gradients. And basically it does what it says. It's reflect itself just like if you look into a mirror. So if I collect from the sensor and drag, you can see that the gradient started from the middle to the rise and then reflected itself to the outer side. Let me choose another one. Another. Precess. Click and drag. And now you can see clearly what I'm talking about. And the final one is a Diamonds gradient. So this one again is the same as the radial. But instead of expanding in a circular way, it expands and a diamond shaped way. If I click and drag this little bit so you can see more what I'm silicon about guys. Alright, so that was the five types of gradients and how to use them. Now let's go ahead and reselect the angle gradients. Now I want to show you how you can create your own ingredients and saved them. So to create your own ingredients, you need to have the gradient tool selects it, and you can double-click on this color right here. So in the first box, you can choose a name for gradients. You can choose a gradient type, solid or noise. I'm going to explain those in a second for now to just keep it solid. Okay, and smoothness, we won't be needing this for now. So we have four colors watches. We have the ones on the top. And we have the ones on the bottom. On the bottom, if you click, you can select a color. That's your wants, okay? Like this. On the top. If you click, you can control the opacity of that specific swatch that you just selects it. Same thing here. If I want to adjust the opacity of this one, I can just click here. And now I can adjust the opacity on the left. If you drag these swatches like this, you give one color more importance than another one. And if you drag from the middle, you give the color more weights than the R1. Ok? So the only difference is that if I drag from here, you can see that the transition between the two colors is very strong because this color, I'm selling Photoshop, that's, I want this color to be the more important scholar. Whereas if I drag from the middle, you can see that the transition between the two colors is not as rough as if I drag the swatch itself. Okay? We still given more importance to one color, but the transition between the two colors as smooth. Down here we have location. It's the same thing as Dragon from the middle box down here, you can enter a value, you can do it more precisely, but usually you just want to leave its 50 percents. So you can either double-click on those swatches which was a color, or you can just click on those swatches and then choose a color from here where it says color. And if I hover over this color bar, you can see that the cursor switches to a hand. So if I click anywhere, it will add another swatch or color to my gradients. And then I can add a another color to my two swatches like this. Ok. And keep in mind that you can add as many as you want. If you want to delete a specific swatch or a specific color stop. You just click and drag down. Okay. Click on the color stop and drag down like this. So now I'm gonna give it a name. Let's say purple horizon. And I can click on New. And it will be added right here. And if you want to delete it, you just right-click on it. And then you can delete the gradients. Okay? Now let's talk about the noise gradients. So the noise gradient actually creates a very cool effect as you can see here. And let's see how it works. So you can come over here to Gradient Type, select noise. And the way you customize this gradient is through roughness and color mode. So if I increase the roughness, you can see that's the lines between each color becomes stronger. Ok. And if I decrease, the lines become less transparent. So up, more transparent line, down, less transparent lines. All right, so 50% is around good. And down here on color model, I always suggest that you work with hue saturation and brightness. And you can see that we have here two handles or two stops. And we can select the color range that we want. So for example, right here we have hue, which means colors. And I wanted to select from cyan to magenta, okay? And then for the brightness, and the brightness from here. So here, okay? And same thing for the saturation I once from here. So here. Now I'm going to save this one as well. I'm going to call its pink bunny. You click OK. Now what the new noise gradients selected and the angle radiant selected. I can click here on the center, drag to the left. And you can see that we have a very nice gradients of urbanized background. If I bring back my illustration and then just adjusted little bits like this. Oh, it's gonna look very nice. Ok guys. So that was pretty much all you need to understand about the gradient tool. So hopefully you learned a lot and see you guys in the next lecture. 33. Import, Export And Organize Brushes In Photoshop CC: And this lecture, you will learn how to download the brushes and installed them in Photoshop, organized them, and export them to go ahead and select the brush tool. Open the Brush Preset speaker. And let's start with downloading the brushes. So if we click on this settings right here, you can go ahead and click on gets more brushes. This Websites will open and then you can download all these premium brushes for free just because you are a creative cloud member. Ok, these are very good brushes developed by Kylie. I think I think his name is Kylie tile. Anyway. So those are yours. If you put a subscription, if you don't spray this subscription, you use an older version of Photoshop. You can check brushes from this website's deviance ours dot-com. For me personally, this has the best websites for artists. Okay. The level of Arts on this website is just on another level. So I recommend that you download this brush precessed by air on Griffin. And you just need to login to these websites, okay, and then you can click here and it's we'll be downloaded. If you were just surge to the websites at not going to be possible to download the brushes. And if you don't like those brushes, you can find off-course more brushes if you look here and a search bar. But those are the best brushes that I found on website. Once you click and download, you can go back to Photoshop. Open the Brush Preset speaker. Click here on a sedans and then you can look for imports brushes, okay? And this is the brush that we just downloaded from deviants arts, selects its click on load and it will be loaded to your brush presets. Okay? And it's this one right here. Now, what I want you to do guys, as go again to set ends imports brushes. Then go ahead and install this brush that I provided you with the course files because we're going to be needing this brush presets and the upcoming lecture. Click on load and it should be under your Brush Picker panel. Now, let's see how you can organize your brushes in Photoshop so you can rename your brushes, okay? Once you find your go-to brothers, you can rename them. So for example, if I right-click on this brush stroke, I can rename k, choose the Rename option, and then just give it a name here. You can, of course, deletes a specific brushstroke if you don't need it. Again, right-click and deletes brush. Let's say for example, you found your favorites brushes. You can select them all by clicking on control and select OK, and then click on the Set ends and you can group them in a new folder. So choose a new brush group, give it a name. My fave Fritz brushes. Okay, and now I have them under their own folder. And I can of course click on a specific brushstroke and maybe put a here, okay, and organize them however I want. Now let's say I want to export a specific brush. For example, this one, I can click again on a set S, export selected brush or Bosch's. You can select a lot if you wants. And then just give it a name and click on save and it will be saved under your documents as dots ABR. So whenever you see a file with dots, ABR extension is a brush for Photoshop. So it's important to understand that there are some premium brushes and free brushes. And usually premium brushes are better because the artists put a lot of time and creates in them, they know they're gonna get money for it. So they put a lot of time to create these brushes. But of course in some cases you will gets free brushes that sort of feel like premium brushes, like it is the case with Eran Griffin brush presets. So why do we use buffers in Photoshop? So we use brushes in Photoshop for a lot of purposes. We use them for benzene, adding shadows at an lights. We touch in. Okay. Masking, you name it. We use a brush for different purposes and we also use brushes to make art select traditional artists. I want you to picture that's image of that artists pains in the Eiffel Tower in Paris, but digitally. So let's go ahead and create a simple composition using a brush precess that I bought. I'm gonna go ahead and add a new layer. Open the folder again, and let's choose the moon. Make it bigger or less a little bit. So you go, see, I'm going to enter the manual value, that's better. And you go, okay, let's go ahead and selects the clouds. Look down here. And finally, let's go ahead and selects the birds. So you can see that just by using couple of clicks, we come up with a nice composition and Photoshop. So if you think in why I didn't provide you with the same brushes that because I don't have the right to redistribute them. Ok. But so will do better. I will show you how you can create your own brushes like this and the upcoming lectures. Okay? So that was pretty much all you need to learn about how to organize an import your brushes in Photoshop and see you on the next one. 34. The Mixer Brush Tool Explained: And this lecture we are going to be explaining the mixer brush tool in Photoshop. It's a very important tool and it allows you to turn your images and two paintings by simulates in how real-world brushes behave. So the first thing we need to do here is always add a new layer because we never apply anything to the same layer or to the original layer that we have. It's a bad way to work in Photoshop. It's cold working this truck, cilia and Photoshop. So always add a new layer before applying anything to the image. Okay? Now, if I select on the brush tool and hold, you can find the mixer brush Solara hair. And the first thing to do when you select the mixer brush tool is that you need always to simple all layers. If you don't have simple all layers selected, you won't be able to paints. Now let's open the brush options. And I want you to come over here and open wets media brushes, okay. This is the brushes presets I told you to install earlier. So as you can see, we have a lot of brushes here, quite a few. And see that's near the brush stroke. We have an icon right here off the brush. And notice that each brushstroke We have a Nikon rights. We have the hand here. This is for Dodge and Burn. And then on the top here we have this brush icon. That's mean this as a normal brushstroke. And down here we have the brush with this water drop. That's means this as the mixer brush sold. So all brushes cannot behave as a mixer brush tool. It's nice to have this specific icon. Okay? There are specific brushes created just for the mixer bars tool. So we have two options. We can either work with this one or this one. I'm going to choose this one, this mixer brush tool. And now let's go ahead and explain these options of the mixer Barstow. So we have the wets, the load, the mix, and then we have the flow, we expend flow earlier and only to repeat it again. And right here we have presets that I'm gonna talk about in a minutes. Ok? And these two icons, Pamela, check them now and explain them later. So let's start with the widths. Okay. So the witness defines to what extent the canvas is wet. Sounds obvious rights. But in other words, that means do widths or the canvas, the more the colors of the canvas will mix with the brush. Okay? So for example, right here we have lots of colors. So the wetter my brush, the more my brush will mix with these colors that we see right here. The lists do wetness, the less my brush will mix with these colors. Okay? Then right here we have the load. So the load is directly related to the color that we have on a foreground. If I go ahead and changes. It's real change here, okay? So this load is related to this, and it's related to this color that we have right here. So the load is the amount of paint that is added with each brush stroke. And as I said, it is related to whatever color that we have selected for the foreground. So for example, if I change this color here like this, you can see what I'm talking about. And finally, we have the mix and the mix as the same thing, almost the same thing as the weights. So it's defined to which extends the brush stroke is going to mix where whatever we have an a canvas figures. So let's go ahead now and deletes everything that we have on this layer with dubs deleting the layer. So I'm gonna come over here to select all and then click on Delete on the keyboard and then Control Command D to Deselect. And you can see right here we have presets. And if I go ahead and choose any of these presets, the weds, the load, and the mix will change depending on what's presets, isolates from here. Okay guys. And finally you can see that we have these two icons. So the first one right here is to clean the brush after each stroke. And this one right here is to load the brush with whatever color that we have on a foreground after each brushstroke that we do on a canvas. So in order to turn this image into a painting, I don't need my mixer brush to sample any color from the foreground. So I will go ahead and uncheck load brush, and you can see that the colors disappears from here. That means the only color that will be loaded. So my brush as the color from the canvas. And this one is to clean the bar. So basically it means that with each stroke Photoshop, I'll go ahead and clean the brush so it can sample new colors that you'll be selecting from the background. So I'm going to keep clean brush checked. And I'm gonna go ahead and uncheck rode the brush after each stroke. Okay? And for the presets, the best presets that you can choose to achieve our wants to achieve now is widths, okay? So even if I have load 50%, because I unchecked from here, this 50% wants matter. Okay, I'm gonna go ahead and click on simple layers because we changed the presets. So one thing I want to talk about before we start painting is the size of the brush. So the smaller the size, the more details you will have, and the bigger the size, the more details you will lose. So in our case, we need to pass this beautiful eagle, okay? And you can see it's has a lot of details on the feathers. So small brush around 60 or maybe less. Well work just fine. And if I want to paint whatever we have right here on a background, I can use a bigger brush to the waist, okay, because we don't have a lot of details here are just a lot of colors that are blurred and the background. So let's go ahead and start the star it easily. And so you can see what I'm doing. I can see how easily I'm working on my image. Take your time. And the technique I am using to paint is like I am scratching the Eagle. Okay, so I just draw a small stroke and then release. So I collates, Photoshop, clean my brush and therefore wizards, okay, so it can sample other cutters. So think of it as you're scratching the eagle and then keep paints. And I'm gonna take a lot of efforts and sign. But the results will be worth is. And it's also important to keep in mind, that's the direction in which you swipe matters. So for example, if I swipe from right to the left, it's gonna give me this gray color that I don't even want to paints whites. So I can swipe it the other way around to paints and whites. Ok guys. So I'm not saying this is going to be easy. And I'm not saying that you can do is right away. That's with some practice in patients. You can do is so I'm gonna go ahead and speed up the process. And usually this type of work, well take around 40 minute to really nail everything down just for the sake of discourse to keep it short. So I'm gonna go out and try and do it. And 17 minutes. It turns out. Okay guys. So as you can see, we pretty much finished and you can see that it's a quite some time. Actually, it's a lot of time. And to be honest, this one is quite a difficult picture. Okay, so here's the before, after, before, after, before and after. Okay? Now you don't have to paint the same image. You can go ahead and do something easier. So I want to provide you with this other image. This one, as you can see, this one is much easier and it's going to take cue lists. So for this one, I did the pots and I also did the background. Okay. I did do background. You probably cannot see it, but I went ahead and painted the background as well. Just go back here. You guys. So one more thing you can do is go ahead and duplicate the Background layer, high debts, and then filter, stylize our old parents. And then click OK. OK. So this technique will help with the Docker on little bits because I don't want to go ahead and thanks again, the background, this took enough energy enzyme from me. Now if we zoom in, we can see that we have obtained some decent results. Okay? I mean, it would be better to go ahead and paint with the background as well. Using the mixer brush tool. I can just make the stroke bigger. And then you can start painting the background like this. Now, maybe if you wants, what you can do is hold olds whilst Alexander Mx or brush tool. And we can, for example, sample a color form here and then check brush load. Okay, and we can mix little bits of the color orange with the background. I'm gonna go ahead and uncheck it now and then just try to mix it with the background. Ok. That's a nice technique if you want to use it so you don't have, so there is no, I just want to show you that there is no limits through creativity guys. Okay? All right, so I think I'm going to leave it here. I don't want to spend another half hour adjust in this. And here we have our beautiful painting using the mixer brushed. So, okay. So that was pretty much over this lecture, guys. On the next lecture, I'm going to show you how we can create your own brushes so you can either save them, share them with your friends, or sell them and the creative or markets to make some cash. 35. Create Your Own Brushes From Images in Photoshop: And this lecture, you're going to learn how to create your own brushes from pictures. Okay? So in order to do that, we have to make sure of two things. First, you need to make sure that the picture is high-quality, okay, so download the picture from those website that's offer royalty free, high-quality images. You need to make sure that the photo as transparents. Okay? So let's say we want to create a cloud brush. Physically we need to do is to remove this Kias. So select a magic wand tool. Make sure contiguous as checked the clip to select this guy called chefs and click here. Select inverse. Okay. Open the layer spinel. Double-click to open the mask. And you can see that we have some bits of the clouds right here. We don't need this, we can delete it. So I'm gonna select this tool right here. Okay, we've talked about this tool so many times. The object selection tool. Make sure you have Lasso Tool. And this time we don't want to add from selection, we want to subtract from the selection. So click on subtracts from selection. And I'm just going to draw over these parts. That's I don't need. Okay, and now I'm just going to come over here to shift edge and then just slide it to the lifts and I'm a bys. Okay, just to gets rid of that blue dot we have here. Okay, that should be good. Like okay, I'm gonna go ahead and duplicate this layer control command to lubricates high Guan and just keep on. Now he's a thing guys. We have to turn this image to black and whites. Why? Because brushes and Photoshop only work in black and whites. And then we have to make sure that the whites B2 will be considered transparents and Photoshop and the black parts will be considered not transparent in Photoshop because it has how the brushes work. So what the layer selected, I'm gonna come over here to image adjustments and then the saturates. Okay, we need to remove all the colors from the image. Now one more thing we have to do is as we have to invert this image, make it's negative because as I said, only the black parts will be taken in consideration by Photoshop. So again, I'm gonna come over here through image adjustments. And this some inverts, okay? The image as negative. But you can see that sort of looks like a brush now. Okay, this will work perfectly as a cloud brush. So once you do that's okay. Those two steps, which are extremely important in order to create your brush, I'm gonna click on edit and then find a Define Brush presets. So sometimes if this then as gray dots, okay, you want to click on it but it's gray dots. What you can do is file creates new documents. Whatever preset doesn't matter. And now let me come back. Go back. So my cloud right-click duplicates layer. And I'm going to choose the new document that I've creations window under. Let's go back to the documents here we have it. So as you can see right here, because this is a high-quality image, you can see a lot of details, a lot of texture. And this is very important when creating a brush because if the image is not high-quality, then once you increase the size of the brush, the budget is going to become blurry, ok, at nagana work. Great. Now let's go back to edit. And now we can define brush presets. You can see a small miniature right here, okay? And you can see the size of this brush right here. And I'll just give it a name. So cloud 32, for example, click OK. And now if I click on the Brush option, you can find this down here. Okay? So this is the bridge that we just created. So if I hide this layer or creates a new layer and apply the brush, you can see why we working with right here. Okay guys, if I double-click, I make it more opaque. If I click More is gonna get darker. Now, one thing you should keep in mind is that's the quality of the brush will not be the same as the quality of the image y, because the brush mostly focus on including the dark areas of the image. Ok, it does not include the whites areas of the image. Let's say for example, you want to recreate that composition in Photoshop that you haven't photoshop when you open it the first time. If you wanna do its use in a cloud brush at nagana be optimum. And let me show you what I'm talking about. So if I come and click here, okay, on this composition, add a new layer. I can change the color of my Cloud, two whites. And I can apply the clouds here. Okay, no problem. It's gonna look grades. Okay, but if I change to this one. Not this one. And this one are the new layer. And now, if I want to apply cloud to this flamenco to mimic the photo composition that you see when you open Photoshop CC 2021. Not gonna work grades. Even if I click on it multiple times, you increase the opacity or the transparency of the cloud at nagana look as good as a real image, okay? Because the browser doesn't have enough texture as in the real image. So in this case, we need to bring a real image, guys, okay? This one like this one visible ve, and then let's bring, it's our composition. Like this robot to full-screen, shall command C, hold Alton, track. There we go. Okay, this will look much better once you adjust the colors. Now if I click here and click on levels, and then click on this icon right here to clip it to the cloud layer. So this icon means that the changes I do here, we'll only affects the layer beneath it. Okay. Let's go ahead and then just increase the exposure or just the exposure of this image like this. Okay? You can see that as Sodom to look better. Of course we can take it one step further and adjust the colors. And boulders collar and fan Avenue layer. Then just prints like this, you know, this record Control Command D to undo the change the blend mode to some funnels. Overlay. Maybe. You can see that this looks much better. Okay, so we're not going to be recreated and Asimov composition because of course, it requires a lot of advanced techniques, a lot of advanced color matching. And this course as just for beginners. So I just wanted to show you quickly that there was a difference between the brush when you apply the brush and the difference between when you apply the image. Ok guys. So just in case you didn't know what I was doing this as blend modes, okay. You can use them to blend colors or texture with images. And that's in about Blend Mode is just that you need to try all of them until you find what's working. And when you see this sort of symbols or icons with the down arrow, that's means all these layers will only affects one layer which is the layer beneath them. Ok guys. So that was pretty much all you need to understand about creating your own brush. Next, we're gonna go ahead and talk about how to configure your browser that you just created. 36. Customize your Brushes In The Brush Settings: And this lecture guys, we're gonna be talking about the brush sit ands. Ok. So now with our new brushed, i would just creates a, a cyclic crowd. Here you can see it as it's behaves normally. I can click and different times and it's well recreates the same thing in a repeated way. Okay? It's a very repetitive brush. So let's say we want to fix this, okay, we can do it and a brush settings. If I click on this folder, I will open the brush citizens right here. Okay? So here we have the size. Here, we have difference brush tips. This is our brush selected right here, okay, here we can flip it vertically or horizontally. And then we have the angle. If you want to adjust the angle of the cloud, the cloud is rotated. I can leave at 0% because I don't want to adjust no angles. This is the roundness, aka due with the brush stroke. Okay, so roundness is simply the width. And here of course is the spacing that we've talked about. The spacing between the clouds That's forms the brush stroke. So on the left we have lot of options and of course I'm not going to be talking about all these options. I will be just focusing on the most important one. So the first one is shaped dynamics, okay? And keep in mind that when you select an option, you want to click on the name and nuts on a box. If you just click on a box, you won't be able to adjust. Doubt specific option. You need to click on the name. So first we have the size gender. And this simply means to what extent there is a variation and the size of the brush. So if I go ahead and bring it all the way to 100 percents and change the control to pen pressure. You can see the variation of the size and my brushstroke down here. Okay, now if I go ahead and decrease it to 0%, you can see that's Now I have more variation and my brush stroke. So the less error, the more variation, the more or the less the variation. Okay guys. So I'm gonna go ahead and then just increase the size gender to 50 percents. Leave, it's in the middle right here, and down here we have minimum diameter. So if I go ahead and increase it, you can see what's going on to my brush strokes. So the thin parts of my brushstroke are getting bigger. That's means as limits and the size variation that I said with the jitter. Okay, so this is what you use diameter folder. And you can see that if I increase it's 100%, my brushstroke will become a normal brush, normal size variation. Ok, so I'm gonna leave its around here. And the metal too. So I still have size variation but not too big. The angle gender as a sampling as the angle we've talked about earlier. So if I increase it, it just gonna go ahead and rotate the angle of the clouds randomly. Okay, so you can leave it there or changes whatever you want. May be like this is fine. Control you can leave it off because it will be automatic anyway. Roundness gender is of course the width and were not addressed by the width. Down here you can flip your clouds randomly or even have a projection. Bots were not interested in this. And then we have scattering. So scattering as the same thing as space. And if I go ahead and increase it so you can see that it increases the space between the clouds. The only difference is that space and increases the space horizontally and scattering increases the space horizontally and vertically, and sort of in a random way. And now if I click here, you can see that's difference. Clouds will appear and different places. It is a very cool effects. If you want the counts, we'll go ahead and add more clout to the brushstroke. Therefore, filling that gap that we have created earlier and sort of creates a nice effects if you want. But you have the Josie can either try and increase accounts or you can leave it like this to choices apps for you. So if I increases, you can see that the gaps are gone between the clouds and you can see that we obtain a very nice effects. Ok. Looks like Stairway to Heaven. So I'm just gonna go ahead and bring it to one. And for the count gender, I'm just gonna leave at 0%. No need to adjust this. So let's bring back the scatter to normal 0 and let's see if I can increase it, so on. And we go. Next. We have texture, but texture you only use it when you brush stroke doesn't have enough texture. In our case, the clouds have a lot of textures. So we believe it's extra alone for now, uncheck texture. Then we have dual brush. But let me select my brush. Silicon activates this option. Here it is. So what the dual brush does, that it goes ahead and deletes parts of the brush stroke. You can see as I decrease it's my brushstroke becomes smaller. So we don't know which part exactly deletes bots a just delete parts of the brush stroke. So if I'm clicking here, you can see that's pretty much have nothing. If I click harder, I have something. And if I click even harder, I will have something else. As you can see right here. So you can see that the cloud is forming, but parts of the clouds are deleted. So no need to check this one, hominin tickets. And then we have color dynamics, which is quite interesting. If I go ahead and choose a color here, and then go to the background and choose another color mixture. We have applied positive checked, decrease the size of the brush. And now if I paints, look what's going on. If I uncheck this, then with each stroke I will have a different color. So just make sure if you want to have this effect is that you have the gender up to 100%. And then you can adjust the elements like this. You can adjust the hue variation, saturation variation in everything. And of course depend pressure will be controlling this variation. So dependent on how much pressure you apply, you will get a difference results. Uncheck color dynamics because we don't need, that's another talk about transfer. So transfer basically just controls the opacity and the flow of your brush. Okay? Of course this can be controlled only using pen pressure. You can see that's my brushstroke liquids. And if I uncheck transfer, well go back to 100% opaque. The rest is just null at not gonna help you much, okay? But I recommend that you always keep smooth in checked. We also have duets option down here and the width option. You only check it's if you want your brush to behave like a watercolor brush. Noise is not really important because what it does, it that's as religious, go ahead and add some grading to specific areas of the cloud and you can check it or object gets it doesn't matter. It's not even noticeable from a distance, but if you look closely, you will see some graded parts. Once you're happy with all the changes that you made, you can click on this plus icon and then you can save your new brush with the new set is give it a name. Make sure you don't check, capture brush sizing Presets. Click OK. And now if I come back here, you can see that we have our original brush cell untouched, and then we have the brush, the New Brush That would just creates it. So open layer had this one, has another one. Family change color to this, and go back to brush. Now with the new browser that we just creates it. If I click, I will have this results. And if I select the default Swan and click, I have a normal result. Okay, so you can see the changes now between the two brushes. Alright guys, so that was pretty much all about bras, sedans. And now of course you know how to export them in case you want to export this brush for any x, y reason. There was pretty much over this lecture and see you on the next one. 37. Class Project: Add Depth To The Drawing: Okay guys, so now it is exercised signs. So go ahead first and open this file. So go to file open and then open this document right here with the dot p as the extension. Ok? So once you open it, you probably have something like this. Okay? All the layers are hidden. So go ahead and unhide everything. So as you can see, we have multiple layers, one with the line drawing and the outer ones with the colors. Okay? So what we're gonna do now is that we want to add depth to this illustration, okay? And we do so by adding shadows and highlights. So let us start first. By adding the shadows. We will start with the tree. So make sure you have the tree layer is selected. And of course, we're gonna do this using the brush tool. So as you can see right here, I have my heart, round pressure size, brush selected, opacity, 100% flow, 100, smooth in 100. Now what I'm gonna do is click on AI to select my algebra tool and then sample this color, and then click on b to reselect the brush and open your color picker. So normally when people want to add shadows, they go ahead and juice black. And then they add the shadow like this. And then change the blend mode. But there is a better way to add shadows 0 illustration guys. Okay, so sample this color and instead of going down, you can go across like this. So you go down and then to the right. So therefore adding more shadows, making the color darker. In also and more saturation. Someone to click here like this. And then I can apply, my shadows arrives. But we have a problem here. You can see once I'm applying the shadows, the colour goes out from the illustration. How can we fix this? So selects the layers or open the Layers panel and then selects the layer with the tree. And you see right here where it says Locke, we have five icons, 1-2-3-4-5. Yes. You're going to go ahead and click on the first one, okay? Lock transparents pixels, okay. Once you click, now if I apply my shadows, it's well stay inside. Even if I draw outside the illustration. Now we're gonna do the same for the face. So selects the flower pots. Non-linear. Just fix the name flower pots and you go. I too simple, the base color. Opened the color picker and do the same thing. So go down and then a little bit to the right. And sample this color. I'm going to lock the pixels for this layer as well. So that's my brush and then do the same thing. And here we have, it's, now I'm going to switch to whites, select the eyes layer, zoom in and add some highlights to the ice. Now you'll see that's when I click. There's nothing showing why. Because the eyes are only drawing layer. So I need to move the eyes layer on top of the drawing. Now we have something here. I'm just gonna go ahead and delete it. And now let's do it again. So click here, like this, and then click here. Then click here. Click here. Here we go. It looks pretty. And the only thing left to do now is to draw the highlights. So let's say the light is coming from this side, okay, from the left to the highlights will be somewhere here like this. So the highlights needs to follow the curve, okay, this guy right here of the stroke. And same thing here. Now we have our beautiful illustration, guys. So now if you want to save this file, you would come over here to File Save or Save As and computer. Click Save, ok. So it's probably thinking That's why did we use a brush with 100% hardness? Apply shading and lights and okay, and if you remember, I said earlier we use a brush with 0% hardness for shading and lights and, well, the answer is that with this type of illustration, we need a hard brush. Why? Because with this type of illustration, we need to have high contrast between the shadows, the highlights, and the base color. Okay? But if I go to File New and open a new documents and tabloid, and let's say I want to draw a sphere. So come over here to the shapes, Holden Clegg. You see that we have a lot of shapes here that we can choose from. So go ahead and choose the Ellipse, tool. Click, hold, shift and drugs so you can draw a well proportion circle like this. And I'm gonna go ahead and change the color to the circle. Something like black. No stroke. Position is in the middle. We go from the properties. So the properties lets you control the circle guys. You can now find this here. Remember you can find everything here. Open the fail and this sandwich trues. A more grey color like this one here. Alright, so I'm gonna leave it like this. Selects the brush tool, click on the circle. And so you're going to have this message. The Shape layer must be rasterized before proceeding or us or as a shape. Ok, so now we can apply the brush to use the shading and the lights into create a sphere. So first thing first is that I'm gonna come over here and change my brush this time, too soft, round brush. Okay? And I want to use pressure to control the opacity. So you can see this brush has 0% hardness. When I increase the size of the brush and do the same thing here. Black pixels. So the circle symbol, the color of the circle, opened the color picker and choose a darker tone. So you can see the brightness here is 20 percents. I'm gonna make it 10%, okay, darker. And now I can go ahead and gently paints circles. Who creates a sphere? Okay? So this is the core shadow. Then I'm going to add little bit of shadows. 2d edges of the circle like this, and paints over these areas to make it even more darker like this. Okay? And now you can see how a brush with 0% hardness can help with creating realistic shading and lighting. And if we look in for something cartoonish, then we can use a normal heart brush to create, dive, fake, shade and enlightening. And now I'm gonna go ahead and apply the highlights. So I'm gonna switch the colors to whites. Make the brush bigger like this. Click ones with twice. Okay. To sample this color again. And let's make it lighter. Be, make it small. Now I want to create the reflected highlights. Here we go. Let's select the circle again and apply the casts shadows like this. So just click and drag this time and you can see that's when I'm not holding shifts. I can this tolls the circle, however I want. Click on this dense open the color picker on the let's make it darker like fors. Here we go, guys. So yes, this is not a perfect sphere, but you get the idea about when do we use a brush with 0% hardness stroke? I'm just gonna click here and make it 0 pixels I we know once any strokes. Now one more thing you can do if you want is that I'm gonna go ahead and place an image, Place Embedded, find this image right here. Hold shifts to adjust the size of the image. And we go put it on top of the ellipses. And then hold alter option and hover over the two layers between them. Once you see dissemble would click OK and you can see as well to the ellipses. Okay? Now if we come over here to the blend modes, we can try couple of them. See which one? Do we like? My like darken. See lesson. Anyway, this is just optional. You can do it if he wants or leave. It's going to adjust the opacity of that's extra. The guys with us pretty much all. Now we are done with the brush in Photoshop. It time to move to something else. Okay, and on the next section we're going to be talking about retouching for beginners, Of course. 38. Retouching With The Spot healing Brush Tool (Section 4: Retouching Wizard): And this lecture will talk about the Spot Healing Brush Tool and the spot seal in Barcelona, of course, has one of the retouching tools available in Photoshop. And we use it for a very precise and detailed retouching. For example, you want to remove acnes from the scan. You want to remove dirt from any surface. You go and you use the spots here in Barstow. Okay. It's full, small, very precise details were touching. And it's also important to understand that we touch in as a very customized and personal process. Of course, there are some general concepts about retouching like what is the result chain? It's cleaning the picture, removing the imperfection, and just make into picture better. Ok, but the process to do so as customise as a personal process. So you need to take a look at the picture and see what do you need to remove? What do you need to clean and watch? Do you need to leave alone? So first thing first, I'm gonna go ahead and click on this tool and hold. And you can see that we have quite a few tools in here. The one we are interested in is the spots Healing Brush. So, so make sure you select it, adds a new layer and make sure you have sample all layers. Check why because we not supply in retouching directly to the original image, we apply it to a new layer. And if you don't have simple all layers elected, you won't be able to apply retouching to the new layer. Then you can come over here and click on the Brush options. And you can see that's, it's pretty much the same as the normal brush. Okay? The only thing you need to pay attention to as the hardness. So usually you want to keep the hardness around 50%. Why? Because if you increase the hardness up to 100%, you will get a very defined brushstroke with very sharp edges and Israel be very noticeable. And if you decrease the hardness down to 0%, you will get smudges on your picture. And we want, so there we touch into look as natural as possible. This is why you always keep its 50%. The only thing that's going to be changing during the process is the size variation, okay? So sometimes you need to increase and sometimes you need to decrease the size of the brush dependent on the areas that you're gonna be working on, a K. Then you see here that we have three types of rita Chen. We have contents aware, create texture and proximity mesh. So most of the time you're gonna be working with proximity match. Because proximity matches the best option when working on homogeneous surfaces like this can codes any surface that's has the same texture or color. Okay? And contents will where you use it when proximity match doesn't work. For example, we have a very complex surface. What a lot of colors and everything, then you can switch to continents aware. So let me show you what I'm talking about. So let's say that I want to remove those dots from the skin so the scan has the same color. Okay. I can just go ahead and leave proximity match checked. Click here, and it's equal to remove that dots, the black dots, okay. One more than you need to keep in mind. We only remove as stuff that's are too obvious. That's really contrast with the background. You can see that she has a lot of dots on her skin. But these dots pretty much have the same color as the skin. So we're not going to be deletes in them. Now, if I move to this area and I want to clean this part right here with the hair. And then I go selects despots, un brush, proximity match, decreases the size of the brush. And then if I try to remove, as you can see what happens here, I'm getting this problem, okay? Because maybe this background is too complicated for the proximity match, to match it to any nearby area. So in this case, we can go ahead and check contents aware. And then I can easily remove is okay guys, same thing for this hairline on the eyes. I can just click and drag and simply remove it. If you don't like the first result, just undo and redo again. And try again one more time. Because it is just going about retouching. You have to try the same thing, different sign because each time I'm going to get two different results. And I think this time it's better. Okay. So for the reflection, you can leave it or use it. Although this May 1 need some cleaning allele bits, or maybe just this area. But this area seems fine to me. So because this is a glass, I'm gonna go ahead and try with the constants where. And then just deletes these reflections. And make sure you deletes With one stroke, okay? One line just like this. Don't draw like you paints and lactose, you just click and drag and release. So it did clean the area. But the results are not quite natural because of the lines come in from the eyes. So in this case, we need to use the clone stamp tool that we will learn after. But for now, I think I'm just going to undo this. So better, bring it back. Like this case is better and then just retouched those from here. Here. Here. I can also fix this thin hair. And this thin hair. Now create texture. We're not going to need this because this is what a does is that if I click on it, it's going to go ahead and create a texture to match the area that I want to delete. Okay, so I want to delete this area. And if I click here with the creates extra checked, you can see that it's sort of creates some wheat texture in here. The guy, so we don't need this. I believe it's, the DJ is a shortcuts will despots human rush to go back to constants around in maybe just fix this a little bit. Like this. I'm just clicking here. And see how much I'm being gentle. Alright, so this looks better. Little bit. We can leave it like this. Now I'm gonna go ahead and go back to proximity match and then just clean this up a little bit. So, so whenever I see a black dots that is contrasting to much of the scan, I am going to the leases. So here, for example, this area and it's due to you, grow you. Okay guys, I'm, as you can see right here, we have a pretty good job. Maybe you want to remove this HER2. So approximates image. No. Continents where yes, you can see regatta better results with the accountants were. Alright, so now let's see the before and after. You can see that we did a good job. Okay. We didn't have a lot of things to clean, but we did a good job. This is fine. So guys, my final advice for its agenda as dads reattach should be minimal. Okay. The brush hardness should be 50 percents. And there are some things that are there by nature and that's our better not be deleted, our retouching ok guys. So of course as you practice, you will learn more and you will develop your own fake 10K for retouching pictures. And one last ten. When you touch with the brush, you just recharge With one stroke. Okay? One slip like this, or you just click a dots like this. Don't do this when retouching. Okay. Let's go ahead and move to something else. That's her again. Same thing, new layer j to select this part Syrian brush tool. So this time I'm not going to reattach the reflection on the glass, but I will keep contents where checked instead of proximity match to see what kind of results we will get. Okay, because proximity match as the go-to. This time I want to try just with the content aware to recharge the scan. Maybe we want to remove the touch as well. Okay guys, so you can see that we obtain the very good results. This is the before and after. So from here, what we can conclude is that either you work with contents where or proximity match to clean this can, the results will be good, okay? The only difference is that when you work in with complex backgrounds or surfaces, then you need the contents aware and see you on the next lecture. 39. Retouching Images with the Patch Tool: Hello everyone and welcome back to this lecture. So for this video, we're going to be talking about another retouching tool, which is the patch tool. So the Patch Tool is pretty much the same thing as despots Healing Brush Tool. The difference is that the spotting and brush tool, we use it for very detailed retouching like acnes, dirt's and the patch tool we use it for large retouching. Like if you want to clear this cup of coffee, you're going to have to use the patch tool instead of Spot Healing Brush Tool. Okay, so go ahead and select the Patch Tool and you can see right here and the option bar that we have quite a few options. So if you come over here to patch, you can see that we have normal and contents aware. So bottom-line, when do we choose Normal and when do we choose constants? Where we choose normal when we have a difficult background like this one. It's a very complicated background. It has a lot of textures, lot of objects, very difficult to deal with. And we choose constants where, when we dealing with a homogeneous background, okay? That defers difference. And the second difference is that with constants where we have the option symbol or layers, which means if I click a new layer, I can be able to make the retouching on this new layer buttes where the normal patch, I won't be able to do it because it doesn't give us that simple or Layers option. And now if I go ahead and make her off selection of my cup of coffee, then click here, it's going to give me this message could not use patch tool because the selected area is empty. Okay? Which means I have to select the background arrives. So Patch Tool normal work in a destructive way and patch to accountants where work in a non-destructive way. When do we use when it's going to depends on your needs. Okay. Sometime this one works. Sometimes as one works. Ok. And it's also important to note that does the patch tool can work and combination were despots, Healon brush for example, I can release this cup of coffee. And then I can use the spots here and brush to refine some edges or areas. Okay guys. So now let's start with a patch to a normal. And you see here we have source and destination. So source, we'll go ahead and delete and destination. We'll go ahead and duplicates. So firstly, try source. You can see I already made a selection of my cup. If I drag here, I can sell the patch tool from where to take the pixels. So I wanted to take the pixels from this area and fill its and my selection Control Command D. You can see it did a pretty good job. Okay. Maybe this one needs a little bit of cleaning so I can trues spots in and brush constants where. We have here. Okay. It looks better. It would be this area a little bit through. Okay, that's fine. Yeah, sure. Control command XID yet is better. Ok guys, so you get the idea here, Control Command Z to undo couple of steps. And now let's go ahead and choose the Patch Tool and literally this time destination. Ok, so I'm going to again make rough selection of that cup of coffee like this. And if I drag the Year two duplicates and release, you can see that it did a pretty good job. It's even went ahead and adjusted the light same because this area is darker and this area has more lights coming from this side, coming from the window. Probably. Rights. Only. Bad thing about this tool is that through we're doing all the retouching on the main layer. But that's okay. Because sometimes you're gonna need is, so when facing a problem like this, do when retouching and the same layer. What you need to do before apply in any retouching is that you need to duplicate the background is like this. Now, you are working non-destructively in Photoshop. So this one is the backup, and this one you can mess it up as much as you want. Okay guys. Now if you want to do the same thing that we did earlier, but this time we choose contents aware and make a selection of complex this. Choose the new layer. Click and drag. Make sure you have simple or layers checked guys. Do this, give it some time to process a section, everything. You can see that the result is there, but not as good as the normal patch. And even if I wanna fix this with a Spot Healing Brush is not gonna work. Okay. So with complicated backgrounds, it's better work with normal patch. And then just duplicate your original layer that is conserve as backup in case you make a big mistake in the original layer. But go ahead and choose another picture like this one. Ok. Now I can add a new layer, patch contents aware, maker of selection, this cup of coffee. Click and drag. You can see that this time you're going to work perfectly because as background has one color is very easy. I mean, the background doesn't have to be as easy as theirs, but you get me guys. Okay. It has to be as simple as this one. Maybe has maybe the background could have little bit of texture that you can fix or does as you can fix with the spots in and brush. But you know what I'm saying? When the background is as simple as this, the accountants are where patch as the go-to. And let's say I want to duplicate this cup of coffee using the patch constants where it is go to select and look for transform selection. Selection here. Click OK, go back to the patch. And then let's say I want to duplicate this. Okay, you can see that as a tool, do a good job of duplicating the thing, but it not as good as the original one. Okay, even if we try to judge the color further, not going to work. Maybe more structure. Same thing. Okay, so remember guys, when you make a selection with accountants who, where and duplicate like this, they knew just the structure and everything. Make sure that you reset the structure to the original values before making a new selection. Rights. We wanna leave everything as defaults when you make new selection with the patch constants aware. Okay guy, so there was a difference between the two tools. Hopefully that was helpful. Of course, there are other tools that can accomplish the same results and that's what we'll see in the next lecture. Thank you for watching and see you on next one. 40. The Clone Stamp for More Complex Retouching: Hello guys and welcome back to this lecture. So in this lecture we are going to be talking about the clone stamp tool does guy right here. Ok, so look for this icon on your toolbar and you will find the clones Tom tool. So why do we use the clone stamp tool? So basically, we talked about despots, you didn't brush, and we talked about the patch. Ok. These tools are automatic, so we use them for automated or assisted retouching. But the clone stamp, same thing as these tools, it just manual, ok, and we use it for complex retouching. And basically it does what the name says. It goes ahead and closed tough by sampling pixels. Okay, so if I wanted to clone this area, I can simple this area and coins back here. Now let's see how this beautiful, amazing and magical tool works in Photoshop. So as I selects it, you can see that we have different options here on the Options bar. But I wanna give you the best citizens to work with the clone stamp soil. So first thing, first, opened the Brush Picker and make sure you choose a normal brush, okay? You can of course, use all these Bosch's, but the best option is to choose a normal brush, okay? And you also need to make sure that the hardness is 0 percents. We don't want no hardness. And our clone stamp tool, sometimes it can increase the hardness for more definition, but most of the time you wants me to do so, okay, so keep the Hardness 0%, right? So I'm going to choose this one. And you can see right here mode always leave us normal opacity. You 100%. If your work can with the tablets, make sure you click on this time ok. So you can control opacity, pressure, flow and how to percents. Right here you can see that we have sample all layers. If you click, you can find different options in here. So let me explain those real quick. If I check simple curates layer and I go ahead and add a new layer. Because, you know, as I've been saying since the beginning, never do we touch and in the original layer always work and a new layer. And let's say, let me increase the size of the brush first by clicking on rights, brackets, and my keyboard. I me something like this with zoom in a little bits. So S as the shortcuts for this time Clone Tool. Here we go. Now I'm going to click old or option two, sample this arrow, okay? Once you see the circle switching to this sniper thin, then you know you are in sampling mode. So I'm just gonna go ahead and click here. Okay. Now if I want to clone it's nothing will happen. Why? Because we have sampled currents layer and the currents layer that we select sin as empty. So I need to select the oriental layer. Alter option to sample. Sample again, you're back to the layer number one that creates it. And then draw that arrow. Okay guys, so this is not an optimum way of for gain control commands. It's undo. Then we have currents in below. That means it's going to sample from the currents layer and the layer beneath its, okay. So in our case is the best option whose currents and blow because we only work in with two layers. Bus. If we were working with 5-10 after 30 layers, then we can go ahead and sample all layers. So we don't have to worry about which layer we are selecting. Okay guys. So I'm gonna leave its ads Corinthian below. And now let's talk about Aligned k because aligned is very important. So here's the thing. If I select my HClO_2, make the brush bigger. Click olds to sample this area right here, okay, on top of her head. And now let's say I want to clone that area down here and I have aligned check. I can just click and draw. Okay. I can release and click again and draw with no problem. So I can move the brush however I wants. It's well, go ahead and draw the same thing with no problem at all. It will continue down to her head noun, so everything Harry gone. Okay guys. Now, if you want to do the same thing. But this time we uncheck aligned OK and go ahead and sample this area again. Now, if I click and drag, yes, it's gonna draw everything rights. But I have to keep hold in on my mouse. If I release and click again, it's gonna mess up everything. You say. Well, this is what's aligned is four. So dependent on what you do. You may go ahead and check and uncheck this. It looks all the leads and Tolkien and D's on selects. And now let's zoom in and see how we can use the clones Tom Tool and real-life retouching. So for example, we want to add more stroke fix to this pi. I'm gonna go ahead and click s For my Stamps School. The tree is the size of the brush like this. Make it's almost the size of this stroke. Or cuts, whatever you wanna call it. Hold olds and sample from the top because we're going to draw from the top down to clone this stroke. So click all ads like this. If I double-click, it will activate aligned. And now I can click and then just draw my new stroke. Okay? Control commands, it's unduly do it again. Click here, then here, and then let just doors. Okay. Here we go. Same thing for this one. Hold olds click. And then let's come over here and then let's draw our sand. If you want to delete a specific stroke, you can sample the PI from here. And then you can delete is like this. You can see that when I click I have the circle and I have this plus icon. That means that's the clone stamp tool is sampling from that specific area where the plus icon has to fail. That's fig. Okay. So felt that cuts. And we go simple from here this time and close this and see the plus sign. Okay, because I'd sell it for more to sample. If you want to bring stuff that you can just use the eraser tool, okay, or click on new keyboard for shortcuts. And this guy, and then we can draw back. We go habits back. Okay, same thing. If you want to delete one of these trucks, you can just do it like this. So this is pretty much all you need to know about the clone stamp tool. And now this is Qj buds. How do we use the clone tool? And we'll worlds, can we touch in? So let's go to Window. And I'm gonna choose this one right here. Okay? And now let's say we want to use the clone stamp tool to remove this airing. So true, this is going to be a little bit difficult if you just learn in the clone stamp tool. But now what we are doing is that we just wanted a tool, okay, and you need to give yourself some time to practice these tools. So I'm gonna add a new layer S for the stamp tool. And then just go ahead and try to remove this or ok. So S or the stamped soul. And then I'm going to sample from here to brush bigger beds. And then I'm just clicking guys. Okay. So as you can see, I am working on my way and slowly. And remember if you don't like something guys, just go ahead and Control Command Z to undo. And nothing is final. When you design, you can always undo some clicking all to sample and then I fail. It's on this area. Okay. It's a very tedious process. Yes. Sample from here. And then do the same thing. Okay? Same thing. Take your time with this. Okay, now this is the most challenging parts, okay? Because we sort of have to build the air. But I'm just gonna go ahead and do it's already quick. Decreases the size of the brush. And then we will start by simple in from here. All right, so something like this. It doesn't look, it needs it needs some more work to be honest, but it's, you know, just for the sake of this course, I think that looks, just looks fine. Ok, so if you don't get it the first time, that's fine. You just need to keep practicing until you get it rides. Ok, guys. Okay guys. So I'm gonna leave it here. And the more time you spend on it, the more it will look good. So you can see that I did another one here. This one looks a bit better. Ok though, because I spent so much time working on it. But you get the idea, guys, okay, so give it some time. If you cannot do it, you can try something else. Do something easy until you master. These are retail chain tools, especially the clone stamp, because it's a bids advanced, as I said earlier. So thank you for watching and see you on the next lecture. 41. The Healing Brush Tool: And this lecture we are going to be talking about the Healing Brush Tool, which has almost the same as the spots here in Barstow. They have the same name, but they are quite difference. Okay, so what do we use the Healing Brush Tool for? This tool allows us to both create clothes that adapts to the surrounding environments, and also to make retouching, but better than the spot healing brush tool because it's also copies texture when you erase and stuff. So let's see how this helium brush tool is better than the Spot Healing Brush saw. So as you can see guys, we have the spectra with the girl. She has a tattoo here. Okay. So first thing first, when you select the Healing Brush Tool, you need to add a new layer, ok. And when it comes to the options, you don't have to worry much because they're pretty much the same as the, as the clone stamp tool. You just need to make sure hardness as 0, okay? You can adjust it. Maybe ten or 0 depends. And also sample, you want to make sure we have currents in below. And it's your choice if you want to keep aligned on that's now I'm gonna zoom in again. Okay. And first, LET tried to reattach this tattoo to remove it using the spot healing brush tool. So a despots Healing Brush Tool selected, make sure you have countenance aware, and then let shrine deletes. Okay. Do it again. So you can see that's a did a pretty good job, but the texture of this cane is sort of messed up. Okay. We have these strokes coming from here. And that is not good. So undo everything. So that's the same thing. Now let's try with proximity. Match. Doesn't work. Okay? Which means we're going to have to use the Healing Brush Tool. And what it does is that, I'm honest, simple pixels from here, hold Alt or Option, can then click. And it will sample this can and apply it here. And not just that, it will apply the texture of the skin as well and adjusted to the lighting of this area. I'm gonna make the brush bigger. And you can see the plus sign it simply in from that area. Ok, and religious duties go. Here we go. Now if I zoom in, you can see that it did a really good job. Haydn beta2. Okay. And it's also copied this scan would it's extra this area down here. I don't like it. I can still adjust its, okay. For example, let's say I'm going to sample from here. And I can just click here to address it like this. So it looks uniform. But this area in the middle, it just looks amazing. So it did a really, really good job. The before and the after, the before, the after. So now you see how this tool is better than the spot healing brush. So I'm not saying that you should not use the spots he didn't brush tool. Of course we have many retouching tools, but you have to learn how to look into the picture and then find out which tool is going to work the best. Okay, now we learn into tools, but I've got to take time to master these tools so you need to finish the course and then start practicing on different pictures that you can find. Websites that offer free royalty pictures. And you guys practice makes perfect. So you can see I'm pretty proud of what we did here. So that's good. Now let's see how this tool is also a little bit better than the clone stamp. So window, then I'm going to choose another documents. Okay? So now let's say for an XY reason we need to copy your clone, this tattoo and this area, and a new layer. And let try first with the clone stamp tool. Click here, sample. Hold Alton Simple. Now let's come over here and then it just Tzu k. You can see that it is cloned, yes, but's at not good because the lights in on this part is different from the License on this area on the left side. So undo. Now let us go back and selects the Healing Brush Tool. Hold Alt and selects the same, decrease the size of the brush to almost the tattoo. Like this. The simple one more time, go. Now if I come back here and draw, we can see that it is going to do a better job. It's going to match the lights in from this area to this area. They do. It's again, smaller. Simple again. Okay, here we go. So it did a better job. Copy into cells or from here to here. Now I hear you say and that's why didn't you rotate is maybe you need to rotate the data and all that stuff. If you want to cap it. If you want to copy the task or the rotation, these retouching tools won't be able to help you. You have to do with outerwear. Okay. So this is how you work with the Healing Brush, okay, so you can either retouched or duplicates with more perfection and more pixels and more information. Hey guys, and you can also keep in mind that this brush works great with pattern. So if you have picture with lot of patterns that you need to duplicate, okay? And the lighting on the wall or on a person is not the same. You can use this tool, the Healing Brush Tool from a distance. You won't be able to tell. Okay. Maybe she just liked it this way. Okay. For for change. Who knows? Anyway, those pretty much all you need to understand about the Healing Brush Tool and see you on the next lecture. 42. Photoshop's Content Aware Fill: And this lecture, you will learn how to let Photoshop do the researching for you using the felt contents of where technology available in Photoshop. Ok, so this tool is greats, automated. But the thing about this tool is that it doesn't always work, okay? And this is what this lecture is all about. It's about showing you when this all works and when this tool does not work. So first thing first, you need the lasso tool, okay, because we need to make a selection of what we need to reattach. Ok. And one more thing to keep in mind is that's the FEL contents Where does not work and a new layer like this. It's only works in the original layer. But as I said earlier, in these cases, you need to duplicate the background. Ok? Now you working non-destructively and you have a backup in case you mess things up, we'll bet. So hide the background and when the duplicated layer selected. So remember guys to duplicate is Control or Command plus j. Ok. Now what the lasso tool, let's say I wanted to Photoshop to remove these girls from the foreground to K because I want to have clear picture of this beautiful entrance. So I'm AKA selection like this, what the lasso tool and then edits, choose Fill. Okay, the shortcut is shifts plus F5. Because from now on I'm just going to be using the shortcuts and make sure each accountants aware and make sure you have color adaptation. Always on, always check. Blending mode, normal opacity, 100 percents, and no need to check preserve transparency. Now if I click OK. So as you can see, a didn't work, okay? So if I ask you why, you probably know the answer by now because this is a very complicated background. And behind these girls, there is a structure, there is a building. There was another door, and maybe there was a kitchen or something in here. And Photoshopped. Cannot guess what's behind these Girl and rebuild its. Okay, so what is now possible to we belts what is behind these girls. Therefore, Photoshop points ahead and only sampled stuff from what is available on a picture and felt it and the selection. So don't blame Photoshop edges because it's technology as not there yet. All right, so in this case, this tool does not work. We try something else. See the S1 to S1. Writes. The try with this one control command J, two duplicates the backgrounds, hide. And same thing if I go ahead and make a selection or the Lasso Tool, rough selection like this. Hold shift, if you want to draw a straight line. These shifts F5, contents aware or color adaptation, color mode, normal sense. Okay. All right, and as you can see, same thing happened here. So this is a much easier background and the previous one. But of course there is a car behind the girl. Okay. And so far shop can not go ahead and rebuild the car for you. So in these cases, you cannot use the fill contents aware for retouching. Let's go ahead now and choose another pixel is open-source and else this because this one, yeah, this one. So you can see this one has a solid background, okay, a very homogeneous background. Let's go ahead and duplicates. And now let's make a selection or the Lasso Tool. Next, I'm gonna go ahead and just looks like this. It is a bad selection among them was again. Here we go. Now if I go ahead, shifts F5 contents where mode, normal color notation. Okay? Alright, so as you can see here, it did a pretty good job, but you can see that the colors are not uniform, right? So why, even though we have a very simple background, it was very complicated for Photoshop to replicates. And the answer is simple. Look at this election, okay, this is the selection that we made. And what outside the selection is the pixel lifts away for Photoshop to study and to fail and the selection. And as you can see, it didn't have much pixels or much data to work with. So of course you're going to have a bad results like this. So you're going to need to fix this with the clone tool and spatially in Barcelona as staff and it's going to be extra work for nothing. So I will just go ahead and digital spectra. Now finally the last one, which is I guess this 112, so on, so on. Yeah. Now with this one you can see very simple background. He's gonna go ahead and duplicate through quick. Duplicates in vivo. With velocity will make a selection. Shifts five. All right, now you can see that with this picture, we did obtain some very good results. You can see that we have some repetitions in here, a little bit of scratch on walls. But this is something easy that you can easily fix using the spot seal and brush or using the clone stamp, anything that she was. Alright guys, so this is all you need to know about the file contents were in Photoshop. One does its work. When does it not work? Okay, just to sort of set your expectations. And it's always a good idea to work with difference retouching tools in combination, as you can see here. Ok guys. So it's all about looking at the image and finding out what is the best retouching tool or tools to use in a specific situation. Or I thank you for watching and see you on the next one. 43. Photoshop's Content Aware Move Tool: Hello everyone and welcome back to this video and this lecture we are going to be talking about a very interesting retouching sewer, which is the Content Aware Move Tool. So this two will basically allows us to remove duplicates or extense objects automatically and a picture, right? So let's see how we can do this using this amazing tool. So first thing first, go ahead and select the continents were moved to unless r with the option bar. So you can see that we have few options in here we have the transform on drop means when I move the objects I will be able to make or to apply some transformation to widths like rescale or rotate for example. Then we have sample all layers, which is, as you may know, which allows us to work on a separate layers. So go ahead and Chick, simple or layers right here we have structure and color, which this tool uses to move the objects. So let's just leave it for, for now, which is a defaults and 0 for color. And right here we have mode. And you can see that we have moving extent. So move basically allows us to go ahead and we locate a specific objects in a picture. It's going to go ahead and fill the gap and adapts the objects to the new surroundings. And extend basically allows us to duplicates or extend a specific objects in a picture while also adapting it to the new environments. And I say adapts and hence I mean the colors. Okay, I'm in the structure and the color. So let's go ahead first and select smooth. Okay, make sure you have the new layer selected. And now I'm gonna go ahead and make a selection of this balloon to see how this tool works. So go ahead and make rough selection again. And you can see that I am making a rough selection and I am leaving some margin between the selection in a balloon to let's Photoshop, define the objects and question. Okay, that was a little bit too much from hair Butts. That's fine. So now we can go ahead and let say I want to move this object to decide like this. Maybe rescale edge two cylinder bits like this. If I click OK, it's going to go ahead and analyze the structure on the color of the original object so it can relocate the objects and fill the gap with accountants aware. Okay, so you can see that it did a good job. Sometimes it's will not do a good job, then you have to retry again because the thing about the retouching tools, once you retry, you will get different results. Okay, so let's explain a little bit of the structure on the color. So this structure, what it does is that it tells the contents who are moved tool to what extents its need to adhere to the original photo to rebuild the objects in question. So for example, if I go ahead and put it, So on, this objects will deform a little bit. Okay, you can see what happened. This is really a bad results. Okay? So the structure is very important to keep in mind, but if I bring it up to seven, it will go ahead and adhere 100% so the original objects. And then we will have a very defined structure of the balloon. Ok, as you can see here, this is really defined and the color you use it if you think that the colors are unmatched. So if I go ahead and bring the color up to ten, you can see that we will get some extra smudge in, okay, on the edges. So you have to be very careful when you use color. We only use it. If once you relocate the objects, you feel like the colors are not really matching. So usually you can leave it, adds 0 or maybe bring it down to true. Alright, now you can see that's when I decreased it to two. You can see now that we have more contrast in here where we have people and we lost the smudges. Ok, so my advice is that you leave the color 0 if you don't notice any washed up cutters or smudges. If you have washed out colors or smudges, then you can slowly increase the value of the color and see how this will play apps. Now Control Command D to unselect. Let's move or zoom in to see if we need to fix anything manually. And I think we're all good for this one. Nothing to fix here. Now let's move to another. Very complicated. I'm just gonna close this one because I don't need its, Don't save this one. Okay? So you can see that the spectrum is quite complicated, arise, it's obvious. Now let's go ahead and create a new layer. And same thing. Contents were moved to. And now let's make a selection of the boy, the chair, and also the shadows. We also want to move the shadows. Cast shadows very imposing. Say Go, have a selection, click, hold shifts and drag. Ok. And voila, you can see that's a really good job. Even though the selection was quite complicated. Now some things need adjustments, like you can see the y's in here needs to be removed. Okay? It doesn't look good with the wall. And these edges need to be fixed a little bit as well. So of course we can do this how by using other tools that we've done so far. So first thing first, I'm gonna go ahead and choose the eraser, okay? Make sure we have Hardness 0%. And then I just want to clean the whiteness. Be careful you don't touch the boy. And religious cleaned whiteness on wall like this. Okay, so I'm just using the eraser and just work in my way. Easy-peasy. And now let's come down here and you can see that this thing needs a little bit of fixed end, so it's gonna look aligned little bits. So we can use, for example, despots Healing Brush. So let's just draw a line like this. Hold shift to draw straight line. Okay, that's better. It looks better. The try same Fan In this area down here. Click hold chefs. No, I don't like kits. Let's move in more. Spots. Healing Brush contents were of course decrease the size a little bit. You see first-time I didn't like it. The second time I did like this. So you have to try multiple times. Alright, this is fixed. And here of course we just need to match the textures, okay? And we can use it. And we can do it using the Healing Brush tool. Click all. They may be just little bits in here. Okay guys, and you can see that we obtain some very good results. If you show this to somebody who doesn't know what you did, there will not notice any changes. Okay. Nobody will go ahead and zoom in here. And then with all this is not sushi at law. And in this case, you can get away with not cloning very much in the background because we have a lot of textures. We have lot of dirt's going on in here. Okay, but the picture of the boy looks perfect so nobody will notice what you did. Probably thinking just like this. Okay. So yes, this is how you use the contents or moved to relocate objects in a picture. Now let's go ahead and see how we can extend the lubricates or this one, or actually start with this one, okay, selects a new layer and this time mode extend, ok? And let's say that we want to extend the size of the flower. I think these are flowers that you hold them, whatever. Anyway, let's see how we can extend the size of these. So I'm gonna zoom in, again. Selects accountants who are moved tool and make sure we have extent here. And bring the structure down to four. New layer, selects it, and then just make sure, okay, make sure you select the flowers. We doubt select on her skin. Just like verse now hold and drag. Release, like okay, Control Command D to undo. And you can see the difference here. Okay, So you can see that's Photoshop automatically gives continuity to new parts of these flowers by taken and accounts of the old parts. Okay, so this is how the extents option of the move where Tool works. So if I do the before and after. Okay, you can see the difference. Of course we can fix those using the eraser, a 100 and just clean. First if you wants. Then we can just clean areas. So the eraser can really comes in handy. Okay, now let's move to something else. When I do the same thing here. And let's say you want to extend the size of this tree. So same Fen, extend, new layer. I'm gonna make a rough drawing or of selection, thirst Siri, go, click hold, shift and drag up. Like this. Okay? And you can see that we obtain some good results. Of course we can fix this thing right here, this blue. So we can do it is by selecting the magic wand tool, click in on this blue, then the eraser. And I can easily remove the blue that I don't like. And I can even add some more if I wants here to make it look more real. Okay, so this tool works great with the eraser and also with the contents were on every other tools. Here we go, we have a perfect selection. Maybe this bits right here can be, deletes it. The eraser like this. And here we go. Okay, it looks so real. Nobody will notice it was photoshopped. Alright, so what else do we have here? Okay, so this is the last example. I add a new layer and let's say we want to duplicate this time. So same thing, just click, draw a selection like this. Hold and drag. Stand if you want to increase the size. All rights Control Command D to undo. And you can see that we duplicated and it did a really, really good job. Okay. So maybe this area was deleted little bit. So we can do again as selects the new layer eraser, increase the brush, and then just bring it back. Okay. So this is how you use this amazing magical tool, guys and Photoshop. It's a very nice tool to use. 44. Red Eye Retouching Tool: And this lecture you will learn how to read Touch four rows where the red eyes, the red eyes effect happens when you try to take a picture of someone, someone with eyes, and then the flash had their eyes, and then you have the red eyes effects. Okay, so let's see how we can we touch it that in Photoshop. So again, if you come over here, you will find that there is a specific tool created just for this type of problem, ok? And this tool is the red eye tool. So by default, so when you first click, you will have 50% here. Okay? Pupil size, darken amount is going to be 50 $0.50 cents, and darken amount is going to be 50% as well. Okay, so you'll have something like this. And now before we treats these eyes, I want to go ahead and open a new documents first. Just so explain further how this tool works. Okay. So first thing first, would pupil size 50% in doctrine amounts for the percents. I'm gonna go ahead and click on this red circle. And right away you can see what happens. Ok, so we have the pupil, which is this area. And then we have the darken or the darkness that comes out from the pupil to sort off concealing its, okay, so it's not too obvious. Now let's go ahead and increase to 100%. And let's click here this time. And you can see the difference between this and this. Okay? So the pupil is bigger and of course the darkness amounts is bigger as well to conceal as. So what's value to enter? It's going to depend on the picture you're working with, okay? And of course, if you know like the first results, you can always retry again or click again, ok, if you double-click, you will get a more sharper on darker results. And now let's go back to the picture. And this case. I know that I have to try 100%, okay, because if I go ahead and try 50 percents, and then click here. And then here, you will see that will do a nice job. But cell we have some margin right here of the red eye effects. Okay? In fact, look again. Not so much changed. All right, so this time I'm gonna select the tool again. Let's increase. It's 100%. And literally the signs, so click here and here. And you can see that this time we have a better results. And of course we do read I2. You apply defects directly to the original layer. You don't add a new layer and there is no need to duplicate. Now, from my personal experience, the only values that you're going to need most of the time are 50, 7100% dependent on a picture that you're working with them. And let's go ahead and try 70 percents. One last time. Doesn't work. So yeah, in this case, 100% is the only option. Okay guys, so that was pretty much, it's pretty easy. Nothing too much to worry about. The only entity can consideration is the pupil size value, and the darken amounts. Those and see you on the next lecture. 45. The Dodge and Burn Tools in Photoshop: Hello everyone and welcome back to this lecture. And in this video we're going to be talking about two of my favorite tools, which are the Dodge and Burn to locate these tools right here, Dodge. And so the first one is Dutch, and we use it to overexposing image by adding lights. And the second one is burn. We use it to underexpose images by adding darkness to certain areas and the image. So basically what do we do in with these two tool is that we are adjusting exposure by area. So what you need to keep in mind about disorders that they are very, very powerful, okay, so you need to know how to work with these tools and what are the best settings to work with these tools. So firstname first, we're going to have two duplicates, our background because we cannot Dodge and Burn and a new separated layer. Once you have that. So I'm gonna go ahead and hide the background and we're going to work on the duplicated background. So let's start first with the process of the Dodge and Burn. The processes that you need to start by burning, adding shadows, add in darkness to your image, therefore, underexposing. Then once you do that, so you can go ahead and star dot j, which means at enlighten your image and overexposing the image. If you do it the other way around, you gotta have too much noise on the image. The noise would be too much. And then you will end up with bad results. Okay? So we apply shading, then we apply lies in. So let's start by selecting the Burn tool. And let's talk a little about it's about the option bar right here. So first thing first we have Protect Tones. That's means either we apply shadows or lights. Desorption while protecting the tones, which means red will stay red, brown was they are brown and so on. The tones will now be effects it. And then right here we have exposure and that pretty much works the same thing as opacity. And because these tools are overpowered, we need to keep the exposure around 1015, maximum to Wednesday. Okay. And right here we have range. So you can see that we have three ranges. We have the shadows to make tones and the highlights. We always start with the mid tones. And semitones are areas that are neither too black and neither are true whites. For example, if we analyze the picture, you can see that's I'm talking about the walls. Okay. The streets, this part of the streets and the shadows are these areas right here. So when it comes to range, we always start with the mitosis and then we go ahead and apply shadows. This ways would be easier to apply the shadows. Sometimes go for DOD junior Always I would emit tones and then you move to Highlights. But one thing you should keep in mind is that when you burn in your juice to work with tomatoes and the shadows, there is no need at all to burn the highlights because why bun and the highlight doesn't make sense. I'm just gonna make them look doll, okay, so you never burn the highlights and an image. You only burn the micelles and the shadows. Okay? And of course, for the brush, soft round brush 0 hardness is recommended. And the size will change depending on the area. But keep in mind, that's the bigger the size, the less noticeable the Dodge and Burn will be. All right. So I usually keep it around for a 100 since glutes okay. Two works perfectly for me. Alright, so after all this, it's all clipped star with burn-in okay. Under exposing the image. Okay, so what I wanna do here is just add more volume to the image and maybe focus the viewers eyes on this guy and his reflection. And keep in mind that this is a creative process. So maybe if you don't like my process, you can follow yours or you can develop your own, okay, it's going to be personalized the way I work. The general rules are there. So I'm gonna use my pencil for this one. I'm not going to use the mouse. And now I'll just start with the mudstones from adding more shadows to the wall. Okay. First to the street as well. Meaning careers the project. And then just go. I'm gonna zoom in a little bit. And o as the shortcuts for the Dutch in Bern. And then just apply a little bits to this man and to the shadow like this. Ok? Once we finish, we're going to go ahead now and switch from mid tones to shadows. Increase the brush to 400. And now let's do again. And you can see how easily now I can add the shadows because I already added the midterms. So it's gonna be a piece of cake. Zoom into this, decrease more. Just apply. Through his cast shadow rights. Now, once I'm done with the burn-in with Adam darkness, I'm gonna go ahead and switch to the Dutch civil. Okay, so the settings are pretty much the same. I'm gonna decrease this one's 15 exposure. And now again, we'll start with the mid tones and then we'll jump to the highlights. So first thing first, increase the Brush Size and then I'm gonna work on this area on the floor or on the ground. We're on the streets like this. I'm gonna work on the sky as well. Decrease the size of the brush little bits. You can see the wideness on the building. I'm going to focus on those as well. Okay. This white area on the streets as good. And do whiteness under his shadow. Beside his shadows as well. There we go. Once we finish, I'm gonna go ahead and switch to the highlights, increases the size of the brush. Now, just apply more Hildas this chi. So as you can see, I am focusing only brightest areas of the picture, okay, basically the sky and the reflection of the sky on the ground. And my process or my method. Whenever I see something whites, I will go ahead and budgets. And here it is. And I think I'm gonna leave it like this. Bring back the background layer. And now let's look at the before and after, before. So you can see now that the picture has more contrast, looks more dramatic. And of course, Andrea's introducing you guys with the basics of Tuczyn burn, Okay, this processes bits. It need a bit of practice. Okay. And on my next cause someone to be developed in a master class on retouching with dodging and bone-in, advanced lights in and advanced cholera and Photoshop. Ok, this is just the introduction and the other is how you do it. So keep in mind as my personal process. If you don't like it, you go ahead and try. Yours. Did okay. So this is how you Dodge and Burn professionally and Photoshop. Okay. So you start with the shade in and you finish with the lights. And if you do the other way around, your picture will be messed up with too much exaggerated. Mois. I guys, thank you for watching and see you on the next one. 46. Class Project: Skin Retouching: Okay guys, now finally, we are done with the retouching section of the course now at its time for exercise, okay, so the class projects for this section of the course, as I want you to go ahead and clean this picture using the retouching tools ever talk about. And also go ahead and use the tools Dodge and Burn to adjust the exposure and certain areas of the picture to make it look more dramatic. So the first thing you do when we touch in its skin is to remove any imperfections from this ken. So anything that needs to be cleaned or remove. We start by doing so in the first place. Okay, so go ahead and add a new layer. And we will start with the most used tool for clean interface or scan, which has the spots Healing Brush Tool. Okay. Continents where hardness 50 percents. And you're good to go. Let's go ahead and start cleaning into picture. We move in the dots. All right guys. So now, once I am done with the dots, I want to start with to remove unwanted hair. From the picture. We can see this hair right here. I want to remove it. Now since we have been using despots Healing Brush Tool to clean to phase, we may have lost some texture from the skin in a process. So I'm gonna go ahead and try to fix it using the Healing Brush Tool. Okay, so we've already solved about the brush options settings, okay? Simple currents and below. And now I'm gonna try by fixing. You can see that here on the nose will remove it that dots. Okay. And at lived like some sort of smudging so I can fix it little bit. So the texture. Also this area from where we removed the hair, you need to fill. It's a little bit sure. Okay. Make your look true. And here we have it, okay? Now we are done with the basic of retouching. Okay, we'll do basic research in which is cleaning the dots and adjust into texture. And k's Spot Healing Brush Tool leaves some sort of strokes, edges or smudges. Nuclear fixin, he regards to grow. Now, it is time to apply Dodge and Burn to adjust the exposure in certain areas and to make the picture look more dramatic. Ok. So basically we're gonna go ahead and adjust the lighting of the spectra for a more dramatic expression. Now if I go ahead and select the doLogin bond, okay? And as I said earlier, we'll start with the burn with the Shea then and then the lights in. So selects burn first. And if we want to burn, let's think first, I said, you burn and the original layer, you don't burn and the new layer. And let's say I want to burn this area, okay? If I burn it on the original layer, we can see what happens here. The adjustment that we did on day number one will appear once we apply the shading. Okay, so this is not a good way of Dutch in burn-in when you do the retouching. So Control Command Z to undo couple of steps. And now control command J two duplicates the background, high this one. And now here's the thing, here's what I'm gonna do. Select the background, duplicated one and label one. And now all we need to do is that we need to create or merge these two layers and one layer, okay? And to do that, I'm gonna heads a very difficult shortcuts. So Control or Command Plus shifts, plus alter, option plus e. And you can see that we have a number three and here. So this thing, we can rename its base. And this then is detailed Reduction held researching. And this then is going to be dodge. Okay guys. Now if I go out and apply my Dodge and Burn, we're not going to have the same problem because we have merged these two layers and one layer which has as long. So when he selects burn, make sure the exposure is 8%. Okay, because now we're working on a scan, close-up scan, and we have to be very careful. Alright guys. Make sure you have muchos. We're not going to be working on shadows and highlights, okay, because we work in on a scan. And for the brush, make sure you have hardness at 0%. Just the size of the brush accordingly. And now I'm going to be used in the past all to make the darkest area of the picture darker and the lighter areas of the picture lighter. And keep in mind, as I said, that this is a personal process, ok? This is a creative process. So my process is going to be different from yours because we all have different process of dodging and burning and retouching. Ok guys. So I'm going to start right now with this area of the skin, the face, the forehead, and this area here, the nag little bits from here. One time I like to do is add more darkness to the lips, to the top like this. That will make, that will make the lips look bigger. Instagram girls, this is how you do it. And you can see right here that she has this ten distinct folding between the cheek in her mouth. So I just want to focus on that thing like this. I'm gonna focus a little bit more on the lips. And here we have it. Right. Now I want to zoom in and focus also in the eyes are smaller. And I'm just gonna softly work on a pupil. Make this thing a bit darker. And softly work around the pupil. Same thing here. Trees as little bits. And then just softly, workaround. Pupil. If you make a mistake, just control commands it. Cool. Now I will add more darkness on the top of the eye where we have that fold again, this stroke length first. Same thing here. So we have to think like a makeup artist, like a surgeon and a butcher, and have to be all these kinds of jobs. You know, if you want to be working in Photoshop because you're basically, we're basically like applying makeup to this girl, even if I'm not a makeup arches. And we adjusted the texture of the skin, you know, like a like a plastic surgeon. But it is what it is men. And also I'm an increase the burn little bits. And you see this darkness on her nose I'm going to focus on in this area. And I think we're done with the darkness now it is time. Two Dutch increase the size of the Dutch brush and make sure exposure again is 8%, Hardness 0%, and range orally mid tones. And now let's work on the opposites area. So here, like this. And now I'm going to zoom in to the eyes and also work allele bits on the highlights of the eyes. Okay? And we are done for good goes. Okay, we are done. So this is the before. And this is the after, before. After more contrast in the eyes and everything. You can see that we did not just add more exposure, therefore add more drama to the picture. Also, the expression of her face does change a little bit. Okay guys. So this is how you Dodge and Burn and Photoshop. And everyone has their own style mice silos to keep this scan as natural as possible while applying the retouching and the Duggan Brown. I hate you and I have that super soft scan. I don't like that. Only if it's required by declines okay. Or buy the magazine. Sometimes they want to really have like a soft clean scan with nothing on it. Alright guys, so this is how you do it and see you in the next section of the course. 47. Adjustments vs Adjustments Layers: Hello everyone and welcome back to the last section of the course. So in this video we're going to be talking about why it is better to use adjustment layers instead of working with adjustments directly into picture. Okay, so first thing first before we saw, I'm gonna go ahead and show you a cheap trick that I use to separate the subjects from the background. Especially when I have an easy background like this. So I'm gonna go ahead and duplicates the background. So click and drag to the plus sign or control command J. And now with new background, I'm gonna go ahead and select and click on subjects. Applied the mask, right-click, Convert to Smart Objects. Change the name to man. And here we have its now we separated him from the background. Easy-peasy. All rights. So let's go back to the adjustment layers. And the first question, of course is, why do we use the adjustment layers for? So the adjustment layers allows you to do virtually anything that involves the treatments of colors, lights, and shadows in Photoshop. They allow you to do other stuff as well. But most importantly, is the treatments of these three things that I just sold you. So there are basically three ways to apply adjustments. I'm gonna show you the first one and the one that's, I don't recommend that you use because it is destructive. And then we'll jump to the other two methods that I recommend you to use. Okay? So with layer men selected, the first method as you can go to image adjustments and electrodes, for example, hue saturation. And then this views as duration will be applied directly to the layer. Okay, you can sell it from this icon right here with these two circles. And of course you can move these sliders to make your adjustments. Or you can choose a preset from here. Ok. Click OK, and you will have your smarts filters in here with the human saturation. If you click on this slider, Of course, you can make some adjustments. So once you click here, this window will open and you can see right here that we have modes and we have opacity. So of course that allows you to make changes was very minimal changes. And as you can see, the reason why I don't recommend working with these adjustment is that if you want to go back and tweak the hue and saturation is not going to be possible. You have to control Command Z to undo, and then image adjustments. You use iteration and tweak again. And if you want to apply to the background, you have to select the background and then emerge adjustments use as ration. And let's say I want to apply the same values I apply to the foreground at not going to be possible. Okay, because I forgot what I did right here. So I'm just gonna enter random values thinking that this is, so I'm just eyeballing the subjects and I'm trying to matches with the background. You guys. So this is a bad way of working with adjustments and Photoshop. On the other hand, you can use the adjustment layers. Do control command zed selects the man layer again. And you have two ways of applying them, either from window and then you look for adjustments. And you can choose to use as erosion. From here, you will have this panel popping up, click on layer. And you can see there's the adjustments is any news separated layer. And now you have more control over what you wanna do with this layer. And the other method is that if you click here on the panels layer, we have this icon adjustments. You can see that it looks the same as the adjustments icon panel. If you click here, same thing You can choose use as ration and as will be added to a new layer. So I'm going to delete the duplicated one. Let's focus on this one right here. You can see we have a mask and we have an icon of hue and saturation. Always click on the icon to make the adjustments. Don't click on Mask. We'll talk about some ask in a second. And now of course, let's go ahead and apply my adjustments. And now the benefits of using this is that even if I close Photoshop and then we'll open it up after a month or two to make modifications. All the values will be saved in here. On this layer. If I double-click, it will open with the same values that I enter the month ago. Okay, and I can tweak them. I can reset them from here. If I click on resets, Okay, a couple times, it's what we said to the defaults values that we had the first time. I can clip them because you can see right now if I make changes, well affects both layers. But if I click on the clip, it's really only affects this layer, which is man, Okay? If I want to unclear, again, it's well effects both layers are, we can clip them directly from the Layers panel. If you hold Alt and over, over the two layers, you can see this icon or symbol I can clip. Now, if I click again, I will unclick. You can hide this deleted. Okay? Even adjust the opacity from here if you think it's too much adjustments. Also, if you go to blend mode, you can try different blending mode. So you can see the amounts of possibilities when you use adjustment layers is huge. Okay guys. So this is why it is better to use adjustment layers instead of applying adjustments directly to the layer. And now let's go ahead and choose a preset slits. Old style, like this. Close this. And now I want to talk about the mask. So let's say that I love the adjustment that we did, but I want these colors to remain the same as the original picture. So we can click on a mask, selects a brush mixture, it's software on the brush. And make sure we have black selects it because remember, black heights and whites reveals. And now since we are on a mask of an adjustment layer, we want to hide a little bit of the fields are covering the color of this pants in. So with black selected, I'm gonna go ahead and try to reveal this color like this. Now, I'm gonna go ahead and select this icon of human adjustments. And let's see, if I increase it's 100%. We will get more contrast between these colors. Are the pants in and the man. Now, if I want, I can even be more creative and go to my shapes. Make sure you have the Ellipse tool selected. And then I'm going to draw a circle like this, shifts and shrug. Dust, it's like this. And you can either leave its black, okay? Or we can do is Avenue layer. On top of the Ellipse. Select the gradients, make sure you have radial radiance. And then I am going to choose a preset from here would say this one. Okay, with the new layer selects it can drag like this, which shifts. Now hold olds or options. You clip it to the ellipse. And here we have a nice results, okay? Alright guys, so this is how you work with adjustment layers in Photoshop and see you on the next one. 48. Brightness and Contrast adjustment in Photoshop: And this lecture we will explain how the adjustments, brightness and contrast works. So go ahead first click here or here, and then open the brightness and contrast. So what important to understand about the brightness and contrast is that's, it's an adjustment of the tonal range. So it's allows you to adjust the brightness and contrast and a sort of a simple general way. So let's see how this adjustment works. As you can see here inside the adjustment panel. We have two sliders, one for the brightness and one for the contrast. And we can play with these sliders to adjust the shadows and the highlights and this image. So what is brightness and contrast? So brightness means that's if I add more brightness to my image, I'm Evan, more whites to my image. Okay? And if I decrease it, I am removing whites from my image. So more brightness, more add-in whites. This brightness remove in whites form an image. And down here we have contrast. And basically contrast is a separation between whites and black. And how does this separation work? It's simple. It's works by adding more brightness to the bright areas and more darkness to the black areas of the image. All right, so let's go ahead and try to fix the brightness of this image manually. So of course, adjusting the brightness as a personal process, there is no guide. I'm just eyeballing the picture and see what's working and what not. The only thing I'm keeping an eye on, as I should not have too much noise and my picture. So as you can see, geysers adjustments allows us to manually control the highlights and the shadows of our image. Okay. But that's not all. You can also use the automatic button. Okay. And this has a tip I want to share with you guys is that whenever you're going to be used in brightness and contrast, there's a trick that I uses that I always click on auto and then manually adjust the values. So for example, if I click on rosettes and I'm going to clip it to my background. It's always a good habit to clip your adjustment layers. Ok, I can now click on auto. Photoshop will give me what it thinks. It's the best configuration or citizens for this image. But I still don't like it. So maybe I can add more contrast. Okay, I can add more contrast like this and deletes more whites from my image. I like kids this way better. Ok. Now, one more thing I want to explain is that there's use legacy right here. That's people usually don't know what this is about in the zones uses. So basically, if I don't have use legacy check, OK. And I go ahead and I break my brightness to maximum and contrast to maximum. You can see that some burning the image. I'm really overexposed and the image, but we can still see the information, okay? Because even though I have these values at smacks, There is a limits that is sits by far shop of the brightness and contrast. Okay, Photoshop is telling you this is as far as you can go. But if you check Use Legacy, you will go ahead and break that's limits. And therefore, if I max the brightness and contrast to picture is gone. Same thing if I bring it all the way down. Now what's darker and it's really underexposed, and it's gone as well. Okay guys. So now I'm gonna go ahead and do the same thing. Click on auto and have use legacy check. So should you check, Use Legacy or nuts? I will say if you just taught in Photoshop dots. But as a professional Photoshop user, I would say you can go ahead and check Use Legacy because it's will allow you to reach or to obtain certain results or contrast that you cannot obtain with US legacy unchecked all rights. So for example, I can apply my adjustments manual like this. And for me, this is good. For me. This is a very good adjustments of the brightness and contrast. Why? Because if I go ahead and hide the brightest in contrast, you can see that this picture is grey, ungraded, looks flat, and you can see the shadows. Even though this picture is flats. You can still see the shadows as grey. And I want to adjust the brightness and contrast until those shadows are visible and their contrasting with the skin. Hopefully that makes sense. So bottom line, guys, I just like the high contrast between the shadows on her scan. Okay. It's super high contrast n. We did sacrifice just a tiny little bit of details that are not noticeable. Okay. Everything else is not overexposed. Underexposed. Okay. We can see the jaw line. We can see everything is in details. Okay. And basically this is just the look that I want. Okay? So this is how you use brightness and contrast in Photoshop and see you in the next one, guys. 49. Levels Adjustment to Correct The Tonal Range and Color Balance: Hello everybody and welcome back to this lecture and this video we're going to be talking about levels, okay? So levels allows us to adjust the tonal range of an image accurately. Ok, and most importantly, without damaging it's, so if I click here, I can go ahead and find levels. And here we have the levels panel. So we adjust the tonal range of an image by accurately redistributing the inflammation of that image using the sliders. Okay? So the first one has dark triangle, gray triangle, okay? And we have here y triangle. Now as you can see right here, the information is distributed from the left to the right, which has a dark area, and from the right to the left, which has the lights area. Okay. And whites area. And what do I mean when I say inflammation? I mean the lights, the shadows, the colors. If I come over here to window and then look for histogram, you can see more in details what I'm talking about. So we have color's RGB, red, blue, green, yellow. And the light's right here, the grey parts. So let's close this complicated histogram and just let's focus on this one right here. So this first slide there are control the black colors. If I drag from the left to the right, I'm going to make things darker. This one controls the lights. If I drag from the rights to the left, it's going to make the whites of the image whiter. And this one on the middle controls the tonal range, okay, the tones of the image. So if I drag to the right, I get darker tones, okay, richer tones. If I drag to the lefts, it'll go ahead and flatten or lights in those terms. Ok, so you can see his skin subtle, getting lighter and other colors as well. So the first thing you need to ask yourself is, why do we use the levels for why even openness adjustments. So we use it to achieve pure whites and pure black to an image. Okay, so let me show you how you can do this. So at first sight, I can already tell that this image does not have Pure Wise and does not have pure black. Why? Because if you look at these triangles, okay? The Supposed to me is that we have 100% slides in here and 100% is black in here. But as you can see on top of this white triangle, we have no information. The information as little bits. And the same thing here. On the top of the black triangle. We have no information, the information as little bit to the right. So how do we accurately calculates pure whites and pure black first, then go ahead and click or hold alter option on your keyboard. Then click on the white triangle and then drag to the lifts until you start seeing information of the image. Once you do, that means you are no more and pure whites, you have to go back few steps until you can normally see the blobs or the dots and the image. Ok. So 252 as Pure Wise. They do the same thing with the black Glick olds or hold Alt and drag. Now drag, drag until you see stuff. Okay, now let us go back few steps until we delete them. And now we have pure black, okay, which is 13. But I'm gonna go ahead and put swells. Okay? Alright guys. And now we just achieved pure whites and pure black, the only thing left as the metals. And dependent on what do you want to achieve in either make them darker or lighter or I'm gonna go ahead and make them darker, just little bits. The only rule I need to give you here is that's when you're working with the mid tones. Ok, so the default value is one. If you want to make them darker and just go a little bit down, OK. Maximum, don't go over 0.9 c unless the image is very flies. And if you want to make them lighter, you just want to stay around 1.20 or 30, okay. Depending on the image. Just don't go crazy with them. It sounds okay guys. So in my case, I'm just going to leave it's here. And zoom in little bits. Here we go. So now I'm going to hide this and open and other levels layers. And this time I'm gonna go ahead and show you how we can achieve the same thing, but using these ij shoppers right here. So the first one control the blacks, the second one control the grays, and the final one control the whites. You can tell from the colors of these eyedropper. So let's go ahead and select the black one, okay? And let's try and find the darkest parts and the image, I'm guessing as this parts right here. Click OK. Now it's gonna make the black 100%. Selects the whites and find the brightest or the whitest parts of the image. I'm thinking here. And it's gonna make the whites 100 percents. But the risk of working with these eye dropper is, is that you may go ahead and overshoots or undershoots your image. And you don't have any guide to let you know what you're doing. So you basically just leaving outs everything to Photoshop to decide. Okay, even though you can adjust these sliders down here. So this slider down here, what's actually does is that's, it's either going to make the black lights are okay. Gives more information to the black colour. This is called Washington the blacks. Okay? And I'm saying thin, you can solve some of the whites from down here. Which means if you burn your image, you can soften the whites from here. And now you can see as I soft symbol whites, I can see more details on the sky. And I can soft sin or lights and the blacks as well. But cell, even though we can control this ladders down here to fix what we did with the eyedropper tools. We don't know if we have pure black and pure Weiss, So I don't recommend working with this method. Our command work in with the slider. Okay? Finally we have this one in the middle, the gray eye dropper tool. And this one actually defines Dwight's balance. Okay, as defines the neutral ponds from where we can balance your color. So here's this thing. If you click on a warmer area of the picture, like his face, and it's going to make the picture colder by adding blue filter like this. Okay? And if you go ahead and touch a cold color, like for example, the blue, it's gonna go ahead and make the picture warmer, okay? So you need to find the perfect spots, the perfect grey, OK. And if I'm looking at this image, the only thing in my mind is this area of the ground here. Okay? And maybe this part or this part. So I here. So I'm gonna click on the ground this parts. And as you can see, it did make some changes, but it's very slight changes. That's you probably didn't notice. If I undo. We can see the change on histogram. If I redo, you can see the change on Histogram. Ok, let's undo again and this sandwich. Try this. Well, now you can see that's, it's a bit better. Okay. It's made the picture a bit warmer. So you have to try different areas to see which one will work better for you. Just make sure it's sort of a neutral area. Not too cold like blue and not too warm like a brown or red should be in the middle. So I understand that this probably sounds a little bit difficult, but you can always check my color theory course to understand these terms. If you don't understand what I'm talking about is of course here guys. And now we pretty much explained everything here. Okay? So my advice when working with levels as to work with the sliders. Okay. Work with a slider is its better. You can have more control on pure whites and pure black, okay? And you can also combine it with the gray eyedropper tool to balance the colours. Alright, so that was all you need to know about the levels and see you on the next one. 50. The Curves Adjustment Layer in Photoshop: In this lecture we are going to be talking about curves. So curves as another adjustment layer to adjust the lighting and a picture. So was the same thing as levels, but it's more precise and it's more advanced than levels. Okay, so let's see how to work with curves inside Photoshop. So first infers, go ahead and open the Curves Adjustment Layer. And as you can see right here, the first thing you see as dads, we have this histogram, sort of looks like levels, the one on the levels. And we have the black triangle here and the white triangle. Okay? These will allow us to adjust pure black and pure wise. So let's go ahead and start with the pure writes. Click and hold alter option, and then drag Dwight's triangle until you star c and stuff. And the black. Note, it's removed despots. And here we have a pure whites, okay? They do the same thing for black cold Olson drag. Okay, and I think the blacks are good. Someone Aleve it's at 0%. Now the only thing missing here as the central triangle, which adjust the mid tones, okay? So instead of having three triangles, they have these two. And for the mid tones, you can control them with this diagonal line. Okay? This line is called the mid tones diagonals. If I add a points in the middle, okay? If I click on that points and bring its OR drug, it's upward as gotta make the image lighter. If I bring its downward again to make the image darker. Now it's important to keep in mind guys, that this line contain all the information of the image and stars from down here, which is blacks, all the way up to eyes. Okay? So this is black area information of blacks and whites area information of whites, colors, of course. Now I'm gonna go ahead and apply a small adjustments known as the S-curve. Okay? So I'm gonna click on this dots and bring it down like this. And another one here. And bring it up like this. Ok. Now this S curves is known to give high contrast for the image y because we make in the darkest zone darker by drug ended dots down. And the Brighton zone brighter by dragging this dots up. This S curve. Pretty much going to work with all the pictures, okay? And it does that sometimes you have to flip. It's like this. Upside down, like this. Okay. But the IS curve works pretty much all the time. So now this is good. And let's say now that I really want to target specific area in the image to jazzy exposure. Okay? I can do with from the curves. But as a beginner at not going to be easy to do with some of the curve. This is why you can use this tool right here, okay, this icon with the hand. But first, let me delete these points from here. So hold control and click on this points. And this point as well, and there will be deleted. Now if I click on the hand, see as I hover on my image, when I change areas, you can see that circle, the line. It changes as well. So it is selling me that's this specific area of the image, for example, the rock, okay? It is located down there on the diagonal line. And now let's say that I want to adjust the exposure of the rock. I can click on it and then maybe track up a little bit. I want to adjust the exposure of the women, make it darker so I can bring it down a little bit like this. And I want to make the sky bright, sir. Just little bits like this. Okay? Now I want to come over here to the horizon line. And let's make it's more obvious. If you guys can see how this thing works. So you can adjust these by areas. And each time you adjust an area of that picture, there will be a dots assigned to the align. Okay. That is directly related to that specific area that you just did. And you can also, for example, let's say this is the women, okay. I'm scan as like here. Can make it stucco syllabus. And if I once I can come over here and click on a specific points and adjust its further. So I'm gonna go ahead and make the skin lighter. More, not darker, like sales. And they wants her bikini suits sort of be darker. Kid us go back to the rocks and maybe just little bits. Lights are ok guys. So you can adjust them however you want. Of course I want to say the listener or the dots, the better butts, you know, is going to depend on the shots. Right guys. So this is how you work with curves inside Photoshop. And of course, you can use presets, okay, from here, try whatever you want. But on this lecture, we're not focusing much on presets. We more focusing on how the tools works in Photoshop. Ok. You can see that's all the information is visible. Nothing is over or underexposed. Okay. This area of course, is under exposed, but because this is so dark so we can now help, it's what's everything else? Okay, we can see it's clearly. You can, of course guys, remember, always use the mask and a soft brush in case there are areas that needs some personal attention, you know, I mean, for example, if you think that some areas are too dark, Q we can fix that. And for the eyedropper tools, there were pretty much as the levels, so there is no need to re-explain them. Okay. So thank you for watching guys and see you on the next one. 51. Adjust the Shadows and Highlights Details in Photoshop: Hello everyone and welcome back to this lecture and this video we're going to be talking about the very fast and strong tool to adjust the highlights and shadows, okay? And this tool is so strong and powerful that they actually use it for chiaroscuro arts. And for those of you who don't know what chiaroscuro arts is. Chiaroscuro is the art of using strong contrast between light and shadows. And I'm talking about is very, very strong contrast. Okay? So you can go to Google and type chiaroscuro and you will see what I'm talking about. Okay, so anyway, this tool is not available here and the adjustments panel, and the only way to access this tool as via image adjustments. And the tool I'm talking about are the adjustment I'm talking about as shadows and highlights. Ok, so once I click it, it will be applied to this layer, ok, we can not apply it's and a new layer, which means we have two duplicates. Okay? Now with the new layer selected, image adjustments, shadows and highlights, ok, and you can see that once I apply it, you get the results for right away. Alright? Now I'm gonna hide, show more information and just focus on those first. So as you can see here, we have shadows and we have highlights. And down here we have amount of shadows and amounts of highlights. So watch this. If I go ahead and increase the amount of shadows, the picture will be lighter. Why? Because this then it doesn't mean that it's going to be increasing the amount of shadows. It means it's going to be increasing the amount of inflammation, the shadows, okay, so by increasing the amounts we are washing the blacks of the image, therefore making the black whiter. Alright guys. So if you want your picture dark, you have to decrease the amount of the shadow rights. Sampling for highlights. If I increase the amounts of highlight is going to make the picture a dark because it is increasing the inflammation and the whites, therefore making the whites less whites, making the whites darker. Okay. Now with this being said, let's go ahead and click on show more options. And let's talk about these options right here. So we talked about amounts or know what it does. Now let's talk about tone. You can see right here by default, tune is 50%. And what tone basically means, it's defines where the shadows and highlights allocated. So if it's 50%, that's mean there is an equal distribution of 50% of shadows and 50% of highlights. But if I go ahead and increase it, you will see an increase and highlights. And if I decrease, you can see at the crease and highlights, okay, because we give in more value or more strength to the darkness. Okay guys. So depending on what you want to do, you may increase, it decreases or leave it in the middle. Down here we have radius and radius. Basically we just adjusted when we have lot of halo and the image. So if I want, if I think that I have halon my image, okay, I can increase the radius to get more texture. You see as I increase it, I gets more definition. Okay? So the basic rule is to leave it at 50% or 30 depending on the image. But in some cases you may want to go and increase its dependence on the look that you're trying to achieve. Alright guys, so same thing for highlights down here, okay, if I increase the amount of highlights, making the picture darker, the tone also mean the separation between the highlights and the darkness. Okay? So if I increase, I make the picture more darker. If I decrease amygdala picture or the mid tones of the picture, lighter, okay? Same thing for radius. It just a matter of texture. So if you want higher radius like this, it's going to be so high that you will star again, leucine texture. Ok, so make sure you have it's around here. Alright? So just to clarify something about the radius, if I go ahead and bring this one all the way up, the one on the shadows. If I do the same with the radius down, I may start loosens extra. Alright, so you have to be careful with these two radius, okay? You have to adjust them accordingly and keep an eye on an image. See if you are losing texture to harness. Because too much radius may lead to lose its extra and to lower radius can lead to losing sedentary as well. So you have to find the perfect combination between the shadows radius and highlights radius. Okay? Well, my image like this, and down here we have adjustments, we have color intensity. I usually leave, it's always plus 20. Ok. I don't miss with this because it's may miss with the color intensity. You see, that's when I bring it down. I am losing colors. It's sort of as I have washed out colors, okay? And if I bring it up, I have more intensity or sort of more saturation and my colors. So I would leave its 20% is fine. But again, dependent on the picture you're working or it's some pictures our soul washed up. You need to add color intensity. Minus1 is fine. And down here you control the muchos of the colors. So a lot of people have problem understanding midtone, especially beginners. So made tons, for example, if I have black and white, the mid zone as grade, if I have dark blue and light blue, the midtone is going to be grey blue. Okay, and this is what I'm talking. I will say it again. The best way to understand colors as to take my color, of course, it's a bit complicated why it's boring, to be honest. I wasn't, it was my first course. So I sort of listens to it and I feel like I was born a little bit. But the information is very important, okay? If you want to be a good graphic designer and really understand colors are really give high information and that course. So the mid tones, I can either make them darker or lighter. But what I'm trying to achieve right now is a very high contrast in black and white. So I'm gonna go ahead and adjust or increase the mid tones littleBits to obtain what I want. So I wanted to sort of looks unwieldy if it's possible. All right, so I'm gonna leave it like this. Because this is the look that I'm trying to achieve. Really high contrast between the skin. I don't know what you call the thing that she has on her scan, you know, but I like that. So I really want those to pop up. I want the blue eyes to pop up as well. So I was looking for really high contrasts between the color of the hair, the scan in the eyes and everything else. Of course, if I was researching this, I would make a perfect art from its okay, cuz I really find that she's beautiful. There is a lot of potential on this picture. But I'm going to leave it like this for now and just for the sake of explaining the tools. So remember guys, the goal of this course is to explain the tools, what they do, and how they work. Okay? Something else is going to be your creative process because you gotta know what you're doing, okay, I know what I'm doing and I'm creating my own look. Okay guys, this is the goal of the course. Now let's see the before and after. You can see that the contrast is really amazing. For me. I love this. Ok? Maybe I went too much on the whiteness of the skin, but that's me. Alright. Okay guys, thank you for watching and see you on the next one. 52. Vibrance Adjustment Layer: In this lecture, we're going to go ahead and talk about the vibrance adjustments layer. Ok. So click here and find vibrance. So why do we use the vibrance adjustment layer? So we use the vibrance to adjust the color vibrancy of an image. Which means how strong or how soft you want your colors to be in an image, okay? It's almost the same thing as saturation. And the only difference is that when you do it with vibrance, it looks more realistic. Okay? For example, let's go ahead and adjust the vibrance. Let's increase. It's okay. You can see that it did increase the color or make them stronger. But the image still looks natural. Ok? If I go ahead and decrease it, maximum minus 100%, you can see that we will lose all the colors from the image, but we still keep some colors like green and a little bit afraid. Now, if I go ahead and put the vibrance to defaults, which is 0. And now I do the same thing with saturation. Look at this with saturation. If I increase at some maximum, this then we'll start, it's going to burn the image. Rules are losing details and information. And if I go ahead and decrease its to minus 100, is going to go ahead and delete pretty much all the colors, okay, making the image a gray scale image. Now, why this then happens? Okay, how does Vibrance and Saturation work? So when you go ahead and adjust the vibrance, the changes occurs basically an areas that's already has little bits of saturation or has little bits of vibrancy in them. Okay? And I'm talking of course about colors. So as you can see here, when I increase the vibrance, most changes or more brightness happens on the red which is already saturated, little bits and the green two. Okay, so the top area as the ear that is more affected with the vibrance, leaving everything else, little bits of exit. Okay guys, so remember, vibrance targets, areas or colors in a picture that's already have little bit of saturation or vibrancy and there, whereas saturation, when I adjusted, It's okay. It's gonna go ahead and targets all the colors, all the pixel in an image, making them supersaturated, okay? It doesn't spare any area. Everything is affects it. Right? So this is the difference between Vibrance and Saturation. So when do we use vibrance and when do you saturation is going to depends on what you want to achieve. Just keep in mind. If you want to increase the intensity of colors, vibrance is your go-to tool. Because again, and make it look realistic. If realistic as not your bonds, you wanna make it look fake or something. Then you can go ahead and do width, width saturation. But I highly recommend that you work with both. For example, you can increase the vibrance little bits. And if it not enough, you can just increase the saturation just a little bit like this. Okay. Just to sort of help out the vibrance because as I said, the vibrance targets more colors that are already vibrance. And saturation is going to go ahead and targets more those flats colors using both Vibrance and Saturation and combination is the right answer to achieve amazing results with this tool. Now let's go ahead and try something creative using the Vibrance and Saturation adjustment layer and using the masks rights. So I'm gonna go head first and the leads, this duplicates the background Control Command J. Hide the original background. With L1, selects it. I'm gonna select my best friend objects selection, so and then just make a rough selection like this of the strawberry. Okay, you can see that this is a very good selection. Maybe we can adjust this area a little bit. Hold all corruption, and then just release this area like this. And maybe more. And we leave it like this. Now, what the strawberry selected? I'm gonna go ahead and apply vibrance adjustment layer. Now everything I do is only going to affect my strawberry. You'll see that. Now let's say I want to go ahead and remove all the colors on the background for more creative composition, I will go ahead and click on a vibrance Adjustment Layer, duplicates its ok. Now you can see once I duplicates it, it will add more colors to the strawberry. That's normal. But now what you wanna do is invert the selection. And if I want to come over here to select an inverse, you can see that I don't have it right here. So what you do, what you're going to do now is with the new layer selected, okay, mixture we have Mask selected and thus be icon of the adjustments. And click on control command i to inverse the mask. Okay? Now you can see the strawberry is black and the background is white. So I'm gonna go ahead and do the opposite thing and bring the Vibrance all the way down, you know, to make the background sort of a grayscale image. So I went ahead and adjusted the background with vibrance and saturation because saturation, OK, it's going to be to grayscale, too aggressive and assault off on a leave people confused. Ok. So they know that there is no color in the background, but they still see some color right here on a table or whatever this is. This, I wanna do this and see that's some colour in here. No colors in here. So this is how Vibrance work in Photoshop, and this is how you make creative looks and Photoshop using Adjustment Layers. Unmask. Don't forget that you can always use your brush friend, okay, who spent an entire section talking about the brush? That's for a reason. If you want to decrease something, the intensity of the colors or anything, you can use it with the brush. Okay, so let's say maybe for any x, y reason, I want to reduce a little bits the strength of this red. I can select vibrance, this one, but the strawberry selection, okay? And then where the brush and color black, I can reduce the intensity of the red. Okay, guys, so that was pretty much everything you need to know about vibrance and see you in the next lecture. 53. Hue and Saturation Adjustment Layer for Treating Colors: Hello everyone and welcome back to this lecture and this video. We're going to be talking about the hue and saturation adjustments Slayer. Okay, so we've talked about this adjustment layer earlier, but this time we're going to go more in depth and details, okay? Understand how everything works. Because this adjustment layer is very important for general treatments of color. Ok, so why do we use this Adjustment Layer four views has aeration allows us to adjust colors either globally, okay, and an image or particularly, which means a specific color, or to create stylish monochrome images. Hey guys. So as you can see right here, the first slider, we have few, okay? And we have this color spectrum that you can see right here. So by default, if I change, I will make a global adjustments of my colors. Okay? And if I bring you up to 100 or two plus 180, you can see that I have set off a negative. Look. Ok. This is because when you bring the view to maximum, it's well, go ahead and change the original colors too. They're complimentary colors and the Colloquium, alright guys, same thing. If you bring it to minus 180, you will get the same effects. Okay, why? Let me show you why. So I have prepared this example right here, and you can see that's a phi resents the EU. It starts from the scion, okay? This is the color wheel. Okay? So this is the same thing as this. The only difference is that this is circular and this is horizontal. So it stars at 0 cyan and as goes down or up to 180, which is right here, okay? The opposite side of 0, the opposite side of science. So when I bring gets all the way up, we go from here to here and finally a stop hair. And if I bring it to minus, okay, it's the same thing as it goes from 0 here and stops here. Ok. So understand that's hue is the color wheel. Nano. Bring goods here, okay? And hide this because we don't do this anymore. Now down here we have the saturation and we've talked about saturation multiple times. So saturation basically lets you control the strength of the colour, okay? Either make the colors very strong, popping up like this, or flatters the colors. Alright guys, down here we have lightness. So basically lightness, you can either add whites or add blacks. Okay? If Iran gets to maximum, I have solid wise, if I bring it down to maximum, I have solid black. So you have to find the perfect spots. Okay, depending on the look that you're looking for. Alright, and down here we have these two sliders. So basically they showed the before and after. Okay. The one on top shows the before. Okay. The one down shows the after. So again, if I go ahead and bring to maximum Look how the one and the bottom, okay, the color slider on the bottom changes. So we can call its color sl slider or color gradients. Anyway, you know what I mean? Okay, see how it changes. If I bring it down, keep an eye on it. It changes. Ok. So look now when I bring it down, you can see that we have the opposites colors down here. And here we have the original colors. So cyan with sort of reddish Magenta would sort of green to cyan and so on. Now that we know how to change global colors, let's see how we can change a specific color. So we said everything. And let's say I want to targets this yellow of this parrots. So what you can do, of course, has come over here where it says Master, click and find the yellows. Okay, you can see now down here, we have this thin selects in the yellow, so it stars from the oranges extending to the yellow and then from the yellow extending to a little bit of greens, okay? Because these colors sort of exists and the same wheel or in the same area and the color wheel. And these are called Analogous Colors schemes which mean adjacent colors in the color wheel, which means they live next to each other. Okay guys. So of course you can adjust this ten manually if you click and drag. But I don't recommend adjusting this than manual IQ is. Most of the time, you will not get the good results. Ok? You will get bad results most of the time. It's rarely works when you adjust as manually. So if I click, for example, on drug, it is bad. So I don't recommend that you just as in manually, what you can do is use the eyedropper tool that we have right here. Okay? So after you select the yellows in here on top, you can come over here to the eye dropper. Don't select these ones, just select this one. Okay. The normal one with no sign near it. And then you can come over here to sample size and True's three by 33 by three pixels. And click on the yellow. So three-by-three is nine. So it's, we'll sample nine pixels from the yellow. And it's well gave like a more accurate color selection that you can work with them. Ok, this is fine. Now if I go ahead and change, that's yellow, you can see what's going on. If I go ahead and maybe change this a little bit here, know it's bad results. So I'm going to redo and do it's again, yellows. Okay, I'm gonna leave its like here for example. The chaos. And you can see that's a bit changed, a little bit of this parts, okay, because we have little bits of these colors and the selection on top of this parts. So of course we can easily fix this using the brush. So make sure you select the brush. You have black 0 hardness and we can remove this rights and remove those with the brush. And one thing you should keep in mind is that when you use the brush on the mask, okay, see now the mask, we have some black era here. If you go ahead and change the colors again, for example, let's say I wanna make this very dark. It's we'll go ahead and change everything. Okay. But the area that you have painted okay. The error that you have painted will not be effected. Okay, so this is one thing you should keep in mind. Alright, so I think we can leave. It's like here, it looks good. And yes, this is how you work with the views as Origen adjustment panel. Now one thing we have to explain is colorized, okay, and let's go ahead and open a new picture. This one, okay? And this time I'm going to hit colorize. So you can see once I had colorize, I have one monochromatic color. Why? Because right here we can see that we have read selects it, and then I have colorized. So what's colorized? Does it, that's, it removes the original color pixels from the image. It's deletes them and replace them with whatever you have selected right here. We can now go ahead and play with the saturation and lightness a little bits. K. So depending on what you wanna do, can adjust these, okay? So this is how you can create stylish monochrome pictures. Okay. And when do we use monochrome pictures? We use it a lot in website banners and magazine design. Could be for anything really bots. Most of the time we use it for web banners and magazines. We use a lot of these monochrome pictures, okay? You just need to know what's colored to apply and it's gone depends on the message or the feed and you want to show or to display to the clients, okay? And all that stuff. But this is how you do it here. So this with some type can really work as a background or can really work in a homepage. For websites that probably takes care of children or something like this. Okay. If I click on type a, I can type something here, whatever. Change the color. Okay guys, so in this course I don't want to focus too much on type and shapes, ok? One, because I already have a Photoshop course about shapes that you can check. It's called How to create abstract geometric shapes and Photoshop. And its height, because we don't really use Photoshop for type unless it's a display type. You know what I mean? Or for editorial design, we use InDesign. Okay, we don't use Photoshop for typography, logo, or for editorial design. So right here we have child, we can increase the size. Size from here, say 100 maybe. Let's make it all capitals, letters through its here. And let's go ahead and choose a font. Let's go ahead and choose a sans-serif fonts. Maybe. I'll just go with Helvetica. Hey, rounded like this. Ok, so a sans-serif fonts with rounded edges like this to convey the message. Okay? Okay, we can put it here. Maybe just increase the size. So yes it is everything you need to know about this view Saturation adjustment layer and see you on the next one. 54. Achieving The Perfect Black and White: Hello everyone and welcome back to this lecture and this video, you will learn how to achieve the perfect black and white in Photoshop. Ok. And by perfect, I mean a highly contrasting black and whites. So the first thing you need to achieve the perfect black and whites is an image where the colors, because you want to be able to treat the color information individually or separately. Okay, so we've talked earlier about Vibrance and Saturation. Okay, let's go ahead and open vibrance. And if we come over here to saturation and decreases, we have a black and whites. Okay, but this is not what I mean by perfect black and whites because when you desaturate the image like this, all you do is you remove into saturation from the colors while preserving the general lighten up the image, okay? And as you can see, we don't have much control over the colors that we had earlier. So I'm gonna go ahead and delete fibrous. And instead of using the vibrance adjustments, we're gonna go ahead and open the black and white adjustment layer. Ok. Now you see right away when I apply this adjustments, we have a better black and white. And you can see here we have all the colors die we can control separately. So how do you work with this panel? So first thing first, we are going to go ahead and click on OK. And then we're going to let Photoshop look for maximum contrast between black and white without altering the image too much. Okay? So as you can see, we have now a better contrast and image. And of course now we can go ahead and play with colors individually, okay? Adjust them to obtain the desired look that we wants. So you can see as I move magenta, I don't have much changes on a picture because we don't have a strong presence of magenta as an aperture. So I'm gonna leave this here. Okay guys, so this is one way of controlling the colors. Or for a more precise control, you can use the handwrite here. Okay? So what this hand, I can come over here to this guy. And if I drag to the right, I will make it lighter. And if I drag to the left, I will make it darker. This OK, let's make this area down here darker as well. And you can see once I drag, it's going to show on a panel what's colors are we effects in? So now we're effects in the reds like this. And now I'm gonna zoom in a little bit to this White's that you can see here. Select the hand. And I want to open its a little bit. Okay? So you can see that now we are fixing the sign like this. So just by using these simple tweaks or changes, you can see that we really have a better result than the previous one. Alright guys. And zoom in. Here. You can see while we're talking about now, let's make a quick comparison between these asteroids in the image and working with black and white like this. So I'm gonna come over here to Window Arrange and then find two up vertical. Okay. It's, we'll go ahead and open the two images side-by-side. That's I've already opened in Photoshop. Ok. So this one on the right as the saturated, and this one on the left is using black and whites as we've seen earlier. And now again, I'm gonna go to Window, Arrange and match it to zoom the range. Okay, match all like this is better. And see the difference for yourself guys. Okay? So this one is way, way better than this one right here, where we just use the saturation. Okay, so you can see for yourself, everything is clear. Ok, much control. This one on the left, it's too much artistic and too much contrasts in than the one on the right's window, a range. And then let's go back to normal. Full-screen. Open the adjustments. Okay, one last thing I want to talk about before we finish this last lecture of the course is tens right here. So taints basically as going to go ahead and make the picture monochrome, just like we've seen earlier with hue saturation. Okay, as you can see here. But this mono chrome as better because you have more control over the blacks and whites, okay? And also because you can enter right here, the hex code often exact color that you want to use. For example, you work in all these projects for the client. And to give you a hex code for a specific color, you can just put it here. Okay. And the hex code, and you will have is q guys. So you can see that using this method of black and white as much more better and these asteroids into colors. So that was pretty much all you need to know. And that's it's you made as congratulations guys, we finished the course. Be proud. Be happy with yourself. I'm sure you've learned quite a lot. Okay. And yeah, that says. 55. Final Class Project: Working with Multiple Adjustment layers: Okay guys, so this is the final class project. And in this lecture, what I wanna do with that, I want to show you how we can work with multiple adjustment layers and the same time. Okay. So let's go to window and open his documents right here. Okay? And let's go ahead first and selects this telescope. So by now you should know that selection as a big parts of four can enforce shop. So select the magic wand tool. Okay, and then I'm gonna select images, duplicate this real quick, go. Select the whites, deletes the whites. Okay. Now I am left with the objects Control Command D to undo or to deselect. And then I'm gonna go ahead and select this telescope. Okay? Okay, now I want to show you how to do a cool trick, how you can cuts and then paste in the exact same place. So control command x two cuts and then control command plus shifts plus V to paste and the same place and a new layer. Now, right-click on a layer and then look for duplicates. And I wanna duplicate here. Okay? And here we have our telescope ready to use on our sizes, like simplicity here. Now as you can see, the color doesn't match the background. So we're gonna go ahead and try to fix that using the adjustment layers. So first thing first, what you need to know about the adjustment, let's first select the vibrance Adjustment layer and we go. And what you need to keep in mind is that the adjustment layers will affect all the layers beneath or under. It's okay. If I take this vibrance Adjustment Layer and put it in the middle, it doesn't affect layers above it. Just gonna affect the background, which is the layers or the layer beneath it. And if I go ahead and clip it, that's gonna go ahead and just affect this specific layer. Now, I'm gonna go ahead and undo real quick and legis duplicates the telescope where we go. Now one thing you should understand is that when you go ahead and clip like this, and let's say you make adjustment to this layer. If you want to make adjustments to the other layer as well, you're going to have to recreate and other vibrance or add another vibrance adjustments and clip it and then do the adjustments again. Because guys, you cannot group these two layers at one folder and apply one adjustment layer. You need to add a another adjustment layer to this one individually. Okay, So hopefully this makes sense. So I'm gonna go ahead known deleted or duplicated one and the religious stay with this one. So I guess I'm gonna delete this on top. A, recall. So clip, it's because we only wanted two facts, the telescope. And now I'm gonna go ahead and click here on this icon and adjust the vibrance and saturation of the telescope. Lipids like this or vibrance. And we go, so now I'm gonna go ahead and add a new adjustment layer. So click here and then go for levels. And again, I'm gonna go ahead and clip it. Okay guys, let's go ahead and adjust the whites. Okay, let's go ahead and add curves. Clip it's again. And finally we can add hue and saturation. So of course guys, what I'm doing here, I'm just eyeballing the colors, okay, this is not the correct way of matching colors. There are specific way too much Carlos and Photoshop. But the idea here for this class projects is show you how you can work with difference, multiple adjustment layers. I'm just gonna add or just the lightness here. Okay? So finally, after all these adjustments, we can go ahead image and then auto color image or a Tom. Okay, and the moral is, it's going to go ahead and match it to the background. Now, one more thing I wanna do is the new layer. Again, we going to clip it here. And I want to get rid of this highlights, ok, because the light is obviously coming from here, from the right side, you can see it's on the notebook right here. So I'm gonna go ahead and try and darken this area here using the brush. So select the color of the background are due table. Select the brush. Okay, I'm not going to clip it for now. Let's leave it like this and clip it. And then just add little bits, you know, darkness. This. Let's go ahead and try a different blend mode. Multiplies, good. Maybe decrease the opacity a little bit. You saturation on the nominal, just go ahead and really try to just delights analytical pits. And so I think I'm gonna keep it like this for now. Okay. And it looks, it looks okay with the shadows and everything. Maybe what we can do is clip delay number two with the shadow and then duplicate it. This time on clippers like this looks better. Maybe bring it little bits to decide your razor and just deletes a little bit here. Okay guys, so this is how you work with multiple adjustment layers and the same time for one specific layer. In case we had more than one telescope here that we need to match. We're gonna go ahead and do the same procedure on that layer. Ok, so that was all. This is the last lecture of the course and congratulations if you made it all the way here.