Basics of Photoshop: Photo Manipulation for Beginners - A Step by Step Project Walkthrough.

1. 000 Course Intro: a friend's Chris Holdren here. And man, I'm so excited that you decided to check out my course. I would say hands down. That Delhi photo shop is one of the most valuable skills I've ever learned. I'm a director of marketing right now, and over my course of my career, I've done analytics. I've done creative directing. I've done photography, all right. Analytics, marketing, social media, the whole nine yards. And in every instance, knowing how to use Theodore be creative cloud. And also just adobe Photoshopped just really gave me a skill set Heads and above, you know, ah, lot of people. So in this course, what I've done is we've laid out a plan for you to create a cool piece of digital art, and we're gonna walk step by step from beginning to end so that at the end of this course, you will have a piece of digital art. But not only will you have a piece of digital art, but you will have the skills, the knowledge and how to to go out there and start kind of creating your own digital art and working in photo shop and mastering it so you don't have to be an artist. You don't have to be an illustrator. You don't have to be a marketing guru. You don't have to be anything. You just have to have adobe photo shop, the wheels on the drive to create something cool and literally. Everything else is in your mind's eye. When you learn the tools that you're gonna learn in this very course, it will unleash your creativity. So I'm happier here. Enroll in the class. Make sure if you have any questions, make sure to hit me up. I'll be happy to help you out. So with that said, Go ahead, start the first video and I will see you on the inside. 2. 001 Introduction: Hello? Hello? Hello, My friends. What's good? This is Chris Holdren. I'm so excited. You're here with me today. I'm excited. What we have in store for you in our class. We've got some good things coming up and I'm glad you're here. And I know you're gonna get a lot out of this, So just a preface. Things real quick. This is a photo shop tutorial, so obviously you need a version of photo shop. I'm currently using version 2018. Ah, but anything from, like 15 4016 and above you should be fine. I'm not gonna be using any special plug ins or anything. So technically, you can do any of this in any version of photo shop. But the tools by, you know, it might be named something differently or be placed somewhere else. So we're just gonna jump right in. This isn't an extensive photo shop tutorial, so I'm not gonna go through all of the tools and what they do and everything, because some of them are self explanatory. And there's a 1,000,000 videos out there on How do you use the paint brush tool? That sort of thing, right? and I also have other video courses in regards. That's you. Go check those out. What I do want to do is I just want toe take you as maybe a beginner or maybe intermediate user of photo shop. And maybe you've only done, you know, social media graphics. Or maybe you've only done editing, photography or something, and you want to really step into photo manipulation and photo art and digital art. I want to give you, like, the tools and the foundation to be really good at that. So I'm gonna walk you through and this image you're looking at right here by the time you're done with this course, you know whether that's 30 minutes from now 45 minutes from now, however long it takes you to get through its it's a pretty short course. You will have this final product at the end, and you will have learned some useful skills, useful tools to get the job done, some things that maybe you didn't know before. But you didn't know how did imply them to digital art. Or maybe they're new to you all together. There's a lot of people who use photo shop who don't know about advanced techniques like masking and stuff like that, which doesn't seem that advanced, but an honesty. A lot of people just kind of used photo shop to tweak images and stuff. So I'm excited you're here. We've got some great things in store, so we're just gonna go ahead and jump right into it. Andi? Ah, yeah. We will see you in the next video. 3. 002 Download Resources: Hey, here we are, guys. In this video, we're gonna go ahead and get the party started. So Ah, this is the final image were to get to. But we need to start with a few images to get to that place. So what I want you to do right now, if you haven't done this already, there's going to be three or four images that are included with this tutorial to help you with your project. Um and you need to download those and open those and photo shop. So go ahead and do that. Now, if you haven't done that, and then we will go ahead and get started. So let's do that now. There should be three files. One is gonna be called tutorial snow. Ah, The other one will be called tutorial bear, and the 3rd 1 will be called Tutorial Sky. So if you have yet to do that, go ahead, download those files, open them all three and Photoshopped because we're gonna need those files to get the party started here. So go ahead. Make sure you download this resource is open them in photo shop so that we can just kind of keep Lezin. And so by the end of this might my intent in my hope is that you're doing this and, you know, editing all the stuff in photo shop as we go through the course. So at the end, you have a piece of artwork to show for yourself. So, um, go ahead. Go do that now and we will see you in the next video. 4. 003 Bear Transform: all right. Friends were here. You should have your three images open in photo shop and raid Iraq. Ah, you should have tutorial, dash, sky tutorial, dash bear and tutorial dash snow again. Those three files are included with this project and this tutorial, so make sure you have those open if you don't already. Ah, the first thing we're gonna go ahead and do is we'll go ahead and click on our bare here tutorial Dash bear j big. Because if you remember from our original image, we have a bear here and he's facing this way. Eso We want to go ahead and take her bare and kind of prep him for, um, cutting him out and putting him and ever seen. So the first thing we want to do is we want to go ahead and come over here to our layers panel, right. The later panel channels and passes a very important thing if you're kind of newer to photo shop, so make sure that that's a visible over here on the right hand side. If it's not, you can always come up here at a window and then click on view layers and it will pop up and it should be visible by default. But in the event that it's not or if any other window I talk about is not visible on your screen, usually if you just got a window, you can click it on her off by putting the little check next to it. Okay, so the first thing we're gonna do is we're gonna go ahead and transform this guy by flipping him, um, to face the other way. So how we're going to do that is going to come over here to our layers panel and we want to work non destructively. That's a good thing to get just to be aware of in photo shop that we never want at it are riddle original image. Right, because if we screw something up, we wanna have a backup. So by default, the original layer here is always locked and called background in the photo shop. So usually we don't want to screw with that. We just want to come click on it with the left mouse and then drag it down here to this little piece of paper and the depth bottom right hand corner. And that creates a new layer or a copy of our background. Right? And it's even called background copy. So we're gonna go ahead and just leave that, um on and that's gonna be our working layer, and then we're gonna turn off this back layer. So, um, so we just keep working here and I'm gonna go ahead and rename the sky as, um, polar bear, right? You can rename layers by just mousing over the text area, double clicking and then typing in the name of your layer. It's good to name your layers just because as you get more and more layers deep, Um, it's just it's easier to go back and kind of find what you're working on into group things and that sort of thing. So the first thing we're gonna do is we're gonna go ahead and transform this layer. Um, and there's two ways you can do that. Ah, you just highlight the later you want to work on which we already are, and then where there's two ways you can hit commander controlled t which stands for transform. Or you can come up here to the, um you know, the menu and goto edit, transform, and then you'll have all of the transform options in here. Okay, So you can hit control or command t like so on your keyboard. And that will bring up the transform. Ah, little boxes that allow you to transform the image. Go ahead and enter just to apply that or again, you can come up here to edit transform, and then you can use the transform options in here. So for this, we need to flip our bear around, so we're gonna flip him horizontally. So I'm just gonna go to make sure layers selected at it transform flip horizontal. Okay, so ah, we have gone. We've opened our bear image. We've created a new layer by clicking on the original air and dragging it to the new layers . Ah, little button, Which is this little guy down here which looks like a piece of paper that's created a new layer. We turned off our original layer, so we always have a backup just in case we screw something up. And then we've transformed our bare layer by flipping it horizontal. So if you hit commander controlled t on the keyboard, that transform window comes up and then you can right click on the image. And then so all of the transform menu options come up by right clicking, right. And then you can enter to cancel that, um, or you can go to edit transform. And then that same menu is here. So we went ahead and transformed our bear. Got him facing the way that we want him in our photo, you know, manipulation slash digital art. And that's pretty much it. So that's it for this video, and I will see you in the next video. 5. 004 Bear Quick Selection: All right, friends. Here we are. We've got our polar bear art up. We've transformed him, flip them. So he's pointing in the right direction. And now we're gonna go ahead and make a quick selection so that we can cut our bear out and drag him to, um, our sky image, because that's kind of going to be the backdrop for image. So we're gonna go ahead, make a quick selection so we can cut him out. Now, if you're new to photo shop, there's a lot of ways that you can cut objects out. Some of them are quick and dirty. Some of them are timely and precise, and it just really kind of depends on what you're trying to do as to what tool you'll be using. But typically for digital art and manipulations you can usually get away with, like what I call the quick and dirty way because ultimately, by the time you're done painting and adding effects and stuff like that, the edge is kind of gets lost in that the painting a little bit if you will, and so it's not as important as if you were, say, cutting out of models, hair that you were gonna deliver to Coke, right? You might. That was gonna be on a huge billboard. You might spend a lot more time cutting that out, But for our purposes here, we're just gonna use the quicks selection tool. Because as the name implies, it's quick the quick and dirty way. Now selection works via contrast. So to cut our bear out here from the background, um, it are if we select a quick selection tool here and we click on the plus, we're gonna just gonna start dragging around our bear here, and it's gonna go ahead and to start selecting stuff, and it's gonna keep selecting stuff until it hits an area of, you know, pretty different contrast. So usually if your background is separated pretty well from your foreground color, you'll get a good selection. And in this case, ours is. So I'm gonna go ahead and just click on the plus sign. Here are brushes 33 I'm just gonna go ahead and click and drag so you can see as I'm dragging its highlighting everything that is in the bear because the bear has a pretty pretty good contrast from the background And as I drag around, you see that it's selected all of the bear Now it's not perfect, right? C So it selected this port, which we want to remove. But before we do that, we're gonna come over here. He's gonna get a little bit more of his foot by clicking on that, and I'm pretty happy with that. So what I want to do now is I'm gonna come up here and I'm gonna hit the minus, um, selection tool. And I wanna remove this because when we mask this and cut this guy out, the whole background will disappear. But this will stay here, and I want that to be gone as well. So I'm gonna come up here, hit our little minus guy, and then I'm just gonna paint on the inside, and it does the opposite rate. It's selecting until it is the contrast. But it's removing the selection so pretty simple, pretty straightforward. And, um, yeah, that's that's pretty much that. So we have our selection here. Just a real simple thing to remember is that photo shop works on contrast. So any selection tool that you use is based on contrast. So we if this bear was really whites and brown like he is, and then the background was really white and brown. Ah, this quick selection tool probably wouldn't work because, as you were dragging around, it would have selected huge portions of the background, and, uh, in that case in that situation would have had to use a different selection method. But for this for this, you know, tutorial are bears pretty white. And this is gonna work. Now if you come up here and we hit the minus if you come and drag on any part of the bear, you can see it minus Is that part of the selection? So let's say you screwed up and you wanted to remove part of it. You could do that, or I'm gonna go ahead and hit Commander Control Z undo that. You can also add right, So you come back here, click the add, and then you could drag down and it will add into your image. But I don't want to do that either. And so just you can switch those by clicking these two buttons up here, or you can hold the shift button on. Um, you know, either options. So if you're if you're on the minus one and you're you want to remove some of it, you can just hold shift, and it will add or vice versa. So just know that when you're using tools, uh, any of these tools, all of the options are going to be up here and the properties menu and in the properties menu over here. But there, shortcuts for everything. I will try to remember those. I'm on a Mac, and, um so if I say Commander Control J, that means it's gonna be commanded J on the PC or Excuse me, Commander J on the Mac and control J on the PC. So that's just a really simple quick No, I will try to remember to call those out. But if If you missed them or I forgot to say what the shortcut is, just know that you can always do it through the properties menu or the menu up here. So anyway, that's it real quick, quick and dirty. We've selected our bare. We've covered a little bit of how the selection works and how it works. It works via contrast. And, um, you know, you can add selection. You can mine a selection, and that's pretty much it. So that's it for this video. We will see you in the next video. 6. 005 Black and White Mask: All right, friends. So here we are. Um, we've got our bare. We've made a quick selection with the quick selection tool. Ah, and now we are ready to cut out our bear, a k a. Create a mask. And I'm gonna cover that here in a moment. But I just want to lay out a couple baseline things that you should know in photo shop and photo shop, all of the tools that you use, all of the concepts. Everything in photo shop really comes down to contrast, highlights mid tones and shadows, and then the colors black and white. And I will explain all those as we encounter them in this course. But I just want you to know that up front, a really good thing to remember is that white reveals and black conceals. Okay, So, um, when you're creating a mask, which is basically just what the word sounds like you're going to be putting a mask or covering something up, right? Just know that black conceals and white reveals. So I'm gonna walk you through that and what that means right now. So let's get to it. So we have our bear here, and we should still have our selection from where we selected him in the previous video. And so I'm happy with the selection. And now I want to go ahead and mask him. Right. Um and how we do that is we come down here, move our mouse over here into the bottom right hand corner, and right here, there's this little black or excuse me, white circle with a black white box with a black circle in the middle. That is the masking tools. So when we hit that, it's going to mask our image. So it's gonna take our image that is all visible right here, and it's going to mask out the parts that we don't want on. And it's going to keep the part that we do want. So we selected are bare as the part that we want, and then we want to remove the background. So it's going to mask the background, right? Hence, the term mask. So I'm gonna go ahead and come down here and we're gonna hit the mask button and you'll see what will happen. Boom. Just like that, I hit the mass button and you see how our background disappeared on That's because our it's masked our image. Now all of that information is still there, all of the green and the bear and everything else is still there. It's just not visible. And so the reason you would create a mask is so that you can work non destructively, right? That's that's our motto and photo shop is to work non destructively. So let me give you in a little example, if you come over here. You see that when we hit the mass button, it created this little black and white pain right next to our image. That is our mask, and you can see how it's black and white, right? So if I just move my mouse over this and I hit Ault and hold it down a hit click, you can see that Oh, this is the mask that it created, right? So black conceals and white reveals, right? So whenever we create a mask, black conceals and white reveals or show's theme image or shows thean effect or whatever, right? So whatever we're doing, whether it's putting a filter and effect cutting out anything, white reveals, black conceals. Okay, so now if we were to come over here to our mask. And we're toe change this because it's black and white. Um, we can hold the all button again, click on our mask, and it takes us back to our image that we cut out pretty cool, right? So see down here. See how all this, like, little green stuff is here. Um, let's say I wanted to remove that. Now I'm gonna show you how to do that with the quicks. Ah, selected mass tour, the refine edge tool depending upon what version of photo shop you're using. But I just want to show you how masks work real quickly. So we've masked are bare. We've isolated him from the background. All of that image is all that information is still there, right? Actually, we come over here mouse over and holds shift, um, and click. It turns the mask off, and you could see all of the information still there. So hold the shift button again and click, and our mass turns back on. So since photo shop works and black and white black conceals, white reveals we kid, let's say we accidentally missed part of his nose, right? Well, we could come over here and get a brush. That's this guy right here. And, um, weaken, increase the brush size. You can do that by clicking on the down drop button right here and increasing the size and the hardness. Or you could just use the right bracket, which is increases your brush or the left bracket, which decreases the brush rate. Now, if white conceals and black our excuse me black conceals and white reveals and we want our conceal a part of this image. What do we want to do? We want to plate. We want to paint in black. Right? So I come over here, make sure that black is selected, and then I can come up and look at this. I can paint off part of my image, right? And if you come over to the mask, hold ault and click. You can see what happened. So the areas that were we painted black disappeared. Now I'm gonna go ahead and hit control Z toe. Undo that to bring it back right. And then I'm gonna hold alter and control click just so we can see our image again. So if I hit control Z back and forth, you can see what happens right? I painted black and that concealed part of the mask. Now, if I wanted to paint, let's say I miss part of his nose and I wanted to paint more of it. Well, I would come over here and I would get white, because over here in our little mass, the white areas are the parts that are showing through. So the part that I want to show through I want to be white so I could come over here and I could paint white. And everywhere I paint White is going to show through right, which is pretty cool. So the whole reason that we use mask is because if you were just to come up here with this image and that you were used to use, like, just the eraser tool and our race part of this image, But later on, you realised like, Oh, man, I screwed up. You couldn't go back and undo it. So that's why it's always important to be working non destructively and use masks. So if you're using a mask, you're working non destructively, and that gives you a ton of power in terms of controlling your image what's visible and what's not. So I'm just gonna go ahead and hit control Z to undo that that I painted. And, um, that's pretty much it for this video. So what have we done? We've taken our bear. We made a quick selection of him, and the part that we selected is going to be the visible part of our mask. We came down to the little mask tool button right here. We hit it. It creates a layer mask over here that is black and white. Weaken view that by hitting the altar option and clicking again and so black conceals white reveals. And if we wanted to fix this mask, we could paint black and it would remove more. Or we could paint white and it would show more, right? So I'm gonna hold Ault and click on my mask again. So that's a really important concept, and I hope I'm not like beating this drum too hard. But if you're new to photo shop, it's really important to know that you should be working non destructively. And how you do that is to make copies of your layers and work on mask right, because masks give you the ability toe cut things out. It's not visible, but all of that data is there. All of the green information, all of the water. All of that information is still there. If you ever need to go back and retrieve it by painting, um, over parts of your image with either white or black. So that's it for this video. Black conceals. White reveals important concept to be aware of. Now let's move into the next video where we kind of clean this guy up a little bit because we can still kind of see some of this little junk around around us for and we want to bring some of the hair back, and, uh, we're gonna do that in the next video. 7. 006 Select and Mask Edges: already friends in this video. We're gonna be taking our little bear cut out here and we're going to be cleaning him up just a little bit. Because, as you can see, there's like some of this weird fringe around the side, the edge of him. And we lost some of his like hair that was sticking up when we made our selection and Ah, yeah, we're just gonna do a little bit of refining. So we're going to refine our selection. Now, if you're using an older version of photo shop, there's an actual a tool called refined selection or refined edge. Um, but if you're using a new version of photo shop, um, there is a tool called Select and Mask, so basically the same thing conceptually does the same thing. So if you are using an older version of Photoshopped, I'm not gonna go over how the tool works. Just know that it works very similar to selected mask. And if you just watch this video and see what I'm doing, it should make sense with refine edge in the older versions of photo shop. So anyway, here's our bear. What? I'm gonna go ahead and do we want to clean up part of him. So we're gonna come over here to the layer mask that we created in our last tutorial. That's the black and white area. And now if we want to go ahead and re select our bear that we cut out before you can go ahead and mouse over the mask and then you can hold Commander Control Key, right? And you see that little icon that pops up? It's, Ah, little hand with a square, that's that indicates a selection. So if you do that and then you click, you can see that all these little marching ants, that's what they're called marching ants show up. And that indicates that our bear is now selected. Okay, so with him selected wouldn't go into the select and mask tool in photo shop or refine edge , Um, in older versions of photo shop. So we do that by we've got a selection. We just select any of our selection tools over here, and then the select and mass tool is right up here. It's also you can come up here and under the select menu click selected mask. Okay, so now that brings up this select and mask properties window, so this should look very much similar. If you have the refine edge option and older versions of photo shop and basically what it does, it just gives us a few extra tools that kind of clean up our bear here. Okay, because you know, he's got some white fringing and stuff Now, if you come over here into the view modes, there's all these different view modes You can view your cut out on white. You can view it on black. You can view it on layers onion scan, right. You can see what the original image look like marching ants, but most the time I am on overlay. So overlay gives you a good contrast between red and your image, so you can kind of see what you're doing. So I leave that on overlay uh, opacity. I leave that 50% most of time if you turn it up all the way. Um, this can be helpful. Tool, uh, as well, I said to I can't speak for some reason. Um, so if you turn it up all the way actually, on this image, it might be good just to leave it up all the way. Um, or if you turn it down, it goes away. So a lot of times, just finding a good medium. It just it's preference, right? However you like to work. And I think actually, for this I'm just gonna turn it up here so we can, uh, see our edge really defined. And then there's a few other tools down here that we're not going to get into a whole lot right now. Um, select and mask is a very complicated tool. It Well, it's not complicated, but it's a little finicky. It doesn't always work perfectly. And so a lot of times you just have to get in here and play with the sliders. I have an entire video Siris on, um, you know, selected mask and how to optimize that. You can go check that out. All include a link somewhere in this video course. And you can look, look that up. So But right now, what we want to do is, uh, zoom in and you can do that by coming over here to the left and clicking on this little zoom icon. All right? And what we want to do is We want to get rid of the green here, and we want to bring back some of the hair that was lost in our selection. Um, now, our background image was pretty loud, right? Um, in my previous video, I said that all tools and Photoshopped work on contrast. So the more contrast there is between your background and your foreground subject the better. But was selected mask. If there's a lot of, like noise and stuff in the background and your foreground image, it's not going to work as well as we'd like it to. And I will show you, um, why that is so I'm gonna come over here, and I'm gonna collect this guy right here. All right. This is the refined edge tool, basically, or the select mask tool. And if we zoom in here, I just want to recover. See how part of his his hair's missing. And then there were some of the hairs that got cut off here. I want to recover some of those, but because my background image is really loud, I'm going to get what I like to call cruddy as well. Now, if it was a perfectly white background or something. You would be able to make this selection and the hairs would show up and you wouldn't have that much of a mess to clean up. But because there is a really loud background, I'm can already tell you. I know there's gonna be cried. So let me show you how that works Going to select this guy. And I'm just gonna come over here and I'm just gonna select and you see how it pulled back some of those hairs that got deleted. You see that kind of filling out his for a little bit. And it's doing that based on contrast, right? So it's it's making our bear look more furry. But you see these other white areas? That's the crowd that I was talking about. So, um, we're going to go How? Head around and click around the edge here. Ah, until we kind of get it to our liking and you can move around by clicking the space bar where you're doing this and dragging so space bar and drag that will move you around your image. And that looked like it got most of hair down there. So I'm pretty happy with that down here. I don't care about so much. This area looks a little sketch up, so I'm gonna hit control Z. I'm gonna have to clean that up. Control Z. So as you can see, it's not a perfect tool, and you kind of have to just play around with it. I knew this was gonna happen because this image is pretty loud, but that's OK. I just want to make sure that I have visible for and now, up here, we'll see what this does. Yeah, it's kind of making a mess of my hair appear. So with this section, I'm probably just gonna paint out with the mass section if you remember from our previous video as face looks good and I'm just clicking and dragging. I'm holding the space bar, which brings up our little hand tool, and I'm just dragging around. So what I've done is I've gone ahead and recovered some of those hairs that really cause that's gonna be a really visible part of the image. So I want to recover that, but you'll see that it's kind of created this other crowd too. So if I come up here to the view and click on white. You see all this white stuff. We're gonna go ahead and clean that up in a moment. So, um, I take that back to overlay, and I'm gonna come over here to the left side, click on the eyeglass to make our image back 200%. We're being right. Click are fit on screen. Okay. And so see, what we did is we recovered a lot of that here that got lost in our selection. And I don't want too much. Like I said for photo manipulations and paintings, it doesn't have to be perfect, because we're gonna do some other effects and oil painting and stuff on it. That will kind of cover that up. But I do want some of those larger strands of hair visible, so this is pretty happy. This is pretty good. I'm pretty happy with this. Um, just before I go ahead and leave this tool, I'm gonna show you something other things so you can come up here and you can select parts of the tool by just dragging around and letting go, um, for this particular image, I'm not going to do that, but just know that you could do that. So let's say that there was the bear here and then up here, detached from his head, was maybe like a little bird. You could select that with this tool and it would select him. I can show you how to do that in other videos, but for this case, this did our job. We already made our quick selection. There are rough and dirty with the quick, select tool. And then we're just using the refined edge tool right here to kind of bring out the edges. So that's it for selected mask. Like I said, this is a really powerful tool, but it's also a very finicky tool. And as you can see as I'm painting around here, it's creating this crowd, and you just got to kind of know how to adjust that stuff. So, for example, like if I came over here and hit, contrast right, you can see how the crowds going away up there, see how it went mostly away. But it's still retaining some of those hairs, you know. But if you go too far, it kind of jacks it up so that that looks pretty good. And then you could hit feather right and see how it kind of feathers it. But that's obviously not the look we want, Um, and then you could hit smooth, and that smooths out the selection. But again, that's not what we want. We want the hairs visible. So when you have some time coming here and just try to cut out random things and ah, just play around with the sliders and stuff and you'll really get the hang of it. But for our purposes here we did a quick selection. We're going to use the refine edge tool, just kind of go around the edge, find some of that hair, and then we come to the contrast tool. Turn it up to about 39% and that's going to give us our final product. OK, then we couldn't come down here and where it says output to. You can have output to a selection, a layer mask, our or a new layer or a new layer with a layer mask. And that's what I like. People have different preferences, but I always like just selecting a new layer with a layer mask. Go ahead it. Okay, so now what? We've done is we've created a second layer mask, right? Ah, with our bare and it's de selected the one that we did previously. So if we ever need to go back and start from where we were at, we could come back to this mask and you can see up here. When I turn this on appear around his hair, all of that green stuff comes back. But when I turn it off, it's gone. So that's Ah, it's always good to know that that's still there. If you ever need to go back now, I'm mostly done with this image. But this green stuff right here is really kind of getting to me. So what I'm gonna do is I'm gonna come up here to our mask, and I'm gonna select a brush, and I'm just going to make it, you know, this is about in okay size um, about 100%. And then I'm just gonna paint with black, Okay? And what I'm gonna do is I'm gonna turn the opacity and flow down. That's up here and the brush tool. So if you click brush the brush menu tools, air up here and opacity just basically means you know how much actually shows. So if I turn the opacity down to say 50% I would have to paint in the same spot twice to make it show up 100%. Or if I turned it down to 25 percent, I would have to brush in the same spot four times for it to be 100%. So let me show you. Right now I have black on and so see how I'm painting and it's at 25%. But it's not all of the bear. I'm gonna go ahead and hit control Z, whereas if I turn the opacity of to say 75% now, much more of it is gone. But it's still there, right? And if I turn it up to 100% then it's 100% gone. So, um, opacity basically means how much of it showing through. Now flow is kind of similar, but different flow is basically the weight of the brush, if you will, the pressure. So if I take it down to 25% it's kind of the same thing. I would have to paint over the same spot three or four times for it to get to 100%. Okay, now, don't get too hung up on that. Just know that opacity and floor important things, and you'll learn about them and will explore the Maurin, this video tutorial as we go along. But just for right now, now that we want to delete some of this green. But we don't want to just chunk away at it really heavily. So we're gonna come down here and we're gonna turn the opacity down to about 50. And we're gonna turn the faux flow down to about 50 45 somewhere in there. And then I'm just gonna kind of gradually click along the edge to get rid of that green so that it's deleting it. But it's not too heavy and harsh. See what I'm saying? Ah, and that kind of gets rid of that green. And then I'm gonna do that right here, cause that's pretty bad. Teoh gonna go along the edge here, and then there's a little bit over here, then a little bit inside his foot, and I'm gonna call that good. So again, with quick selection wins for photo manipulations and stuff, you don't have to be super precise, but, um, that's what we did. We We came over here, We took our selection. We refined it a little bit. And if you're an older version of Photoshopped even used to refine edge tool. But we used the selected mass tool they have. They're very similar. And then we created a new layer with a layer mask, and then we just using the concept of black conceals white reveals. We came over here, selected a brush, turned our opacity down and our flow down. And then we just started painting a little bit just to remove some of that extra green that we didn't want to show through. So that's a really simple crash course to masking with, You know, the selected mass tool. Again. I have other videos of this out there on the Internet. You go find those. We will encounter those a little bit further on in the course, but if you want some in depth knowledge, you can go find those videos. I will leave the link somewhere in this course to those videos. So that's it for selected mask. Were are ready to kind of get this guy prepped to drag to our sky image so we can get paint in a way 8. 007 Smudge the Hair: already We are almost done with their prep for our bear. But there is a one more thing that I want to go ahead and do is I want to just clean up this little area right here, which I didn't select earlier on when we were making a selection. Just because if I come up here and try to make a selection with the selection, So I'm gonna hit the plus tool, you'll see that it it, like, kind of eats into us for and it just really would have been worth it to try to get in there real finally and remove that stuff in our final selection, our final image. It's not gonna be a big deal, because, as you can see, we kind of put his feet in the sky and, you know, we paint over some stuff, so it's not that big of a deal. But what I do want to do is I just want to kind of get rid of that a little bit. And so how I'm going to do that is I'm gonna work with the smudge tool. So I'm gonna come over here to the zoom tool, which is this little eyedropper, and I'm just gonna zoom in real quick, okay? And then I'm gonna come over here and I'm gonna click on our actual image that we're working on. So you can see the eyeball always indicates the visible layer that we're working on. You can turn it off. Means it goes away. Turn it on. And that's for all layers. If the eyeballs visible, the layers visible, if it's not there, it's not visible. So we're gonna go ahead and we were on our masked. But now we're gonna click our actual image because now we're gonna work destructively. And I know that I said we're gonna work. We should always work non destructively. But for this little change that we're going to dio, um, it's not really worth like creating a whole nother layer just so we can work non destructively. So we're going to just cover this up real quick, and we're gonna do that with smudging. Okay, So make sure we were over here and our polar bear copy layer, and then we're gonna go ahead. Make sure that if you click on this, you can see the little white outlines the mask. Click here it's on the actual image. So that indicates that we're gonna be painting on the actual image instead of the mask, right? I'm breaking my own rule already. I'm so sorry, but really it's not really worth creating a whole nother mask and layer for just this little smiled show. We're gonna come over here and there's this little guy right here called this much tool. Right? And there's a couple different things there. Sharpen, blur. But we want to click on Smudge. And then when it come up here and when I just make sure our brush is, um just a soft round brush like so and then we want to turn the strength down to probably like 10%. And then I want to come over here and I'm going to turn my brush down to something about the size of a hair. You see how my brushes now about the size of these hairs and what this much brush does is exactly that? It smudges thean image so you can kind of see it as I'm painting here. I'm gonna hit control Z real quick. Let me turn the strength up to 100 see how it smudges. It does exactly like it says smudge. Right? And what I want to do is I'm just gonna smudge this hair over real quick, and I'm just gonna cover up this green and blue with the brown so I wouldn't turn the strength down about 50. And then I'm just gonna come like this, and I'm just gonna kind of smudged that stuff out, all right? This don't worry. This doesn't have to be, like, super precise, because again, Like I said, we're gonna be painting on this, and it's gonna cover all this up, but I just kind of want to get, like, the devil share of this stuff out of there. Okay, Now I know what you're thinking. You're like, Oh, that looks worse than it did before. And you're right. You're absolutely right. It does look than it did before, but I basically just want to hide these colors just a little bit more so that when we get to this point, see how I smudged the hair here. But by the time I've put it behind the clouds and everything, you can't even really tell. So, um, I just smudged it just a little bit Okay, so we did that by clicking on our bare, coming over here, selecting this smudge tool. And then we turn the strength down a little bit. Just so weaken smudge. So not that big of a change. But it trust me is just enough that that will be hidden when we do our other painting. OK, so that's the smudge tool. That was it for this video. Just a really quick video. Now we're ready to drag and drop our guy into our final scene, so we will be doing that in the upcoming video. 9. 008 Drag and Place Bear: Alright, guys, we're here. We're ready to drag our bear on to our sky image because this guy image is gonna be our background. We did all of this work here on this layer, and I know this seems little tedious going through all these little steps. Trust me, once you get the hang of this cutting spare out and doing all this stuff will take you, like, five or 10 minutes, you know, But I really just wanted to unpack it for maybe those people who are new to Photoshopped completely, and they just they don't know about masking and all of that other stuff. So, um, we prepped our bare and so all of those changes that we've done, it's still here. So all of that background information, right? If we come over here to our layer mask and we hold, you know, alter option, we click. You can see like, Okay, we were fined the edge up there, some of the hair popped. You can see some of the spots where we kind of hit it, you know, hit the green. Um, so all of that information is still there. So just so I'm going to hit all the option and click off my layer mask and see my bear. So now what? We're going to dio as want to come over here to the selection tool. That's this guy right here. And if you have the newest version of photo shop, it actually gives you a description of what all the tools are. In case you have a question. But if you were having older version of photo shop, it's this guy right here. It's a little cross looking selection tool. So I'm gonna select that, and that allows me to grab my bare here. Okay, so I'm gonna move my cursor over my bare and click, and you can see that I just be able to drag him around. So all of that information, all that masking and everything we've done, it's still being retained on our bare layer here. Um, but now we are. Now, we can take this guy and, you know, just, um, drag him to another layer. So there's a couple ways you can do that. You can make a selection like this, you know, and hit control C, which copies the layer. And then you could come over the new layer and hit control V. Um, you know, there's there's a couple different ways you can do it, but I'm just like to do it the easy way the quick way. So I'm just gonna hit my little selection tool here. I'm gonna mouse over my bare, and then I'm gonna hold my left mouse and that Dragsholm, right? So now, as I'm dragging photo shop is super intuitive and super smart, and it's gonna keep all of our changes that we made. And I'm just gonna come up here and I'm just gonna mouse over my tutorial sky image and you'll see that that image pops up and I'm still holding down my left mouths. Okay, I'm still holding it down. Uh, and then I'm gonna move my mouse, this center of my image here, and I'm gonna let go of my left mouse. Click. OK, so if you did that wrong, I'm just gonna go ahead and undo this. All right? So come back here, mouse over the bear, click and hold down the left mouse button, and that will allow you to drag it. Keep holding the mouse down as you come over here and drag onto this image. You're still holding the mouse button down. Still holding, Still holding. And I wanna go center of our image and wanna let go. And then that places our image with all of our hair and our mask and everything right onto our background. So, um, pretty cool right now, I selected the spare specifically because he was standing on a log, okay? And you see how his feet are kind of arched right here. I did that for a reason because I knew that he was going to be standing on some clouds, puffy clouds, and I just wanted to, you know, make it look a little bit more natural. So the whole reason I selected this bear was because of this puffy clouds right here. So what I'm gonna do is I'm gonna mouse over him again with my selection tool active, and then I'm gonna click, and I'm going to drag. I'm going to drag him down right here. Something like this. So you kind of see how, like see how there's kind of like that poof of smoke right here. And then there's this other one and kind of curves up. I think I'm gonna kind of just, like play some kind of something like that. Because what I want, I want to look like he's kind of quasi I standing on the cloud here Now, obviously, it doesn't look like he's standing. It still looks like he's floating in the air, and we're gonna go ahead and address that in the next video. But, um, in this video, we went ahead. We selected are bare. We dragged him to the new the new image. So that tutorial sky image. And as you can see over here in the layers panel, we now have our background image. Right, which is the sky. And then we have our layer. They're polar bear. Copy on top. Right. So if I click that on and off, it is now a new layer on this image. So, um, we're good to go, and I will see you in the next video. 10. 009 Masking the Clouds: All right. Friends were here. We have our bear. We have emplaced on our sky background. We've positioned them over our little hump here on the cloud. Now, what we want to do, um, is we want to go ahead and hide his feet a little bit more. We want to kind of blend them into the background. Now, there's a couple ways you could do that. You could go ahead and just, you know, take your bear mask that we've created. And you could just kind of paint away some of that, But I don't want to do that cause I still want to have his feet visible, but I just want them that look like they're behind clouds. Right. So how are we gonna do that? Because I know you're thinking, Chris, I have no idea how to paint clouds. I You know how my gonna make it look like his feet or behind clouds. Well, I have an answer for you. Lucky you. So what? We're gonna go ahead and do as we go ahead and come up here and we're gonna get the lasso tool, which is this guy right here. If you don't see it, just hold the button down and there will be three selection tools available, and you're gonna go ahead and click the lasso tool. Okay, The lasso tools, the selection tool. It's a It's a free form selection tool. Right. So if I just draw circles, it basically makes a selection a selection. But instead of, you know, a selection based on contrast, like the quick selection tool, it just works. It just selects whatever I wanted to write. However I draw it select. So what we're gonna go ahead and do is, uh oh, I'm gonna go ahead and de select that actually be hit command or control, De. So there's absolutely no selections active that I'm gonna come over here to our background layer, right? And our background layer is the sky, and we want to go ahead and cut out part of the sky and make a new layer, and then we're gonna move that on top of our bear. Okay, so we're not gonna do anything to this layer. We're not gonna delete it. We're not gonna do anything. That's the background layer. We don't want to change anything. But what we do want to do you want to make sure we get the selection tool and then right down here around his feet, we're gonna just draw a circle and you want to make sure we're on the background layer, OK? Because we're gonna be so we want to select a chunk of clouds. So I'm gonna go like this. I'm just gonna kind of draw something like this right around his feet. Okay, so I've made a selection around his feet, and what that's going to do is that's going to select part of the this background layer, the these clouds, and then we're gonna cut him out, and we're gonna place him in front of his feet that kind of hide his feet and kind of make him look like his feet are in the clouds. And it's kind of like smoky and stuff, Okay, But we don't want to actually edit this background. So when you have a selection made like this with the selection tool, if you just go ahead and hit commanding Control J, it's gonna go ahead and create a brand new layer with this area that you've selected on its own layer. Okay, so we have our selection. It's on the background layer, and I'm gonna go ahead and hit command and control J. Now, what you can do is you can see that over here it's de selected our selection, which is okay, and it's put our selection on a brand new layer over here. So I've actually go ahead and turn the bear off. And I turned the background layer off. You can see that it made a selection of clouds. OK, so I want to go ahead and turn the background layer back on, and I'm gonna go ahead and turn are barely or back on. And then I want to come down here and I wanna make sure a little selection tool is active, right? We learned about the selection tool and we're moving around the bear. And I want to come over here and I want to select layer one, and I'm gonna type, um, clouds around feet. Okay. Just so I kind of know what they are for future. So I remember I did that just by clicking on the tax and typing when I wanted to name them . And then this little gray bar indicates that it's highlighted, so I know that the clouds around the feet layer is active. I've got my selection tool active. And then what I'm gonna do is I'm gonna come over to the layers panel. I'm gonna click, and I'm gonna drag this above the bear, okay? And you can see there's a little bar that indicates when you're above the bear. It's a little gray bar that appears like you could move it down here. You could move it up, but we're gonna go ahead and drag it above the bear layer. Okay, So you see what happened is now the clouds around the feet layer is above the bear layer. And if you come over here and you see the bear, he is now behind that layer. So it's a great way to kind of think of the layers panel is like, Do you remember when you were you look younger and you had, like, you know, Ah, you were maybe working on a paper project or something, and you would like stack different papers of layers to kind of create cool things like That's exactly how the layers panel works. The background is the furthest, most layer right, and above that is the bear layer, and then we have our cloud layer. So the bear is actually in between the foreground layer, the layer that's closest to me and between the background layer, which is the layer furthest from me. So, um, pretty cool, right? It's so it's pretty cool that once you can stack layers and stuff and do some really cool things and it basically stacks exactly like paper would you know, the background layers, the furthest layer, and then the one on the top is the one closest to you. So what, we're gonna go ahead and do now is we're gonna take this cloud. Um, Layer and I want to go ahead and make it look a little bit more natural and have his legs kind of shine through a little bit. So I'm actually come over here. I'm gonna create a layer mask on this layer because we want to work non destructively. So I'm gonna have this layer highlighted, and I'm gonna come down here and hit the mask button. Right. So now ah, we have a mask. And then what we're gonna do is we're gonna come over here and because the mask is white, right? now, huh? Which basically remains. That means that everything on the layer is visible, right? We want everything on the layer to be visible, but then we want to hide parts of the mass. So white reveals and black conceals. So if we want to conceal part of this layer toe, have his feet show through, What do we want to do? We want to paint with black. Right? So we're gonna come over here to the brush touring to make sure that this color is black. And if it's some other color, you can always hit d on your keyboard and that resets the colors. And then you can hit X to switch back and forth between black and right. Um, so we're gonna go ahead and hit D to reset our colors, and then we're gonna go ahead and hit X the paint with black. Okay, um, but if I do that, if I come up here and I'm out of opacity 100% and flow 100% you can see it's going to be a little too a little too intense, right? Just gonna be a little little too intense, So I'm gonna go ahead and hit control or command Z to undo that. And what I want to do is I'm gonna turn the opacity on this guy down to, like, I don't know, like, 40 and I'm gonna turn the flow down as well. Probably somewhere around 40 as well. And then what I'm gonna do is I'm gonna increase my brush size by hitting the right bracket a little bit. Um, or you can come up here and change your breast size up here. Okay. And then I'm just gonna I'm just gonna gradually start clicking. And you kind of see how his feet is because we're because we're at 50% opacity and 50% flow . I kind of see, I'm as I click. I'm getting a little bit of his feet, but they're still part of the cloud visible right, which is kind of what I want. I kind of want some of it like that. That might have been too much. I kind of wanted his foot back foot that looked like it's behind the cloud. Maybe make this front one look a little bit more prominent. Click a few times, I'm gonna go ahead and click one or two more times over here. So you see, what we've done is we've copied a part of the background cloud, right? We made it its own new layer. We dragged it above the bear, and then we created a layer mask so we could destructively kind of paint areas away so that if we screwed up, we could always come back over here and we could delete the layer mask, right? You could just right click and say, Delete layer mask and it would go away and you could start over. You can hold the shift key and click right, And that shows you the changes that you've done right? So because when you're working on a master working non destructively so remember before how is like working destructively on his feet? Well, that's because I knew that it was going to be behind the clouds and it wouldn't be that big of a deal. So, um, that was the only exception to working destructively. There will be times when it makes sense to work destructively, but most the time we want to work on layers. So, um, so if you wanted a little bit more of his foot to show through you could turn the opacity, you know, back up and the flow back up. But I'm kind of happy with this, But what I want to do is I want to get rid of this hard, hard edge right here. So for that, I'm actually gonna go ahead and turn the opacity up a little bit and then the flow up a little bit as well. So I can chunk a little bit more of that hard line away, right? See, And is I'm just kind of clicking, clicking just along the top here just to get rid of that hard line. Okay, like so. And you see how you see how it kind of blended there. Now, I'm really liking the look of this, but I feel like that's kind of too hard of a line. So what I'm gonna dio is I'm gonna go ahead and I'm just gonna boost my brush up a little bit. And I'm gonna just gonna Well, um, it that was a little maybe a little too much. I'm gonna turn my opacity down my flow down. I'm just gonna kind of click like that and I'm gonna do one more right over his right arm here, like so. And I'm okay with that. I think I'm okay with that. I'm gonna kind of clean up this little edge over here. So now it looks like Oh, hey, it's it's in the clouds. It's kind of cloudy. I think I'm gonna do one more click. Like so maybe one more. Yeah, I like that. I like that. So what have we done? We've, you know, we've painted out the areas that we don't want to see on the cloud layer to reveal his, um, his feet. But in the event, let's say I screwed up. I'm painting with black. I could just all go ahead and hit X, go back toe white, and then I could paint it all back right if I messed up. I don't want to do that. So I'm gonna hit control Z. But we went ahead and we just copied part of that cloud in front of him so that it looks like now his now it looks kind of like he's standing in his clouds with, like, his one right arm up, kind of on a cloud. And that's that's kind of the look. I'm going for in this? Ah, this tutorial and this part of the image. So, uh, I like it. I dig it. And that's it for this video. I will see you in the next video. 11. 010 Painting the Bear: our guys. We have our bare place. We've got our clouds in front of his feet. I'm happy with that. Now. What I want to go ahead and do is I want to go ahead. And before we add some lighting effects and some coloring and toning and stuff like that, I want to go ahead and give this whole image as it is right now, a subtle, like, kind of painted look, Okay, just to kind of like, soften it up, maybe make it look a little more heavenly. So here's how you do that. We are going to go over here, Teoh the layers panel, and we're gonna go ahead and create a stamp. A stamp image, Okay. And when you create a stamp image, basically what that does is it takes all of the images all the layers that are visible and it merges them all on toe. One layer. Okay, so right now we have our image and it's broken up into a bunch of different layers. When we create a stamp layer, it's going to take all those merger mental one and put it as the very top most layer. So how you do that is you come over the layers panel, click on the top, most layer. And if you're on a Mac, you go ahead and hit. Ah, command option shift e. Or if you're on a PC, you hit control Ault, shift a okay. And what that does is you can see if I come over here to my layers panel. It created this other layer that has all of my elements in one. So if I come down here and I turn off all of these layers below it, you can see that also, like, Here's the clouds. Here's the bear. Here's the clouds. But I've merged them all on the one layer, right? And it's all on the same layer. And the reason I want to do that is because I want to give this entire visible area right now kind of a painted look. And we're gonna do that with a filter. So I'm just gonna uncheck all these eyeballs for my other layers cause they're still there . If I ever screw up, I can just go back and start over. But I'm gonna unchecked them for now. And I'm just gonna work on this top layer. Okay, then what we're gonna do to give it that kind of like like, heavenly painted. Look, I am going to, uh, come over here to filter, and then we're gonna go to style eyes, and then we're gonna go to oil paint, OK? And then oil paint brings up this little menu here, this little you know, panel and, uh, with the panel on. See, you can see it. See what it did to my image already. Like, if I unclip preview, see, there's before and there's after. So it takes a little while the ping upon how big your images. It might take a little while for that worked surrender, but see how it gave that kind of like a soft kind of fluffy painted look. So for this particular image, I've worked out that thes air kind of like the settings that I want. So if you've copied all of my images directly and you've downloaded them and you've been following along exactly, you can go ahead and just use these exact settings. You wanna make sure lightings off because if you turn lighting on, it gives it this weird kind of like, uh, well, you just you'll see here in the second it renders. See, it gives it this weird kind of texture look which might in another and some other version. Like if some other piece of art that you're working on might be exactly what you want. But for us, we don't want that light that kind of create those shadows. So we're going to leave that off, okay? And then we're just gonna leave style stylization at 6.4, cleanliness at 2.6. Scale at 2.4 and bristle at 1.6. And if you want to play around like, look what happens if I If I go from 6.42 10 you'll see what happens here soon as it renders right when you're doing this stuff, it will. Even with a moderately fast PC, it will take a little bit to render um, on your on your computer. So you see that it really kind of exaggerated the effect. Um, but I'm gonna come back down here too. Um, where we at? 6.2. Okay. So 6.2. And that has created our top kind of, like, painted heavenly looking layer, if you will. And so I'm all good with this, and I'm gonna go ahead and hit. OK, so this was our top layer. And now I'm gonna come back over here, and I'm gonna turn on all our other layers. Right. So this is our top layer. That's before that's after so very subtle. But it gives it, like, a real soft kind of painted look. But what I want to do is it also, like, softened up the nose and the eyes and the ears, and I don't want to do that. I wanna I want those parts of his image to be sharp, like the original one. So I'm gonna go ahead, and what am I gonna do? I'm going create a mask. Right. So I'm gonna zoom in by giving the zoom tool. Little eyedropper are the I magnifying glass thing over here. I'm gonna zoom in on his head, like So this is what our image looks like right now. And I want to get rid of saw this, like, painted stuff around his face. That looks great for for, um but it's not what I It's not the look I want to go for. For around his eyes. So I'm gonna create a new layer by clicking on the layer mask so all of the effect is visible on this image. And then if I come over here to my make sure black is my color, I'm gonna select the paint brush, right? And I'm gonna move it over his head, and then I'm just gonna use my left and right brackets to select the size I want. And so if I hit ah Black, what does black do? It conceals, right. So it's gonna remove this effect, and it's going to reveal whatever is below it. So in this case, we have just the normal bear below it. So I'm gonna come up here, I'm gonna turn the opacity down and turn the flow down and then I'm just gonna click around his eye, See how it kind of reveals the bear, the bear. I I'm going to click on his nose. I'm going to click on his mouth here because I want that all to be original. I'm gonna kind of click. I don't like these little swirlies on his head, so I'm gonna kind of click that off like so kind of subtly paint around it and then I'm going to do his ear like I want to hear to be kind of well defined, so like that. So zoom back out. You can do that by double clipping, double clicking on the zoom that takes it to 100%. Or if you want to zoom all the way out, you can just right click and click fit on screen when you have the magnifying glass available. Right, So as you can see before after before after. So we really softened up all those hairs see before when all those hairs that we'd like retrieved and kind of, you know, we spent all that time kind of like refining the edge, which is not like, Well, is it really worth it? But now, when we put on the effect, see, now those hairs air really visible and I don't know, I just kind of like the little extra touch that that gives So yeah, that's ah, that's it for giving our whole image kind of like a on oil soft, subtle oil look. And I will see you in the next video 12. 011 Adding a Light Source: already in this video, we're gonna go ahead and add a little bit of light. Right? So my bears kind of white here, and, um, if you look at these clouds, you can see that the highlights are on the left side, and there's already some, like, sun streaks in the image. We're gonna add more. Ah, in the next video. But in this video, I'm gonna go ahead and add, like, a light source up here. So, uh, how I'm going to do that is going to come over to my layers panel and we'll go ahead and click and create a new layer by hitting the little paper icon. And then I'm gonna come up here and I'm gonna I'm gonna click like see how he's got some, like yellow and white and his Ah, and it's for here s so I'm gonna use those colors, I'm gonna use whites, and then I'm gonna get our brush. And when I turned the opacity all the way up and the flew all the way up and then I'm gonna increase my brush size cause I'm gonna kind of make it son size, right. I'm gonna go ahead and make it about this big I'm gonna paint like, right in the middle of my image. Okay, so that's actually a little softer than I wanted to be. So I'm gonna come up here and I'm gonna turn the hardness up a little bit. So come back here gonna paint in the middle again and no gonna come back and turned my heart this back down. I wanted to be thick, but I wanted to be kind of gluey, something like that. When actually increase the size, though. So I'm gonna go like this. Okay, so that is going to be our sons source. Now, um, this obviously is not gonna be where it's going to live. But this is where it's I want to live it live right here so I can show you some cool blending modes. Now, we haven't talked about blending mode yet and are Totori all but in blending? Moods are super cool, super important, and something you really need to learn Photoshopped. So right now we have our layer. And then for um, and the layers panel, there's a little section up here that you can drop down and there's blending modes, and depending upon your blending mode here. You can see, um, that this does different things, right? So as I'm selecting different modes, it's I mean, it's a white, so it's not going to do too much, But you can see that seem like Halley's like gray and stuff now cause he's saturated and then color. So just let me explain. Blending modes real quick, blending modes take your layer and then they adjust the layer look and feel based on the colors that are within that layer. So if we click here in the blending modes, this first section right here, this section effects whites are eight the whites of your image. Um, this section right here effects the darks of your image. And then this section right here affects the grays and mid tones of your image, and then everything else, um, just affect your image based on the color that you use. Okay, so what I want to do is I'm gonna go ahead and turn this blending mode down to linear burn . No, that's not the one I want. Linear Dodge. Okay. And so what that's going to do is that's going to you can't really see that much of a difference, but it's gonna allow for some of the background color. STIs be visible. It's gonna be up in the sky, so it doesn't make that much of a difference. But just know that it is making a difference. So we're gonna go ahead and drag that up here, and we're gonna put it in the sky, like, right here, okay? And it's still a little strong. So what I'm gonna do is I'm gonna come up here. I'm gonna, uh, just like brushes have opacity and pressure layers have opacity and fill, which kind of do the same thing, right? So I'm going to do the one attorney opacity on that son down just a little bit. Like so Okay? And then he's got some yellow in his for two. So I'm gonna go ahead and just click a nice yellow color, and then we hit my brush again, and I'm gonna come up here and create a second layer that's gonna go right on top of it. But I'm gonna make this one smaller, Okay? Like that. And I'm gonna drag that over my son like so. But see how it looks really yellow. So this would be a perfect situation. We're gonna come up here and we're gonna play with a couple of these blend modes just to see So see how softly it's like still yellow. But they're still like the white halo night, by the way. 99% of time. The four blend modes you're gonna use are soft, light, overlay screen and multiply everything else. There's a time and a place for them But 99% of time when you softly overlay, screen and multiply, multiply affects the whites screen Affleck affects the darks and or the blacks and in soft light on overlay affect the grays and mid tones. Okay, so I've moved my yellow over my whites and I'm just gonna turn the capacity down. Actually, no, I'm just gonna leave it up softly. It this fine. Right? So what I'm gonna actually do is I go ahead and select layer three and layer to here by mousing over that and then holding shift and selecting three and two. Okay. And then I'm gonna hit command and control G. And that's gonna group them. It's gonna put them in a group. And I'm just gonna type son. Okay? So what I've done is I've grouped the layers into a folder. Ah, and then because when you put them in a folder, then you can adjust the entire folder. You could put a mask on the folder. You can turn the folder on and off, right? Like so, Or you can adjust capacity. So I think I'm just gonna I just the opacity just attack. But I don't think I wanted to be direct sun, do I? No, I just want, like, a subtle light source right there. Okay, so that's pretty much it for that. We just real quickly put a subtle light source and are seen here. And in the next video, we're gonna add some additional son race, so stay tuned for that. 13. 012 Adding Sun Rays: all right. In this video, we're gonna add some sun rays. Now, there's already a few sun rays here, but we really wanna We want a dalit up a notch. Make this look kind of like heavenly. I mean, despairs floating in the sky. We really we really kind of wanted dial this up pretty good, right? So here's what we're gonna dio is, um we are going to go, uh, over here to layer. And when you click on new feel layer because what that's gonna do that's gonna fill the entire image with a layer, and we're gonna click on Grady Int, okay? And then we're just going to type. Ah, What? We're gonna type type sun rays. Now, there's a few of their options in here. Uh, they're not important right now, but if you have a moment sometime after this course, just go in here and you can play around with easy to get some really cool effects. But we're just gonna type sun rays and hit. OK, so now what that does is brought up the Grady in field dialog box, right? And so what this does is it feels your entire image with ingredient Now there's a couple different options. You can do here like you can hit reverse rate, and it reverses the great aunt. Ah, you can change how the Grady it looks right. Reflected Diamond linear. Um, And if you kind of move your mouse off of this and you click and hold, you can move the great aunt, uh, around the image, which is pretty cool, right? Eso What we're gonna do is we want to create sun rays. We want to create kind of like a circular type pattern. And to do that one go ahead and click angle. Okay. And that creates this weird kind of, like, really harsh. Um well, angle basically. Hence the name on. Don't worry, it's it's gonna look way better than this, and we're gonna fix it because what we're gonna dio were actually in coming here is if you just double click on where, uh, see, where says great. If you double click in here, it actually brings up the Grady int editor. Right. Um and then you can kind of click around and you can see all this cool stuff that you can do. Ray. Now, uh, since we're going to be making it some light and sun rays, and we're gonna be removing the color. It doesn't really matter which one you pick. OK, um, it really doesn't matter. So, you know, you could pick any of them. You could pick this rainbow one. Whatever. It doesn't really matter which one you pick up here, but then we're gonna come down here and see where it says Grady and type. We're gonna go ahead and change that to noise. Okay? Now, um, it's created this kind of cool star pattern right now. I'm gonna hit, Okay, we're gonna come back to this screen, but I'm just gonna hit okay, real quick so you can see what's going on. So now that we have this layer filled with color now if we come up here to blending modes, you can click on, multiply and see like ooh, kind of creates this dark kind of look you can go to screen Kind of creates more of this, like, heavenly kind of. Look, um, I'm gonna overlay in soft light, you know, kind of blends it a little more subtly, so I'm just gonna go ahead and leave it on soft light, right? now Because I want to go back into their to my little panels box for my grade. Ian and I want to change it up so I can see it on the image. Okay, so now that I've changed the mod soft light, I wanna double click back on this little green box, and that brings my great aunt tool back up. And then I'm gonna double click on the Grady and box again. Okay, So now if you remember, like, if when we were talking earlier about how black conceals and white reveals, Well, maybe you want this colored. Maybe you want colored rays coming from the sky. That's cool. But that's not the look that I want. Okay, So if you just wanted color raise, you could totally just hit. OK, come over here. And you could, like, move this up into the corner, you see? And then, like, oh, now you almost didn't have this like green sunlight. Green rays coming down in your image. That's not the look that I want, So I'm gonna movement back over here. I'm gonna come into great aunt and then right down here where we've selected noise and then where it says color mode. RGB stands for red, green, blue and I want to change it to H S B, which is hue saturation blacks. I believe it will be stands for blacks. Okay. And then what I'm gonna do is I'm gonna turn the saturation all the way down, okay? Because what I want is I want see, And you can see in my little color band here That's just black and white. Great. So if you look at my image here, the bands of black are what their hidden because black conceals and white reveals. Right? So my white bands here are visible, so that looks kind of ugly. But what I can do is I can come over here and hit randomize, right? And then it's gonna randomize my pattern. And I'm just gonna kind of click around till I kind of find one that I like hips. That's not what I wanted. Go back down here. Noise change back to HSB de saturate. And then when you randomize There we go. Um and I kind of like this one. Let me just keep randomize ing here, see what I can get. Okay? Yeah, I think I like this one. It's gotten rid of the darks. I want my seem to be kind of more heavenly. So yeah, I'm gonna I'm gonna roll with this one, okay? So I'm gonna go ahead and hit, OK? And I'm not gonna hit okay again yet, cause I want to move this. I don't want this hard point here. Like in my image. It looks kind of dumb. But what I do want to do is I want to move that hard point up here into the sun and, you know, now, now that I've done that, um so those razor pretty intends Let me do this. Let's go ahead and hit, OK? And let's turn the opacity down and see if that fixes anything. It doesn't really give the look I want. So I think what I'm gonna do is I'm gonna double click back on the Grady. It feel over here, come back in here, double click that I think I'm gonna randomize a few more times just to get a more softer look. I think I would do this. OK, that's a little softer. And then I'm gonna go ahead and hit, OK, Ok, so now we have these. Ah, rays of light. Kind of popping out on our image here. Pretty cool. Yeah. Ah, And then what I'm gonna do actually lets you overlay. It's kind of intense. Turn the opacity down on that. I don't know. Maybe you like that. That's kind of cool. It just depends on what seemed kind of senior going for. I think I'm the rules softly and I think I'm just gonna turn the opacity down a little bit . Yeah, Yeah. I think that's how I'm gonna roll. I'm going to stick with that. So, um, what have we done? We've gone. We've added a new Phil Layer. Grady in. We typed in the name we Ah, we clicked on the layer. We changed it to HSB. We reduced the saturation down, which is the middle slider. And then we hit randomize until we found the cool kind of, like sunlight, radiant beams that we're looking for. Then we come over here, and then we turned it down the opacity. So that's it for this video. And I will see you in the next video 14. 012 Effects in Camera Raw: already friends were getting close to ah, kind of finishing up our image here. Ah, I'm going to show you how to kind of put some finishing touches on it using camera wa. And then I'm just going to show you a few different ways that you can color your image, and then we're pretty much gonna be done. So, um, we've we've put our bear in the scene. We've added some sun and some light, and now we really kind of want to add, like, I don't know, like, some color cast to. It kind of sharpened things up and just add a little bit of love to it. So, um, there's a lot of ways you can do that. Some people use filters, other people use, um, Grady ants and adjustment layers. And I'm gonna touch on that and enough coming video. But for this video, I'm gonna go ahead, and I'm just going to assume that you just have photo shop and you don't have any special filters or tools or anything like that. You just have the bare bones Photoshopped, and we're gonna go ahead and use a tool called camera raw. It's pretty awesome. But to use camera raw. We have to go ahead and create an image stamps. So like we did before, we need to click on the top. Most layer of our, um our layers panel. We need to go ahead and hit command option shift E to create a new layer stamp. OK, because camera raw, just like it sounds, is meant to edit camera raw files. So it's meant to edit photographs, so it needs to be one entire image. If you do camera raw on just a single layer, it will Onley effect that layer. And sometimes that may be what you want. So maybe you only wanted to add, like a camera raw effect on the bear. Then you could've selected just the bare layer and do that, but I want to add a camera raw effect to the whole image. So I need to go ahead and create a stamp layer again. That was command option shift E or Control Ault, shift E on a PC. Okay. And now we have our layer for selected, which is up here, and then I'm gonna come up to filter and we're gonna go to camera raw filter, OK and if you're a photographer. Oh, have done photography things like exposure. Contrast highlights shadows, whites, clarity, Vibrance. Ah, lot of these tools are similar to what you would get in, like light room, you know, for people who edit photos but photo shop imported it as part of photo shop. And it's awesome because then you can take the same effects and add it to your image, and it doesn't necessarily have to be, um, you know, just a photograph taken. Do it to any piece of art as long as it's on. Ah, single layer. So I'm not gonna go over every single thing in camera raw. It's a pretty extensive tool, but I'm just going to show you some of the things that we're going to dio just to add some effects. So if we come over here, um, you can adjust the exposure, right? You can turn it up or you can turn it down, and I'm actually just gonna bump it up a little bit. I kind of want to give it like a more heavenly look like so we can increase the contrast a little bit. You could turn the contrast down if you want to dole it out. Um, so I'm just gonna bump the contrast like to I'm gonna leave highlights alone. I'm gonna kind of bring the shadows. Actually, no, That kind of brings my sky down Leave my shadows alone More whites gonna leave, pump up a little bit Blacks I'm gonna bring down a little And then clarity it's gonna add justice much And I don't wanna go too far because then it kind of eliminates, See, gives it this weird kind of look And maybe that's the look you're going for But I just want to do like a subtle I saw a little kind of clarity and vibrance vibrance If you turn all the way up, it's like, Whoa, holy color. You turn all the way down. It's kind of gray, so I kind of like toe kick the vibrance down a little that kind of flat out the colors, like, so you can adjust the saturation. I usually don't touch that so you could have it as black and white. Um, so I'm just gonna just a couple of sliders. And really, this is this part is just kind of to taste, you know, um, you do whatever you think looks good. You know, if you come up here to exposure and you want to be, like, heavenly and white, kind of like blown out, you could totally have that look. But I am just going to go just a little subtle. And then I want to give it like a slight color cast. So up here in temperature, if you move left, it goes blue. If you move right, it goes yellow, all right. And I want to give it kind of like a heavenly light. So right, if I go to the middle right here, it's kind of, you know, he's got some yellow in this for but there's not a lot of yellow anywhere else. So if I just warm up the whole scene, you know, kind of like that, then you can see it's like, Oh, well, here's the sunlight. His first kind of yellow. Now there's some, like yellow tent and in the clouds. I'm kind of digging that. So, um, then I'm gonna come over here. Ah, I don't want to sharpen it right now, and you can adjust other things, right? Like you could adjust all of these things. You can play around, but I think I'm just gonna come over to distortion. No, just kidding. Not distortion effects. I'm gonna de hes my image a little bit going to kind of soften it with little bit more. Give it just a little bit more of ah, heavenly kind of look like so And then I'm gonna come down here to post crop and yet ing And if you turn it all the way up, it turns white Turn it all the way down, it turns black. So I'm just going to do kind of like a subtle settle vignette in the corners here, like so, Yeah, I'm good with that. So you see what we've done. I'm gonna go ahead and hit, OK? And now you can see that this is our image. Now, if I click it off, that was the before, and that's the after before, after And now, like, even if you think like, oh, maybe this was a little too much or like oh, I did. I overdid it a little bit. You could come over here and turn the opacity down just a smidge and let the that background image kind of pop through It's really kind of up to you, you know? So that's it for this video. And in the next video, I'm gonna go ahead and show you how you can kind of, you know, color your image. 15. 013 Dode and Burn: Hey, guys, Chris here. And, um, our image is just about done. And I know it was going to say I know I told you, is like, Hey, we're gonna jump into coloring. But I wanted Teoh touch real quickly on a concept called Dodge and Burn because as I was looking at my image here, I just wanted I wanted darken up some of in this area on his head and his for and, um, I want to do that non destructively. So there's a great way to do that called Dodge and Burn. Okay, so just real quick, this a little deviation from our coloration. This is totally not necessary. But I want to equip you guys to really, really kind of have, like, the tools and the baseline skill set that kind of go out there and, like, go find your own images, cut and paste. Um, you know, make your own photo manipulations, make your own digital art and dodge and burn this definitely an important one. There's a couple ways to do dodge and burn, but this is how I'm going to show you how to do dodge and burn so it wouldn't come over here to our top layer and want to create a new later. Okay, Then we're gonna feel that layer completely with 50%. Great. Now you can go up here and go toe layer, and then you can do a new Phil layer with a solid color. Or you can just on Mac or PC just hit shift. Um, backspace. Okay, it shift back space and this little field down log box is gonna come up, and it's gonna give you the ability to feel with a black feel with 50% gray or fill with white. Now, why do we have these three options? Right? Because depending on how you use these three options could be, ah, relative to how you use blending modes. Remember earlier when I said blending modes affect whites black and gray differently? Well, that's why you want to use one of these three colors. And for dodge and burn, we want to use 50% gray. Okay, When go ahead and hit. OK, so now what happens is that it feels this layer with 50% gray, you can't really see what's going on. But then over here on the left, there's these little tools called the Dodge Tool and the burn tool. Okay, Dodge, um, lightens your image up so it lightens your area, right? Kind of cool. And if you come over here and click dodge or excuse me, burn, burn darkens areas of your image. Right? So you can darken. Or if you switch over here, you can click. Lighten, right. Pretty cool. And if you're on one of these tools, you can immediately switch to the other tool by holding halt. Right. So I'm holding All right now letting go painting, holding Ault painting. And if it was reversed, then I could be painting Hold Ault, lighten so on and so forth. Right? So I'm just gonna undo all this by hitting. Ah, command option Z or control all dizzy, which will allow you to undo and said just hitting control Z which will fix something once you hit control All dizzy or command options e multiple times and it'll undo you for multiple layers. And so what's what good does that do? Well, if we come over here to blending modes, remember how I said this section effects all whites, this sex and effects darks or blacks and this section effects graze well, if we come over here and click softly, it makes that gray layer disappear right? Like it's there. I'm clicking it on and off, but you can't see it Pretty cool, right? So what we can do now is we can Now we can now dodge and burn our bear here non destructively. OK? Because if I just turn this layer off layer five and I come back down here to this layer, I can still dodge and burn on him. But then I'm working destructively. And if I screw up, it's going to be a real pain in the butt to fix, right? So I don't want a dodge and burn on my actual image. I always want to try to work non destructively when possible. So I'm gonna create a new layer filled with 50% gray. Change the blend mode to softly because this section right here affects graze in mid tones . It pretty much makes them invisible. Okay. And then I want to come over here and I'm gonna get the burn tool. And then I'm just gonna darken up parts of my image here, right? And up here. You can You can select shadows, mid tones and highlights. I usually always just lived on mid tones, and you can change the exposure. You can turn it way up. See, now it's really dark, or you can turn it down. I usually start. I usually like Dodge and burn around 10 to 30%. Okay, so I'm just burning right now. It's kind of darkening up some of these parts that I want dark. And I want I want his mains to be a little bit dark here. So I'm just darkening that up dark, ing up some of his leg action here, like so And, um And then I'm gonna come over here. I'm gonna burn. So I'm gonna highlight some areas when highlight is, knows a little bit, highlights some of his mange. Now, if we come back over here and we change the blend mode back to normal, you can see what we've done, right? The areas that we've darkened on the image, um, our we've burned and then the areas that we've lightened, we've dodged right. And the reason we want to do that is because it gives us full control over someone. Come back over here and change softly Change. It's soft like that gives us full control of our image so we can turn that off and turn on . Turn off. We can turn it on. We can now, you know, adjust capacity. We can create a layer mask. If we wanted, we could do so many things. Um, and we can do it non destructively. And if we changed our mind like, oh, we could just turn it off, as opposed to if we painted directly on the images like, Oh, well, now I'm screwed. Now I've got to go back and redo like, 20 layers because I ruined my Amit. Right, So whenever possible, work non destructively and dodge and burn is a really great way to kind of just make an image Pop, You know, you get really dark in the highlights and really height, not whiten the highlights on on an image on this. It doesn't do a whole lot. But, man, you do this on, like, a person's face or something, and it's really good is going to make them, like, pop out of the screen, give them a lot of death. So, um, I'm gonna rename this layer right now. dodge and burn. So that's a real quick lesson, and dodge and burn. I'm not gonna go into all the intricacies of it. But just know that dodge and burn allows you to darken areas and lighten areas of your image to give your image, character and depth and dodge and burn. When you do it on the 50% great layer turned the softly allows you to do it non destructively. Otherwise, if you turned it off and worked on your actual layer, it would be destructive. And if you screwed up, you can't. If you painted directly on this image you couldn't like, say, turned down the opacity because it turned down the opacity on the entire image. You know, so great way to pop your image. Add some highlights. In contrast, it's called Dodge and Burn Real Simple Tool. I wanted to touch on that real quick before we start coloring. So that's it for this video. See in the next one 16. 015 Adding Snow: Alright, guys, in this video, I'm gonna show you a real quick way to color your images. But before we do that, we have one final touch to to put on our image here. So if we come up here, you should still have your tutorial dash, no image open. If not, go ahead and open that. And so let's go ahead and click on that right now. Okay? So when we click on that, you can see that we have our image here. And the reason that we're gonna add some snow is because I like I like creating like, kind of surreal images in my artwork, Right? Like this is a bear. He's in the clouds, which is, you know, doesn't make sense, but it's kind of cool. And then there's like, this sunlight. But I also kind of wanted to be snowy, even though it can't really snow above the clouds. So this image, technically, is a big conundrum, right? Kind of defies reality, which is kind of what I like. Teoh, you know, kind of put through in my art. I like to kind of great like, you know, reality defying art, if you will. Things that are just kind of cool and interesting to look at. And so for this image, I want to add snow. So we're gonna come up here going to click on our snow image, and then we're gonna come over to the layers panel, drag the background here by just clicking on it and dragging it down to the paper, creating a copy. Okay, We're gonna get our selector tool and then want to come over here, grab it, just like we did the bear. Right? So we're selecting our layer, and then we're gonna come in and drag it up to our image. The image is gonna pop. We're gonna drag our cursor to the middle, and we're gonna let go. Okay, so now this image is over here and are layers panel. It's on tap off all of our other later. It's right. So remember when I told you that black and white is a very important thing and photo shop and it effects every single aspect of every single tool. Pretty much well, just like masking, right? Remember our little saying from asking. White reveals black conceals. So if I wanted this just to show the white parts of the image. What would I dio? Why would come up here to the blending modes and I would remove the black right. But instead of creating a mask and painting their blending modes, you can select a blending mode that removes all of the black, All right. And so the section that removes blacks is the second section right here. So if we come down here and click on screen boom, you see how it removed all of the black in the image and all the white is left pretty cool right now. If I come back here and set this to normal and let's say I wanted to remove all of the white and leave all of the black, what would I select? I would come down here to multiply, right? But that doesn't do a whole lot, right, because, um, multiply. We have dodge and burn on below this, so that doesn't really do a whole lot. But we want to remove the blacks from the image so we'll go ahead and hit screen, and then that creates kind of like the snowy effect, and then I'm just gonna kind of move it real quick like so find some spot that I like a couple of these. Yeah, right here. So, um, so we copied and paste it our image on top on because it's black and white. It gives us a lot of power in terms of the blend mode and the look. So we changed it to screen, cause screen removes all of the black. And so it Rivaldo black and left all the white that was on that image. And now it looks kind of like, you know, some like sun rays, catching the snow or something. It's pretty cool. I dig it, But I don't like this big spot right here and like this one and this one and this one and this one. So what I'm going to do is I'm gonna actually gonna go ahead. And we used the blend mode to remove all the black here. But now we're gonna go ahead and select a a mask, right? And paint out these other areas. So screen, uh, reveals black conceals. So right now, the white is revealing all of the white from the from this image, right? It's revealing all of those. So if we want to conceal part of that. We need to get a black brush up here, and then we need to come over and click on our mask, and we need to make sure that our flow and open capacities turned up, and then we're gonna turn the brush down just a little bit. I'm gonna come paint over these really harsh want, like, spots that I don't want. I want to leave some of them, but I didn't want I didn't want those on my bear. So yeah, just like that. So real quickly, we've put our snow in our layer. We've changed screen mode to remove all of the black, And then we created a layer mask to paint out the snow that we don't want. So, um, that is our final touch. Guys, that is our final image were technically done, right? You could call it good for government work. This is the image like, if we come back here and we look at the No, that's not it. We look at the original image right there, see same thing, but I want to show you how to color your image. So let's do that in the next video 17. 016 Color Using Color Lookup: our guys. Photo shop is all about coloring when you can master coloring and get the vibe and tone, Um, of you know, the image through coloring images and using layers and adjustment layers and all that stuff , you really start to unlock the power of your images. Now, technically, this image is done. Congratulations. You're here. You've made it. You created this image, right? And you've done it in no time flat. And as long as you follow through with these videos and tutorial, um, you should have an image that looks something like this. Congratulations. That's awesome. But what I want to do now is I'm gonna go ahead and I want to give you a few more options. Like you could call this good. You could crop this and just, you know, export it and, you know, be off to the races. But I want to show you how to add some cool coloring effects. So there's a lot of ways you can do this. I mean, there's literally thousands of ways you could do this honestly in funder shop. And that's not an exaggeration. There's probably 1000 ways you could color your image. But most of the ways that you call your image is through adjustment layers. Now, we haven't talked about adjustment layers yet. Um, if you come down here the bottom right hand corner, see? Ah, here's the delete so you can delete a layer. Here is the new layer button. Here's the group layer. So if you wanted to group layers and then here is the mask layer which reviews before. And then here's the adjustment layer, right? It's this little half circle thing. So if you click that inside of here are ah whole bunch of things that you could do to your image and I'm just going to kind of go through a hand full of these I'm not gonna go through all of them because there's literally so many variations and combinations that you can dio. But I'm just gonna go through ah, couple of things that are built right in the photo shop that will really give your image some punch right away. So when you click on one of these adjustment layers and you add an adjustment layer, it's gonna add it immediately to the top of all of your layers. Okay, so I'm gonna click this adjustment layer, and I'm gonna add a color look up. Okay, so by default, you know when you're on instagram or something and you're like adding the lich image effects on top of your images while foot A shop has something like that that's kind of built in, it's called a lot. Ah, look up table, right? So if you come down here, color look up is color Look up table basically, and Photoshopped has kind of these pre built in filters, if you will, so you just go ahead at an adjustment layer. It adds it to the top of your image. And then if you come up here, there's a couple things you can select. But I always just stick to the three D let file, all right. And if you click this, there's a drop down. And now, if you come down here and click on all of these, there's like a bunch of different looks that you can achieve. So there's to strip three strip bleach bypass is way overdone. Candlelight cube crisp, A warm chris winter drops blue. Now now, just remember for some of these ones, like Chris Winter that are really blown out like this and really intense because it is a layer. You can always come over here in adjusting capacity, right? So I'm just gonna turn capacity down to 50 and see how it gets it, like, kind of a cool ice blue, Phil. Well, you could come down here and good, um, edgy. Amber, right? You could go toe full color, you could go to film stock, Foggy night and these air. It's just really at this point when you're coloring your image like I've got you to the end point or if we come over here and we turn this off, this is it. This is the game over. It's like tutorial done. I've I've gotten you to the point where you've, you know, photo manipulated and got us to the original image. But now, when you're coloring, it's really just preference. It's like what you like, you know? So we're using color look up tables. And if you just double click on this icon right here, the properties box comes back up. And you could just try these different things to get ah, like a look. You know, different. Look for what you're tryingto trying to do, and just remember for any one of these things, because it is I like to this kind of crisp winter. Was that it? Bob's blue. I kind of like this drops blue. Honestly. So I'm gonna roll if this drops blue for for this look up table. But just remember, because it is a layer you can literally you can change the opacity, ray, and turn it all the way up. You can change the Phil. You know, you can change the blend modes. So the cool thing is that blend modes they primarily are designed to work with, um, black whites, greys and mid tones. But when you have, ah, layer full of color, you'll get a bunch of different interesting effects so you can come in here. You can add a cool color look up table, and then you can change the blend mode and see Oh, wow, Look at that. Just, like made it really intense and come to screen. That's gonna make it really white. You know, you go toe overlay goto light or color colored dodge. It's a little intense and come down here toe exclusion. No way. Hugh, Um, for this, I'm just gonna roll a soft light, and it literally gives you a 1,000,000 different variations. Right? With just this one adjustment layer, there's all these other things that you can do all these other adjustment layers that you can add to your image. So you added a color look up table, pick one of the cool three D lutz that you like, adjust capacity, maybe change the blending mode. And, bam, you've got a cool look. I'm going to turn this blending mood down a little bit like maybe like, 50 and we're gonna call that good. So that's a real quick way that you can adjust your color using color Look up tables. I'll see you in the next video. 18. 017 Color Using Gradient Maps: All right, guys, in this video, I'm gonna show you how to color using another adjustment layer. So I'm gonna turn off our last one that we did all right? I liked it, but it was, um I'm gonna turn that off when actually delete it. And I'm gonna come back down here to the adjustment layers, and this time we're gonna color using a Grady int map, which is right here. So if you just hit the little adjustment layer, click radiant map and it's gonna pop up on top of our image here. Now, that looks pretty intense rate. But the, um But there's a lot of lot of things you can do here, So I'm gonna go ahead and click this. So on the left side here you have, um, the dark side. And on this side, you have the light side, right? Come to the dockside and eso. What you can do is you can click these different, um, Grady, it maps, and it will affect your image differently. So, like, if I click this, um, blue, orange, yellow one so you can see that the blue here is gonna be in the shadows. The red here is gonna be in the mid tones, and then the yellow is going to be in the highlights, right? So or if you click, green Green is gonna be in the highlights, and there's not a whole And then dark green is gonna be in the shadows, right? And this one, you can just click these different ones, right? So I'm gonna go ahead and click this orange one real quick, and you're like, Whoa, that looks pretty intense. And you're right. It is pretty intense. But what we can do is we can come over here and we can change the blend mode to say screen . Nope. How about softly? Softly. Still pretty intense. So I'm gonna change the opacity, bring that guy down like so see kind of colored it. Using that. Grady a map. I'm gonna change this up a little bit. I'm gonna go blue green. That looks a little intense. Like this purple. Check that out. So we got some purple in the shadows and some yellow in the highlights. That's kind of cool. I dig that. You could change the opacity on that guy a little bit. Change the blend mode. No overlay Yeah, So Hey, there's another look right there. So, um, Grady Mats maps are super powerful, and you should play with them. So if you click on the great map dialog box here, which is this little guy you can hit reverse, and you could see what it looks like in reverse. So that may. So that means now that ah, the yellows will be in the shadows and the purples will be in the highlights. So you can get a different look there, or you can come in here and you can create your own. Right. So these are the preset radiance. You go ahead and click, create new. So it creates this guy right here. And then you can just come down here and let's say you, if you click on this guy DoubleClick, you condone, make it what? Any color you want. So now there's gonna be like these. This is science greenish color and the shadows. And the reds were gonna go. I don't know pink. And then in the highlights were gonna go maybe read like so and hit. OK, now look at that. Now we've totally changed the tone of our image. Um, you can reverse it. And yeah. Radiant maps, guys. Super powerful, super cool tool. Um, Grady it map. Play around with it, Create your own change the colors and change. You know, the blend mode in the opacity, and, you know, you can sit there and play with and to get the color that you really like. So that was color grating using Grady and maps. See the next video. 19. 018 Color Using Solid Color: our guys in this video. I'm gonna show you had a color just using solid colors. So I'm gonna turn off the last color adjustment. We didn't Go ahead, delete that guy. And what you could do is you go ahead and just feel your image with a solid color and then use blend modes just to give it kind of like a cool tent or cast. So let's say I kind of wanted Teoh. Really? I don't know. Add like a blue to this image. I can come down here to the adjustment layers, got a solid color and I'm gonna pick like this Sigh in blue color when I hit. OK, now it's completely full. Ah, on our layer here. But what we can do is we can change the blend mown down and go to multiply that a screen A soft light goto overlay no overlay. A little intense. I like soft light. Check that out. Ah, just real quickly in like two seconds with a quick color fill. I've I've really kind of given it my image like a meant icy cool flavor. Right? So how this really becomes powerful is like, let's say you're working on an advertisement for an agency or or a magazine or a book or an image for somebody you know, based on how they're going to use your image. Is it going to be on a billboard? Is it Could be on a magazine. Is it going to be? You can warm up the image. You can make it cool. You can give it but contrast. And you can do that real simply through adjustment layers. I mean, we just added a simple color change. The blend mode this softly and look gave it like this Cool meant color. So, um, play around with that, you and then just to change the color, you can come up here, double click on the color. Um, that's just kidding. I don't think I can change it after I've added it. Or maybe you can I don't know. Um, just to leave that and then you can come down here just solid color and just pick a different color it okay, softly. Look at that. Now it's all like yellowy eso. It's really just a matter of preference. So, uh, adjustment layer sold color. Great way to color your images. See you in the next video. 20. 019 Color Using Hue Saturation: Alright, guys, In this video, I'm gonna show you how to color using the hue saturation adjustment layer. Go and delete this last one that we did. And then if we come back over here to adjustment layers, are you starting to see how powerful the use of adjustment layers are masking blend modes black and white? I mean those air kind of like If you can master those things, you can create anything you want in a photo shop, right? You learn how powerful black and white is and masking you. Learn how the different blend modes effect, you know, white, black and graze. You learn adjustment layers and you learn masking on. Then you learn how to select and cut things out. And you can literally create anything that your mind can forsee in photo shop. It's so cool, but eso real quickly. Let's go ahead and color this image using ah hue saturation. So the adjustment layers and we're gonna click on hue saturation and there's a lot of cool things you can do. Is sack hue saturation? It's a super Bihar full adjustment layer. Make sure you learn how to use it and go watch some videos like in depth tutorials on how it all right, really master it. But for right now, it just puts ah, hue saturation layer on top. And then you can simply just I just the hue You can adjust the saturation like so you can adjust the lightness. Although I don't usually do that for a coloring. Um, you can cull. Arise it like so adjusted blue pink greens. Maybe Let's roll green this time like this. Minty green. Like so come over here. Maybe doing adjustment layer, See what multiply does. Ah, that's kind of cool. It really brings out the contrast rate cause multiply What is multiplied dio most multiply removes the whites from the image which is gonna leave the dark areas. So that's basically means there's not gonna be a dot bunch of all the dark areas in the image on top off our image. So that darkens up our image. Pretty cool, right? Kind of like that. Let's see what else we got. Color burn. No lighten, no screen. Hell, no. Softly so, yeah, for this one, I kind of, like, multiply kind of cool, right? Maybe if the effects too much, we just turn it down like so. Pretty cool, huh? Just kind of gives it just that little bit of extra edge. So hue, saturation. Ah, really powerful tool. Um, learn how to use it. It applies to so many things, just not coloring. It's a great adjustment layer. So learn how to do that. So that's just a real simple review of Hue saturation, and I will see you in the next video. 21. 020 Color Using Photo Filter: our guys in this video, I'm going to show you how to color using photo filter. So I'm just gonna go ahead, delete tissue such relation layer that we did on the last one. And I'm gonna come down here to adjustment layers and go to photo filter like so and photo filters. Pretty simple. It comes with some pre baked ones, like warm filter, um, read green and see. It just kind of gives it, like, a really subtle, subtle color. And then you can change the intensity, right? Like holy pink, deep blue, blue, yellow. So on so forth. Pretty simple, right? I actually really like warming filter like the 85 I. Usually I use that this one a lot kind of turn it down. And I really like how that looks. So, um, just another simple way to, um, use colors. And if they have the pre big filters, or you could just come down here, select color, and you could literally pick any color you can imagine, right? Yellow it. Okay, turn it up. You know, so obviously not every color looks great, but, um yeah, photo filter. Another great way to color your images Um, and the reason I'm just Tony all these different ways is because you'll get in a workflow. You'll figure out what you like. You figure out what works best for you, but just know you have a lot of different options. So that's that for this video, and I will see you in the next video. 22. 021 Color Using the Paint Brush: Okay, So for this video, I'm gonna go ahead and delete our last filter here. That we did. And this one I'm just going to show you. It's like the Bayer bare basics. Like, um, we're not actually using adjustment layer. We're just gonna use a normal layer this time when I hit new layer, and then you could just actually just paint with the paper. I still come over here, get a paintbrush. Um, maybe you wanna make thes clouds a little more yellow, right? Kick your brush up a little bit. Just kind of paint on the clouds, like so It looks pretty God awful right now. Right. But because it's a layer, you can come over here. What changed? The blending mode screen looks terrible, but softly look softly kind of does. It's a little intense. You can change the opacity. Bring that down a little bit on. Then maybe you wanted toe paint the sky. Someone go ahead and create a new layer. They will make the sky a little bit orange. I paint that guy like so I'm not spending a whole lot of time, obviously, because obviously I painted over my bare and stuff But, um, come back over here, change the opacity when chain softly like so And then, um, you know, you could always just bring it down in the orange and yellow. You could bring it down. It's a little too much. And then you could add Ah, a mask. Right. And then you could paint out the areas that you didn't that he accidentally painted over your bare or whatever. So, yeah, you can always just when all else fails, you can always just paint over your layer, uh, with your brush and then just adjust the settings, Thea blending boats and opacity. So that's a real quick way toe, you know, just Colyer image with, you know, painting. Because now there are some people who the great thing about photo shop is that empowers everybody. You know, if you have an idea in your brain, if you have an image that you want to create, Photoshopped empowers you to do that. But there are some people who are just really great illustrators, right? Just amazing artists. Before they even touch Photoshopped, Ray, they're just They can draw and paint lifelike images. I mean, those people, man, those just those people below the door wide open on photo shop. And so, um, this technique right here would be really great for somebody like that, You know? You go get away. Calm tablet. You know, you've got some really awesome paint skills. Maybe you got an intricate image, and then you could just kind of paint over the areas that you want really just intricately with away calm tablet. Um, just another option for you. So, um, coloring Gary images with just the paintbrush is a great way to go. And just another option for you and your photo shopped to a box. I will see you in the next video. 23. 022 Black and White Images: our guys. Hey, in this video, uh, actually, I'm gonna go ahead the lead, Our last color job here using the paintbrush. And I want to show you how to. Maybe you don't want a color image. Maybe you want your image to be black and white. There's a lot of ways you can do that. You can de saturate the image you can, you know, go into any one of multiple adjustment layers and remove the saturation. You go to camera raw filter and remove the saturation and there But there's actually an adjustment layer down here called Look at that black and white. And if you hit that and it puts a black and white layer right on top of your image Now, this is kind of soft right now, but then you can go in and you can adjust the sliders to really get kind of like a cool image. You know, just the yellows a little bit. I know there's some blue in the sky, so maybe I wanna, you know, dark in my sky up. We're gonna lighten it up my bears Little too intense. Um, yeah, just the justice slider. So this image has mostly yellows and blues in it. So I'm gonna, uh, yellow, blue and red. So there's gonna be gonna be your three main sliders in this, but yeah, I just know that you don't necessarily have to have a color image. You can just make your image black and white. So, um, there's an adjustment layer for that called black and white. There you go. So that's just one quick way to make your image. Not necessarily Call your image, but remove your image of all color and then, you know, tweak some sliders to get, like a cool black and white image. So that was that. I will see you in the next video. 24. 023 Color With Nik Software: Alright, guys, that's that's kind of it, man. We're we're or ma'am, man. Man, I shouldn't assume here there's your man. Could be anybody watching this video. Um, that's it. We're kind of done were It's kind of like, good enough for government work. We could we could pack our bags and call it good. Ah, I think I've given you enough tools that kind of get out there. You know, like if you understand, like the basics like masking and adjustment layers and blending modes and black and white and masking, you can literally do anything, create anything that your your mind can conjure up. But I'm so in this course I really wanted just to give you, like, some of the tools and some of the base line stuff and photo shop so that you can be empowered to go out there and create this stuff you want to create. But before I call it good, I've got one more thing I want to show you. So my intention was in this course just to do everything within voted shop. So you don't need any third party plug ins or accessories or anything. You can just do it all in photo shop and we have up to this point, we've done it all in photo shop. But I want to show you one more last thing called Knicks software. Um, it's a plug in that is absolutely free by Google, but it But it's like awesome. Once upon a time, it costs, like, $600. But they bought out the company and then they offered it up for free. So I would be remiss if I didn't tell you about this. Cool plug in That's 100% free. Should go download it. I'll include the link with this video or in this course, go download it, install it. It could use some super cool things. So I'm going to show you that right now. Um, just so we've color rised everything up into this point photo shop. But now we're gonna use a filter, 1/3 party filter, OK, and just like camera raw, we need to have our image all in one layer. So we're gonna do a stamp. So command option, shifty or control? Ah, shift E on a PC when to select our top layer and then we'll go to filter down here to Knicks collection. And when you install next collection, it comes with all of these cool filters. They're all awesome in their own, right, But the one we're going to use today is color effects Pro four again. This is a top notch filter. Totally free. Go download it. Super cool. So it's gonna load right here. And, um So right here, you see? Ah, you see this image rate And I've already applied a couple affects to this, but I'm gonna go ahead and just kind of start fresh. So I want to remove this guy, Gonna remove this guy, Remove this guy So basically, everything you could do with this filter you can do in photo shop. But they just kind of pre baked them until, like, really simple filters that you could just apply, right? You just click on these things, you get different looks, um, soft focus, cross processing, dark contrast, Pretty cool, right? And then they've Even if you click on this little these little windows next to any one of these, they have some predetermined presets. So here's the preset for hiss, and you can click on red, green, yellow, purple, blue, So on any one of these effects. They've already gone ahead and created a couple different options for us to play around with. So it's really cool, because it's basically just added like, ah, 1000 different filters, 1000 different ways. You can color your image and Photoshopped very easily and very quickly, you know, on all you have to do is just kind of click around here. So the weight of this works is on the right hand slide side. Here, um, you start off with your first filter, so I'm gonna go ahead and I'm just gonna hit color rise, okay? And I'm gonna leave it on. Um, this is gonna be my 1st 1 so you can come up here. You can pick like, the different methods for color rising. You can adjust the strength. Um, you can adjust the shadows and the highlights. Pretty cool. But then what you can do is you can stack the filters, which is pretty cool. So now I can go toe. Um, I have colorized active. I get it. Ah, detail extractor and now detail extractors. Right on top of colorize. So now I can bring the detail down. I can adjust the saturation pretty cool. Now I can go ahead and hit another one and hit cross processing Ray, and then I can just kind of adjust this to to my liking. So at this point, it really is up to your liking. It's like, What's what is the look that you want to achieve? You know, I kind of like this look, and you can literally just keep stacking these honestly, once you get past like, four, though it gets kind of muddy and looks kind of crappy, but upto like four different ones. You can add as many filters as you want, and you just uncheck these different boxes to see. Then what happens if I uncheck colorized? What happens if I check colorized and leave cross processing unchecked? Pretty cool, right? And there's literally, ah, 100 variations in here. So many things you can do with this. They've even broken it up into different categories if you want. Um, but we can do is let's say, um, I really like this recipe here that have created that's what they call in recipes and go ahead and hit save recipe, and I'm gonna hit tutorial recipe to I'm gonna go ahead and hit. OK, now what I can dio is I can remove all these And the next time I bring in an image that I really liked it like, Oh, hey, I like, really like that recipe and coming here. Bang hit my recipe that I created and we're good to go. So play around in here. Color effects pros Part of the Knicks software collection. It was once a $600 plug in. Now completely free. Thanks to Google. Super awesome. Go down there, Let install it in your machine and it will give you just like limitless possibilities on how to, like, just make your images punch and to cull, arise them. And even though you could technically do all of this and photo shop, it's just kind of it just helps you out, gives you some ideas, you know, points you in some direction. So, um, this is I think I'm gonna roll with this is my final final image. So that's it for this video. We have a one more video. I will catch you in that one. Peace 25. 024 Our Final Image: guys. Can you believe it? We made it. We're here. Where? On the last video. Of course you've made it through. I don't know how many videos, but here we are. We have a final product. Um I mean, it's pretty awesome, right? We went from this guy. No, we didn't go from that guy. Went from this guy right here. Remember, this seems like so long ago, right? Remember this guy to this pretty cool, right? That is the great thing about Photoshopped. It empowers everybody, even if you're not an illustrator. Because obviously there's some people out there who are just there artists they know how to paint. They can, you know, draw anything. Um, those people they can get in the photo shop and nail, just blow the hinges of right off, right off a photo shop. Right? But then, for the rest of us, we, ah, who artistic and artsy and stuff. But maybe, you know, maybe we can't draw a perfect replica of someone's face Photoshopped and powers you to create anything that you can envision in your mind, and it's pretty stinking cool. So we're gonna go ahead and I'm gonna do one last thing, I would go ahead and crop this image because it's a little big. So I'm gonna I was actually planning on making this, like a Facebook cover or something. So when we go ahead and hit C that brings up the crop tool, or it's this guy over here real quick and they have a bunch of presets in here. You can click through all the presets and you can see how how it breaks down. Right? Um, for 24 one the one square if your instagram er but I'm gonna do 16 9 actually gonna clear this, actually, is what I'm gonna dio Lips control Z. I'm gonna go ahead and hit crop. Go 16 9 on. I'm going to just move my image up a little bit. Throw that guy in the middle there, Boom. So that's it. That's my final image. I've cropped it. I just did that. Usually in the crop tool, I've selected the pre defined 16 9 resolution. Now I am ready to deliver my image file export and save as whatever you want to save as pretty cool guys, Right. Pretty cool. I hope you learned something in this course. I hope you took away some valuable information. Even if you're a photo shop, maybe you're not a photo shop. New. Maybe you've used photo shop before. Maybe you learned a technique or two that you found super valuable. Um, the great thing about photo shop is that depending? I mean, there's just so many ways you can use it. You know, some people just use it for typography. Other people use it just for you. I other people use it for photo manipulation and digital art. And there's just so many so many things you could do with photo shop. So, um yeah, that's it. Guys, I got nothing left for you and no cookies. No nothing. What kind of an instructor of my No Oreos? Not a thing. But I hope I've given you satisfaction, satisfaction and finishing this piece of art and, you know, going out there into the world and just, you know, creating whatever you want. No, this piece of art is out there in the world. Uh, you know, I have it on my instagram already, you know? So if you put this piece of art out in the world, just I would love it. if you said Hey, look what I learned how to do I created it through this course and if you give me credit, that's awesome. If not, um no worries. Because ultimately I was inspired to create this image from another image I saw. So, you know, just go into the world, create cool things, artistic things and guys. My name is Chris Holdren. You can follow me on Instagram at ask kris holden dot com are not dot com. Ask Chris Holdren on Instagram and I'll be honest, I wasn't putting my art and Instagram I had an INSTAGRAM account for a long time And But, um, as of recently people who have been taking my tutorials and stuff So I've been more active and engaging on there. So please, if you've got any value out of this addle go follow me on Instagram at Ask Chris Holdren, um on Instagram and I'm engaging there. I'm following people. If you live in my area, let's get together. Let's hang out. I live on the West Coast Portland, to be exact, and that's pretty much it guys, that's all I have. That's all she wrote. I am just running in my mouth at this point. This is Chris Holdren. I will catch you on the flip side, signing off 26. 025 The Very Last Video: Hey, hey, are you Are you still here? The courses over, That's it. There's there's nothing left, no cookies, no nothing. I promise there's There's literally nothing left except for the appreciation than the deep gratitude in my heart knowing that I have taught you something cool that you can take out into the world and make amazing heart not sold. Sorry, I don't know what to do. Hey, just one more sign off now my name is Chris Holdren. I am really trying to build up my INSTAGRAM account. I've been neglecting it for a long time. In fact, it's It's in a very sad state of affairs, but I'm really trying to get back on their engaged. So if you want to connect with me outside of this course, go ahead and go to instagram dot com. Four slash ass Chris Holdren and follow me or search for me in a little bar. Ask Chris Holdren and I feel happy happy to connect with you and hang out with you. If you live in my area, live on the West Coast Portland, to be exact, let's hang out. Let's do some cool stuff anyway. That's it. That's all I got for you, It's game over. This is really, honestly, truthfully, the very last video. It's been a pleasure. And, um yeah, God speed, my friend Or live long and prosper or I don't know, I don't know, catch you on the put side.